Overview
Born January 12, 1910 in Düsseldorf, Germany
Died December 30, 2014 in Belgravia, London, England, UK (pneumonia)
Nicknames The Viennese Teardrop
The New Garbo
Height 5' 4" (1.63 m)
Luise Rainer, the main artist to win consecutive Oscars, was brought into the world on January 12, 1910 in Dusseldorf, Germany, into a prosperous Jewish family. Her folks were Emilie (Königsberger) and Heinrich Rainer, a money manager. She made that big appearance, and employed her specialty on the sheets in Germany. As a youthful entertainer, she was found by the incredible theater chief Max Reinhardt and turned out to be essential for his organization in Vienna, Austria. "I should be exceptionally skilled, and he caught wind of me. He needed me to be essential for his theater," Rainer related in a 1997 meeting. She joined Reinhardt's dramatic organization in Vienna and went through years creating as an entertainer under his tutelage. As a feature of Reinhardt's organization, Rainer turned into a well known stage entertainer in Berlin and Vienna in the mid 1930s. Rainer was a characteristic ability for Reinhardt's kind of organizing, which required an impressionistic acting style.
Rainer, who made her screen debut as a teen and showed up in three other German-language films in the mid 1930s, ended her European profession when the Austrian Adolf Hitler solidified his power in Germany. With his horrendous enemy of Semitism achieving the Draconian Nuremberg Laws seriously abridging the freedoms of Germany's Jews, and endeavors to extend that system into the Sudetenland and Austria, Hitler and his Nazi government was demonstrating an approaching danger to European Jewry. Rainer had been spotted by, a her headhunter a seven-year contract with the American studio Metro-Goldwyn-Mayer. The 25-year-old Rainer took the arrangement and emigrated to the United States.
She made her American introduction in the film Escapade (1935), supplanting Myrna Loy, who was initially scheduled for the part. It was her karma to have William Powell as her co-star in her first Hollywood film, as he guided her, showing her acceptable behavior before the camera. Powell, whom Rainer recalls as "a dear man" and "an exceptionally fine individual," campaigned MGM. supervisor Louis B. Mayer, allegedly telling him, "You must star this young lady, or I'll resemble an imbecile."
During the creation of "Venture", Rainer met, and experienced passionate feelings for, the left-wing dramatist Clifford Odets, then, at that point, at the tallness of his acclaim. They were hitched in 1937. It was anything but a blissful association. MGM cast Rainer on the side of Powell in the lead spot of The Great Ziegfeld (1936), its fantastic bio-epic including melodic numbers that reproduced his "Imprudences" shows on Broadway. As Anna Held, Ziegfeld's customary law spouse, Rainer dominated in the melodic numbers, however it is for her phone scene that she is most recalled. "The Great Ziegfeld" was a success and proceeded to win the Academy Award as Best Picture of 1936. Rainer accepted her first of two progressive Best Actress Oscars for playing Held. The honor was exceptionally questionable at the time as she was an overall obscure and it was just her first assignment, yet additionally on the grounds that her job was extremely short and moderately minor that it better equipped for a supporting selection. (While 1936 was the primary year that the Academy of Motion Picture Arts and Sciences regarded supporting players, her studio, Metro-Goldwyn-Mayer, recorded her as a lead player, then, at that point, got out its square decision in favor of her.) Compounding the contention was the way that Rainer beat down such better referred to and more regarded entertainers as Carole Lombard (her only Oscar assignment) in My Man Godfrey (1936), past Best Actress champ Norma Shearer (her fifth selection) in Romeo and Juliet (1936), and Irene Dunne (her second of five fruitless designations) in Theodora Goes Wild (1936). A portion of the bitchery was coordinated toward Louis B. Mayer, whom non-MGM Academy individuals detested for his capacity to control Academy votes. Different pundits of her first Oscar win guaranteed it was the consequence of electors being unduly intrigued with the incredible spending plan ($2 million) of "The Great Ziegfeld" rather than extraordinary acting. Most eyewitnesses concur that Rainer won her Oscar as the consequence of her moving and piercing presentation in only one single scene in the image, the renowned phone scene where the beaten down Held praises Ziegfeld via phone on his impending union with Billie Burke while attempting to hold her levelheadedness and her poise. During the scene, the camera is totally centered around Rainer, and she conveys a masterpiece execution. After seventy years, it stays one of the most renowned scenes in film history. With another entertainer playing Held, the scene might have been tasteless, however Rainer brought the tenderness of the scene out and onto film. She based her translation of the scene on Jean Cocteau's play "La Voix Humaine". "Cocteau's play is only a phone discussion about a lost her cherished lady to another lady", Rainer recalled. "That is the examination. As it fit into the Ziegfeld story, that is the way I composed it. It's a day by day occurring, not simply in Cocteau." In a meeting held 60 years after the film's delivery, Rainer was contemptuous of the exhibition. "I was never glad for anything", she said. "I just did it like all the other things. To do a film - let me disclose to you - it resembles having a child. You work, you work, you work, and afterward you have it. And afterward it grows up and it becomes away from you. Yet, to be pleased with bringing forth a child? Glad? No, every cow can do that."
Rainer would mollify any conniving from Hollywood's bovines over her first Oscar with her presentation as O-Lan in MGM maker Irving Thalberg's dynamite transformation of Pearl S. Buck's "The Good Earth", the previous Boy Wonder's last picture before his less than ideal passing. The job won Rainer her second Best Actress Award. The achievement of The Good Earth (1937) was established in its authenticity, and its authenticity was upgraded by Rainer's acting inverse the incredible Paul Muni as her significant other. At the point when Thalberg cast Muni in the job of Wang Lung, he needed to leave any considered projecting the Chinese-American entertainer Anna May Wong as O-Lan as the Hays Office would not permit the sprinkle of miscegenation, even between a real Chinese lady and a Caucuasian entertainer in yellow-face drag. Along these lines, Thalberg gave Rainer the part, and she made O-Lan her own. She would not wear a weighty cosmetics, and her elfin look assisted her with measuring a Chinese lady with results far better than those of Myrna Loy in her Oriental vamp stage or Katharine Hepburn in Dragon Seed (1944). In the last part of the 1990s, Rainer lauded her chief, Sidney Franklin, as "magnificent", and clarified that she utilized an acting procedure like "The Method" being spearheaded by her better half's Group Theater companions back in New York. "I worked from back to front", she said. "It's not so much for me, placing on a face, or placing on cosmetics, or making masquerade. It needs to come from back to front. I knew how I needed to treat he let me make it happen." The success made Rainer the initial double cross Oscar champ in an acting class and the first to win sequential acting honors (Spencer Tracy, her distaff honoree for Captains Courageous (1937) would follow her as a back to back acting Oscar victor the following year, and Walter Brennan, Best Supporting Actor Oscar victor for Come and Get It (1936) the year Rainer won her first, would tie them both in 1937 with his success for Kentucky (1938) and trump them with his third success for The Westerner (1940), a record in this way tied by Ingrid Bergman, Jack Nicholson, Meryl Streep, Daniel Day-Lewis, and outperformed by Katharine Hepburn.)
Rainer's profession before long went into free-fall and imploded, as she turned into the primary outstanding survivor of the "Oscar revile", the peculiarity that has appear to be numerous an entertainer's vocation experience a plunge in the wake of winning an Academy Award. "For my second and third pictures I won Academy Awards. Nothing more awful might have happened to me", Rainer said. A non-conventionalist, Rainer dismissed Hollywood's upsides of Hollywood. In the last part of the 1990s, she said, "I came from Europe where I was with a brilliant performance center gathering, and I worked. The main thing at the forefront of my thoughts was to accomplish great work. I didn't have any idea what an Academy Award was." MGM manager Mayer, the establishing power behind the Academy of Motion Picture Arts and Sciences, needed to drive her to go to the Awards meal to accept her Oscar. She defied the studio because of the films that MGM constrained her into later "The Good Earth".
In one case, chief Dorothy Arzner had been alloted by MGM maker Joseph M. Mankiewicz (whose spouse, Rose Stradner had been Rainer's student in the Vienna State Theater) in 1937 to coordinate Rainer in "The Girl from Trieste", an unproduced Ferenc Molnár play about a whore attempting to go change herself who finds the affectations of the good class which she yearns for. After Thalberg's passing in 1936, Mayer's lighter stylish started to wear the pants at MGM. Mayer truly put stock in the integrity of ladies and parenthood and set ladies up in place of worship; he once told screenwriter Frances Marion that he never needed to see anything delivered by MGM that would humiliate his significant other and two girls.
Without the more refined Thalberg at the studio to run impedance, Molnar's play was changed so it was as of now not with regards to a whore, however a somewhat severe Cinderella story with a cheerful completion. Retitled by Mankiewicz as The Bride Wore Red (1937), Rainer pulled out and was supplanted by Joan Crawford. In a 1976 meeting in "The New York Times", Arzner guaranteed that Rainer "had been suspended for wedding a Communist" (Clifford Odets). This is impossible as MGM, similar to every single Hollywood studio, had known or suspected socialists on its finance, the majority of whose affiliations were known by MGM VP E.J. Mannix. (Mannix, one of whose capacities was liability regarding security at the studio, when said it would have been difficult to fire them all, as "the socialists" were the studio's best scholars.) The studio never made a move against supposed socialists until an industry-wide consent to do as such was fixed at the Waldorf Conference of 1947, which was held in response to the House of Un-American Activities Committee (HUAC) sending off a Hollywood witch chase.
All things considered, Rainer, fastidious over her activities and needing to utilize her Academy Award noticeable quality to guarantee herself better jobs, pulled out all alone because of her absence of excitement for the reformulated item. In the last part of the 1990s, Rainer reviewed the fulfillment of being an European stage entertainer. "One day we were on a major visit", she told a questioner in the last part of the 1990s. "We did a play by Pirandello, and Reinhardt was in the theater. I will always remember, it was the best commendation I at any point got, better than any Academy Award. He came to me, checked out me and said - we were never called by first names - 'Rainer, how could you do this?' It was so awesome. 'How could you make this?' I was so surprised and cheerful. That was my Academy Award." Rainer actually is pompous of the Academy Awards. "I can't watch the Oscars," she said. "Everyone expressing gratitude toward their mom, their dad, their grandparents, their medical attendant - it's an insane, horrendous." She faults the studio and Mayer for the fast decrease in her vocation. "How they managed me upset me without a doubt", she said in a 1997 meeting. "I was dreaming normally like anybody to accomplish something awesome, yet after I got the two Academy Awards the studio thought, it doesn't make any difference what she gets. They tossed a wide range of stuff on me, and I thought, no, I would have rather not be an entertainer."
Mayer pulled his popular passionate schedules when Rainer, whom he needed to transform into a stylish star, would request meatier jobs. "He would cry fake tears", she reviewed. Mayer had gone against her being given a role as O-Lan in "The Good Earth", however Thalberg, who had an association with MGM capo di tutti capi Nicholas Schenck, the leader of MGM corporate parent Loew's, Inc., engaged Schenck, who abrogated Mayer's rejection. (Mayer, who was associated with a power battle with Thalberg before the last's demise, had gone against his recording Pearl Buck's book. Mayer's thinking was that American crowds wouldn't belittle motion pictures about American ranchers, so what made anybody think they'd run to see a film about Chinese ranchers, particularly one with such a major financial plan, assessed at $2.8 million. (Upon discharge, the film scarcely made back the initial investment.) Thalberg kicked the bucket during the shooting of "The Good Earth" (the main film of his delivered by MGM whose title credits bore his name, as an after death accolade).
Rainer felt lost without her defender. She reviewed that Mayer "didn't have the foggiest idea how to manage me, and that made me so troubled. I was on the stage with incredible craftsmen, and everything was so magnificent. I was in a repertory theater, and consistently I played something different." Rainer requested to play Nora in a film of Ibsen's "A Doll's House" or depict Madame Curie, yet all things being equal, Mayer - presently in unlimited oversight of the studio - had her cast in Frou (1938), a film she really ended up preferring, as she was enchanted by her co-star, the urbane, mentally and politically illuminated Melvyn Douglas. She reviews Douglas, at last a twofold Oscar champ such as herself, as her cherished driving man. "He was savvy, and he was intrigued additionally in different things than acting."
Her concerns with the way of life of Hollywood, or the scarcity in that department, were declining. The absence of scholarly discussion or worry with thoughts by the natives of the film province she had to work with was discouraging. Hollywood was an unsophisticated spot where realism, like the stars' distraction with garments, was central. As she tells it, "Not long after I was there in Hollywood, for reasons unknown I was at a lunch meeting with Robert Taylor sitting close to me, and I asked him, 'Presently, how are your thoughts for sure treat need to do', and his response was that he needed to have 10 great suits to wear, rich suits of different types, that was his thought. I for all intents and purposes fell under the table."
MGM joined her with individual Oscar-victor Tracy in Big City (1937), a film about struggle between rival cabbies. The memory of the film appalled her. "Evidently it was anything but an awful film, however I thought it was a terrible film!" She was additionally projected in The Emperor's Candlesticks (1937), reteaming her with "Ziegfeld" co-star Powell, a film she didn't like, as she was unable to comprehend its story. An analyst story, the content completely befuddled Rainer, who was relied upon to fighter on like a decent worker. All things considered, she stood up to.
Subsequent to showing up in The Great Waltz (1938) and Dramatic School (1938), her profession was practically over by 1938. She never made one more film for MGM. "I just needed to move away", she said with regards to Hollywood. "I was unable to bear this absolute fixation and meetings on oneself, oneself, oneself. I needed to learn, and to live, to go everywhere, to learn by seeing things and encountering things, and Hollywood appeared to be extremely limited." When World War II broke out in Europe, Rainer was joined by her family, as her German-conceived father was likewise an American resident, permitting them all to get away from Hitler and the Holocaust. Indeed, even before the episode of war, Rainer had been exceptionally stressed over the situation of the world, and she was unable to stand the idealist plays that MGM needed to project her in. At the point when she dissented, Mayer let Rainer know that assuming she opposed him, he would repudiate her in Hollywood.
Upset by Hollywood's lack of concern over despotism in Europe and Asia and by work distress and neediness in the U.S., she chose to leave her agreement. She and Odets got back to New York. They were separated in 1940. "Hollywood was an exceptionally bizarre spot", she recollected. "As far as I might be concerned, it resembled a colossal lodging with a gigantic entryway, one of those rotunda entryways. On one side individuals went in, heads high, and very soon they emerged on the opposite side, heads hanging." Her disappointment with Hollywood was so finished, she deserted film acting in the mid 1940s, in the wake of making the World War II dramatization Hostages (1943) for Paramount.
She made her Broadway debut in the play "A Kiss for Cinderella", which was arranged by Lee Strasberg, which opened at the Music Box Theater on March 10, 1942 and shut April eighteenth after 48 exhibitions. Rainer then, at that point, worked for the conflict exertion during World War II, showing up at war bond rallies. She went on a visit through North Africa and Italy for the Army Special Service, associating with officers to fabricate their assurance, and providing them with books. The experience transformed her, permitting her to move past the timidity she'd had for her entire life. It additionally widened her experience, driving her to manage the conspicuous truth that there were more significant things than film acting, which had demonstrated unfulfilling to her.
Luckily, Rainer observed joy in an enduring marriage with the distributer Robert Knittel, a rich man whom she wedded in 1945. The couple had a girl and made their home generally in Switzerland and England as Rainer basically abandoned acting, in spite of the fact that she did some TV during the 1940s, '50s, and '60s. Her retirement from the films went on for quite a long time, until her concise rebound in The Gambler (1997), a film in view of Fyodor Dostoevsky's eponymous story. In the film, Rainer assumed the part of the authority of a blue-blooded Russian family during the 1860s who is in pawn because of the relatives' fixation on betting.
Close to the furthest limit of her life, Rainer resided in an extravagant level in Eaton Square in London's Belgravia region, in a structure where Vivien Leigh once resided. Favored with a decent memory, she guaranteed she was unable to recall the 1937 Academy Awards function, when she won her first Oscar. She says the fabulousness of the occasion was out of sync with her life at that point, which was one of extraordinary pity. "I wedded Clifford Odets. The marriage was for the two of us a disappointment. He needed me to be his little spouse and an extraordinary entertainer simultaneously. Some way or another I was unable to satisfy all of that."
She had fascinating proposals during her long retirement. Federico Fellini had needed Rainer for a job in La Dolce Vita (1960), yet however she appreciated the chief, she tried to avoid the content and turned it down. Rainer sporadically employed her specialty as an entertainer on the stage. She made another wound at Broadway, showing up in a 1950 creation of Ibsen's "The Lady from the Sea", which was organized by Sam Wanamaker and Terese Hayden and co-featured Steven Hill, one of the establishing individuals from Lee Strasberg's Actor's Studio. The play was a lemon, running only 16 exhibitions. "I was living in America and was on the stage there - irregularly. I lived more all of the time than I worked. Which doesn't imply that I don't cherish my calling, and each second I was in it gave me extraordinary fulfillment and joy."
Rainer regretted nothing over not turning into the star she may have been. She outlasted every one of the amazing stars of her time, which probably is the best vengeance for the deficiency of her vocation subsequent to said goodbye to an organization town she was unable to withstand.
Was cajoled out of a 20-year retirement to show up on Combat: Finest Hour (1965).
A non-traditionalist to the MGM star-framework, she used to march around Hollywood chaotically dressed, as a rule with no make-up and wearing jeans. Her non-traditionalist style of conduct cost Ms. Rainer her agreement with MGM in the last part of the '30s.
Had to go to the Oscar service by Louis B. Mayer to accept her Oscar. In the early Academy Awards services the victors were declared in advance in the papers. A group of MGM staff showed up at her home and made her dress in proper evening wear, and surged her to the show - without a moment to spare.
Her subsequent spouse, Robert Knittel, was a New York distributer whom she wedded in 1945. They had one kid, Francesca Knittel-Bowyer.
Was the principal entertainer to win consecutive Academy Awards, for her exhibitions in The Great Ziegfeld (1936) and The Good Earth (1937). She was likewise the primary entertainer to win two Oscars. The next year, 1938, Spencer Tracy, Bette Davis, and Walter Brennan likewise turned out to be twofold Academy Award victors.
Gone to The 75th Annual Academy Awards (2003) and showed up in the Oscar victor accolade arrangement presented by Olivia de Havilland. She was the most senior individual from the recognition grouping.
Federico Fellini offered her a section in his 1960 film La Dolce Vita (1960), and a scene was composed explicitly for her. She was not content with the person, notwithstanding, and requested changes to be finished. At last Fellini deserted the thought because of these requests, causing her a deep sense of embarrassment.
At the point when the Academy chose to get back past Oscar champs 1997 and 2002 for their Oscar Family Album, regardless of delicate wellbeing, Ms. Rainer joyfully consented to go from London to Hollywood to go to the two services. She commented "In the event that I don't show up they'll believe I'm dead!" the twice.
Of the relative multitude of living victors of a cutthroat Oscar she has had hers the longest (starting at 2013) - 77 years. She last won in 1937 for The Good Earth (1937).
She shares the distinction of having a few firsts with the Academy Awards. She was the main entertainer to accomplish the ideal Oscar history (two assignments two successes). She was the main entertainer to get twofold Oscars continuously. She was quick to get two Oscars and was quick to accomplish twofold Oscars prior to turning 30. She was the principal entertainer to win an Academy Award for depicting a genuine individual (The Great Ziegfeld (1936)).
One of two entertainers brought into the world in Germany to win the Oscar; the other being Simone Signoret.
She is referenced in Truman Capote's book "Breakfast at Tiffany's". While examining Holly Golightly's possibilities making it, the Hollywood specialist O.J. According to berman, "Assuming you mean future, you're off-base once more. Presently two or three years back, out on the Coast, there was a period it could've been unique. She had something working for her, she had them intrigued, she could've truly rolled. In any case, when you leave a thing like that, you don't stroll back. Ask Luise Rainer. Furthermore Rainer was a star. Without a doubt, Holly was no star; she never escaped the still division. Yet, that was before The Story of Dr. Wassell. Then, at that point, she could've truly rolled. I know, see, cause I'm the person was giving her the push.".
Turned into a US resident during the 1940s.
Guardians were Heinrich Rainer and his significant other Emilie Königsberger.
Is just one of seven entertainers who have a 2-0 winning record when assigned for an acting Oscar, her two successes for The Great Ziegfeld (1936) and The Good Earth (1937). The others are Vivien Leigh for Gone with the Wind (1939) and A Streetcar Named Desire (1951); Helen Hayes for The Lullaby (1931) and Airport (1970); Kevin Spacey for The Usual Suspects (1995) and American Beauty (1999); Hilary Swank for Boys Don't Cry (1999) and Million Dollar Baby (2004); Christoph Waltz for Inglourious Basterds (2009) and Django Unchained (2012); and Mahershala Ali for Moonlight (2016) and Green Book (2018).
Starting at 2014, at 104 years of age, she was the most established living Oscar champ.
The most youthful individual to at any point win a subsequent Oscar (matured 28, for The Good Earth (1937)).
Thinks of her as execution as O-Lan Ling in The Good Earth (1937) to be her best on film.
The principal numerous Oscar-winning entertainer or entertainer to arrive at the age of 100. Followed by Olivia de Havilland in 2016.
Was in thought for the job of Maria in For Whom the Bell Tolls (1943) yet Ingrid Bergman, who got a Best Actress Oscar selection for her exhibition, was projected all things considered.
Gave her 1937 Best Actress Oscar for The Good Earth (1937) to expulsion men who assisted her with migrating from Switzerland to London in 1989; she had been involving the honor as a doorstep for a really long time and it was angry.
Brought forth her first kid at age 36, a little girl Francesca Knittel-Bowyer on June 2, 1946. Kid's dad is her now late second spouse, Robert Knittel.
Gotten back to work 14 months subsequent to bringing forth her little girl Francesca Knittel-Bowyer to start acting in the US visit through "Joan of Lorraine", supplanting Ingrid Bergman in the lead spot.
On January twelfth, 2010, Louise commended her 100th birthday celebration. She is still genuinely dynamic and nimble for her age. [January 2010]
At present lives at 54 Eaton Square, London, in a condo once involved by Vivien Leigh. [2004]
Grandma to Luisa and Nicole, and extraordinary grandma to Luca and Hunter.
Was the tenth entertainer to get an Academy Award; she won the Best Actress Oscar for The Great Ziegfeld (1936) at The ninth Academy Awards on March 4, 1937.
Her passing at 104 made her the longest living beneficiary of an Academy Award for acting.
With her deep eyes, brilliant excellence, and enthusiastic power, Rainer was well headed to becoming one of Hollywood's top stars subsequent to making just a small bunch of films during the 1930s. At age 28, she turned into the main entertainer to win consecutive Academy Awards, winning Best Actress for both The Great Ziegfeld (1936) and The Good Earth (1937). Yet, Rainer was not a traditional star. She would not wear stylish garments or make-up. She demonized Hollywood individuals, leaning toward the organization of Albert Einstein, George Gershwin, Thomas Mann, Frank Lloyd Wright, and different craftsmen and savvy people. She additionally conflicted with studio supervisor Louis B. Mayer over the absence of value jobs she was given after her prosperity at the Oscars. "We made you and we will kill you," Mayer cautioned Rainer after an especially harsh showdown. He immediately followed through on his danger, destroying her profession so totally that, as film student of history David Thomson later composed, her two Oscar statuettes "may have been voodoo dolls". Rainer's brilliant ascent and fast plunge confused film fans for quite a long time. She made just about six movies prior to walking out on Hollywood, showing up just once in a while in front of an audience and in motion pictures and TV series over the course of the following many years. In her last film job, Rainer played a grandma in The Gambler (1997), an exhibition for which she was generally adulated. Be that as it may, she generally carried on with a calm life in Europe with British distributer Robert Knittel, whom she wedded in 1945. Knittel kicked the bucket in 1989.
Is one of 12 entertainers who won the Best Actress Oscar for a film that additionally won the Best Picture Oscar (she won for The Great Ziegfeld (1936)). The others are Claudette Colbert for It Happened One Night (1934), Vivien Leigh for Gone with the Wind (1939), Greer Garson for Mrs. Miniver (1942), Louise Fletcher for One Flew Over the Cuckoo's Nest (1975), Diane Keaton for Annie Hall (1977), Shirley MacLaine for Terms of Endearment (1983), Jessica Tandy for Driving Miss Daisy (1989), Jodie Foster for The Silence of the Lambs (1991), Gwyneth Paltrow for Shakespeare in Love (1998), Hilary Swank for Million Dollar Baby (2004) and Frances McDormand for Nomadland (2020).
Conveyed her girl Francesca Knittel-Bowyer through Cesarean segment.
Is one of 5 entertainers to have won an Oscar for a film where they showcased a work, Rainer's being for The Good Earth (1937). The others are Mary Astor for The Great Lie (1941), Jane Wyman for Johnny Belinda (1948), Kim Hunter for A Streetcar Named Desire (1951) and Brenda Fricker for My Left Foot (1989).
Is one of 19 entertainers to have gotten a Best Actress Oscar designation for an exhibition where they showcased a work and additionally birth; hers being for The Good Earth (1937). The others in sequential request are Jane Wyman for _Johnny Belinda (1948), Eleanor Parker for Caged (1950), Elizabeth Taylor for Raintree County (1957), Leslie Caron for The L-Shaped Room (1962), Shirley MacLaine for Irma la Douce (1963), Vanessa Redgrave for Isadora (1968), Geneviève Bujold for Anne of the Thousand Days (1969), Marsha Mason for Cinderella Liberty (1973), Ann-Margret for Tommy (1975), Ellen Burstyn for Same Time, Next Year (1978), Jessica Lange for Sweet Dreams (1985), Meryl Streep for A Cry in the Dark (1988), Samantha Morton for In America (2002), Elliot Page for Juno (2007), Gabourey Sidibe for Precious (2009), Ruth Negga for Loving (2016), Yalitza Aparicio for Roma (2018) and Vanessa Kirby for Pieces of a Woman (2020).
Is one of 12 entertainers who won the Best Actress Oscar for playing a person who is pregnant sooner or later during the film; hers being for The Good Earth (1937). The others are Helen Hayes for The Lullaby (1931), Vivien Leigh for Gone with the Wind (1939), Ginger Rogers for Kitty Foyle (1940), Olivia de Havilland for To Each His Own (1946), Jane Wyman for Johnny Belinda (1948), Anna Magnani for The Rose Tattoo (1955), Julie Christie for Darling (1965), Barbra Streisand for Funny Girl (1968), Liza Minnelli for Cabaret (1972), Sissy Spacek for Coal Miner's Daughter (1980) and Frances McDormand for Fargo (1996).
Is one of 10 entertainers to have won a Best Actress Oscar for a film in which they sing in character, hers being for The Great Ziegfeld (1936). The others are Ingrid Bergman, Julie Andrews, Barbra Streisand, Liza Minnelli, Ellen Burstyn, Diane Keaton, Sissy Spacek, Reese Witherspoon and Emma Stone. One could contend that Marion Cotillard has a place on this rundown however she emulated to Édith Piaf for La Vie En Rose (2007) as opposed to utilizing her own voice.
Paul Muni was her most un-most loved driving man. While she however him to be a decent entertainer she thought that he is troublesome.
She generally thought herself more qualified to the stage than to films.
She inhabited 54 Eaton Square, London, in a condo once involved by Vivien Leigh.
Her first American film was 'Caper' in 1935 with William Powell, her top pick to work with while Paul Muni was her most un-top choice as while he was a decent entertainer he was undeniably challenging.
Her first American film was 'Venture' in 1935 with William Powell, her beloved entertainer to work with. Paul Muni was her most un-top pick as while he was a decent entertainer he was truly challenging.
She considered with Max Reihardt and performed with him in repertory. MGM sent headhunters to check out one more entertainer however she was picked all things considered and welcome to Hollywood.
She was hitched to the playwrite Clifford Odets (1937 - 40) however at the time they were both exceptionally occupied with their professions.
List of Luise Rainer Movies
- Sehnsucht 202 1932
- Madame hat Besuch 1932
- Today Is the Day 1933
- Escapade 1935
- The Great Ziegfeld 1936
- The Good Earth 1937
- The Emperor's Candlesticks 1937
- Big City 1937
- The Toy Wife 1938
- The Great Waltz 1938
- Dramatic School 1938
- Hostages 1943
- Der erste Kuß 1954
- The Gambler 1997 & Many more.....
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