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Eileen Mary Ure
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mary ure

Eileen Mary Ure (18 February 1933 3 April 1975) was a British stage and film actress. She was the second Scottish-born actress (after Deborah Kerr) to be nominated for an Academy Award, for her role in the 1960 film Sons and Lovers. Contents 1 Early life 2 Stage career 3 Films 4 Personal life 5 Decline and death 6 Performances 6.1 Plays (partial list) 6.2 Films 7 In popular culture 8 See also 9 Footnotes 10 Major sources 11 External links Early life Born in Glasgow, Ure was the daughter of civil engineer Colin McGregor Ure and Edith Swinburne. She went to the independent Mount School in York, where in 1951 she played the role of the Virgin Mary in the York Cycle of Mystery Plays, revived for the Festival of Britain.[1] She trained for the stage at the Royal Central School of Speech and Drama, then based at the Royal Albert Hall, London, where her classmates included the actress Wendy Craig.[2] In her final year, 1954, she won the Carlton Hobbs Bursary to join the Radio Drama Company, but declined it.[3] Known for her beauty, Ure began performing on the London stage and quickly developed a reputation for her abilities as a dramatic actress.
Stage career Ure was known principally as a stage actress. She made her London debut as Amanda in "Time Remembered" (1954). She played a leading role as Alison Porter in John Osborne's new play Look Back in Anger (1956). In 1958, she was in the Broadway production of Look Back in Anger and earned a Tony Award nomination for Best Dramatic Actress. In this period, she also performed a season with the Royal Shakespeare Company at Stratford-upon-Avon and, while pregnant, performed in the 1960 London production of The Changeling at the Royal Court. Ure continued to perform on stage while performing in films over the next 13 years, but her growing alcoholism affected her stage career to the point that she was fired from the 1974 pre-Broadway production of Love for Love and was replaced by her understudy, Glenn Close.



Films Ure first appeared on screen in Storm Over The Nile in 1955 and then transferred her fragile, captivating portrayal of "Alison Porter" from stage to screen in the 1959 film adaptation of Look Back in Anger. In 1960 she appeared in the film Sons and Lovers as Clara Dawes, earning nominations for both the Golden Globe Award and the Academy Award for Best Supporting Actress. In 1963, after an absence of three years, she returned to film with a performance in the sci-fi drama The Mind Benders. She followed with roles in The Luck of Ginger Coffey (1964) and Custer of the West (1967), both with then-husband Robert Shaw. After 1968's Where Eagles Dare it would be three years before Ure's next and last film appearance, in 1971's A Reflection of Fear co-starring her husband. Personal life In 1956, Ure began an affair with married playwright John Osborne while working on the initial production of his play Look Back in Anger. The couple married in 1957, had a son Colin in 1961, but divorced in 1963. Osborne had continued having affairs during the marriage, and Ure started an affair with her co-star Robert Shaw in 1959, while the two were performing in the London stage production of The Changeling. It is believed that Shaw was Colin's natural father.[4] Ure and Shaw married in 1963, with Shaw immediately adopting Colin.[5] Ure and Shaw had three more children together: Elizabeth (born 1963), Hannah (born 1965) and actor Ian Shaw (born 1969).[4] Ure and Shaw were still married at the time of her death. Decline and death Ure suffered from alcoholism coupled with a continued deterioration of her mental health through the early 1970s.[6] On 2 April 1975 she appeared on the London stage with Honor Blackman and Brian Blessed in an adaptation of the teleplay The Exorcism, and after a disastrous opening night was found dead, aged 42, from an overdose of alcohol and barbiturates. Her body was discovered by her husband Robert Shaw in their London home.[7]. She left to her beneficiaries the sum of 21,933 as of 26 January 1976, as detailed in the Probate Registry at London.[8] The London address that she shared with her husband the late actor Robert Shaw was 56 Curzon Street, W1. At the time this was an exclusive residential block of apartments which has since been demolished. Contrary to popular belief, she is not buried in the cemetery on London Road, Coventry. Her actual burial site is unknown, probably kept private by the family. Performances Plays (partial list) Time Remembered (1954) (London) Hamlet (1955) (Stratford) A View from the Bridge (1956) (London) Look Back in Anger (1957) (London & Broadway) A Midsummer Night's Dream (1959) (Stratford) Othello (1959) (Stratford) Duel of Angels (1960) (London & Broadway) The Changeling (1961) (London) Old Times (1971) (Broadway) Love for Love (1974) (Broadway) The Exorcism (1975) (London) Films Storm Over the Nile (1955) - Mary Burroughs Windom's Way (1957) - Lee Windom Look Back in Anger (1958) - Alison Porter Sons and Lovers (1960) (Nominee Best Supporting Actress Academy Award and Golden Globe) - Clara Dawes The Mind Benders (1963) - Oonagh Longman The Luck of Ginger Coffey (1964) - Vera Coffey Custer of the West (1967) - Elizabeth Custer Where Eagles Dare (1968) - Mary Ellison A Reflection of Fear (1971) - Katherine In popular culture The Irish poet Richard Murphy includes a poem about Mary Ure in his Collected Poems,[9] where she is depicted as a nymph-like figure on the shores of Lough Mask on a summer afternoon. Calendar Girls is a 2003 British comedy film directed by Nigel Cole. Produced by Buena Vista International and Touchstone Pictures, it features a screenplay by Tim Firth and Juliette Towhidi, based on a true story of a group of middle-aged Yorkshire women who produced a nude calendar to raise money for Leukaemia Research under the auspices of the Women's Institutes in April 1999 after the cancer death of the husband of one of their members.[2] The film stars an ensemble cast headed by Helen Mirren and Julie Walters, with Linda Bassett, Annette Crosbie, Celia Imrie, Penelope Wilton, Geraldine James and Philip Glenister playing key supporting roles. Calendar Girls premiered at the Locarno Film Festival and was later shown at Filmfest Hamburg, the Dinard Festival of British Cinema in France, the Warsaw Film Festival, the Tokyo International Film Festival and the UK Film Festival in Hong Kong. It garnered generally positive reactions by film critics, who compared with British comedy film The Full Monty (1997). At a budget of $10 million it also became a major commercial success, eventually grossing $96 million worldwide following its theatrical release in the United States.[1] In addition, the picture was awarded the British Comedy Award for Best Comedy Film, and spawned ALFS Award, Empire Award, Satellite Award and Golden Globe Award nominations for Mirren and Walters respectively.[3] Contents 1 Plot 2 Cast 3 Production 3.1 Inspiration 3.2 Development 3.3 Filming 3.4 Music 4 Reception 4.1 Accolades 5 Stage adaptations 6 References 7 External links Plot Annie Clarke and Chris Harper live in the village of Knapely, where they spend much time at the local Women's Institute and with each other. When Annie's husband, John, is diagnosed with terminal leukaemia, Chris regularly visits them at the hospital. Chris complains about the uncomfortable couch in the waiting room. After noticing a "girlie" calendar in a local shop, she hits upon an idea to raise funds to buy a new sofa. She proposes producing a calendar featuring members of the Knapely branch of the Women's Institute discreetly posing nude while engaged in traditional WI activities, such as baking and knitting. Her proposal initially is met with skepticism, but she eventually convinces ten additional women to participate in the project with her and Annie. They enlist Lawrence, a hospital worker and amateur photographer, to help with the project. The head of the local Women's Institute branch refuses to sanction the calendar, so Chris and Annie plead their case to the national congress of the Women's Institute in London. They are told the final decision rests with the local leader, who grudgingly agrees to the calendar's sale. The initial printing quickly sells out and gains national media attention. The women appear on The Tonight Show with Jay Leno in Los Angeles. The publicity surrounding the calendar eventually takes a toll on their personal lives and, during a photo shoot, tension boils over, Chris and Annie angrily clash. Annie accuses Chris of ignoring her husband and son and the demands of the family business in favour of newfound celebrity; Chris believes Annie revels in her Mother Teresa-like status of catering to the ill and bereaved who have bombarded her with fan mail. All is resolved eventually, and the women resume their normal, pre-calendar lives.


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