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Vanessa Redgrave: Work
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Redgrave's next outing would ... be well-represented at that Oscar ceremony. This was Fred Zinnemann's A Man For All Seasons, where Robert Shaw's Henry VIII would attempt to force Paul Schofield's Thomas More to accept his religious shenanigans, divorce and remarriage to Vanessa's flighty, flirty Anne Boleyn. Also featuring Orson Welles, John Hurt and Redgrave's brother Corin, the movie would rake in six Oscars. And there'd be yet more nominations for her final picture of 1966, Antonioni's Blow-Up, where groovy London photographer David Hemmings witnessed Redgrave in some kind of trouble in the park - was it a murder? Investigating the mystery, he becomes involved in fascinating detective work as well as orgies and all manner of decadence, the movie being so controversial and so appealing to the young that it became both a symbol of the age and the highest-grossing art film to date. Redgrave, placed at the centre of world-dominating London cool by Morgan and Blow-Up while at the same time boosting her serious thespian reputation with A Man For All Seasons and The Prime Of Miss Jean Brodie, seemed untouchable, the ultimate mid-Sixties golden girl.
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When asked for her source on this updated Blood Libel (Jews murdering non-Jewish children), Redgrave cited a documentary by the UN Relief and Works Agency ("Huda’s Story"). The child, who lives in Gaza, "was indeed wounded in the head, but by a ricochet bullet," according to UNWRA’s spokesman in the Gaza Strip. No one knows whether the shot was fired by Israeli forces or Palestinian gunmen.
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Ms. Redgrave saw a first draft but did not participate in a workshop based on an early version this spring; she will not become part of the process until a final draft is finished sometime this summer. For now, neither she nor Ms. Didion wants to talk much about the work.
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Redgrave’s star dimmed a bit during the 1970s. The actress found it difficult to find substantial work on screen, and turned frequently to supporting parts or leads in artistic and independent-minded productions. She was top-billed opposite Glenda Jackson in “Mary, Queen of Scots†(1971) and earned an Oscar nod, but her subsequent appearances were seen by smaller and more select audiences. She was a mentally unstable nun whose passion for a local priest (Oliver Reed) leads to a horrific witch hunt in Ken Russell’s shocking “The Devils†(1971), and played the tragic Andromache opposite Katharine Hepburn in the US-Greek production of “The Trojan Women†(1971). She returned to film in 1974 as one of the all-star suspects in Sidney Lumet’s “Murder on the Orient Express,†and played a patient of Sigmund Freud whose plight attracts the attention of Sherlock Holmes in “The Seven-Per-Cent Solution†(1976). That same year, she made her Broadway debut in Henrik Ibsen’s “The Lady from the Sea.â€
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Redgrave is, to put it mildly, a piece of work. A leftist who makes Michael Moore look like a Republican, she is Noam Chomsky in a dress – Goebbels with an upper-class British accent.
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The next year, Redgrave travelled to Albania and the former Yugoslav Republic of Macedonia to visit Kosovar refugees, conducting drama workshops for children in several of the refugee camps. On her return to London she organised a concert, For the Children of Kosovo, on behalf of the United Kingdom Committee for UNICEF. She returned to the former Yugoslav Republic of Macedonia and Kosovo following the signing of the peace accord in 1999, staging a three-day arts festival.
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