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Deborah Jane Kerr-Trimmer [ ˈdebrə kɑː ], CBE, (* 30. September 1921 in Helensburgh, Argyll and Bute, Schottland; † 16. Oktober 2007 in Botesdale, Mid Suffolk, England) war eine britische Schauspielerin. [1] In den 1950er Jahren zählte sie mit Filmen wie Quo vadis?, Verdammt in alle Ewigkeit und Der König und ich zu den erfolgreichsten ...
Deborah Kerr, CBE (n. 30 septembrie 1921 , Helensburgh , Scoția - d. 16 octombrie 2007 , Suffolk, Anglia, născută Deborah Jane Kerr-Trimmer ) a fost o actriță britanică care prin anii 1950 era cotată printre cele mai valoaroase actrițe de la Hollywood .
Synopsis. Une jeune veuve anglaise, Anna Leonowens ( Deborah Kerr ), part avec son jeune fils Louis (Rex Thompson) au Siam (aujourd'hui la Thaïlande) afin de devenir la gouvernante des enfants du roi Mongkut ( Yul Brynner ). Malheureusement, ce dernier refuse de lui donner la maison qu'il lui avait promise et l'oblige à vivre dans le palais.
Deborah and Yul made two films together – “The King and I” (1956) and “The Journey” (1959). Yul chose personally Deborah to play the role of Anna Leonowens, after seeing her on Broadway in 1955 in “Tea and Sympathy”. The filmings of “The King and I” were made in the winter of 1955-1956. Since then, they became the best of ...
ハリウッド名声の歩道. 1960年 映画産業への貢献、映画・演劇業界への業績に対して. テンプレートを表示. デボラ・カー （ Deborah Kerr 、本名：Deborah Jane Kerr-Trimmer、 CBE 1921年 9月30日 - 2007年 10月16日 ）は、 イギリス の 女優 。. スコットランド 出身。.
Journey, The (1959) -- (Movie Clip) I Even Mystify Myself Yul Brynner as clever Russian commander Surov isn’t buying the cover story from Lady Ashmore (Deborah Kerr) that Jason Robards Jr. is Britisher Flemyng, who’s just feeling ill, and not her former lover, a Hungarian dissident shot in an escape attempt, trying to get out of the country during the 1956 uprising, in The Journey, 1959.
What does seem notable about this erratically entertaining star vehicle for Deborah Kerr and Yul Brynner is the fact that, while the intricacies of the Hungarian Revolution are obscured by the usual penchant of historical films to use complex events as mere backdrops for sexier entanglements, the tone of Litvak’s 1959 film is far removed from the overheated anticommunist propaganda that ...
