A statuesque Australian redhead with creamy alabaster skin and blue eyes that cast a slightly mischievous air, Nicole Kidman had become established in her native land as a rising talent before she ventured to the USA where she met her future husband Tom Cruise during the filming of 1990’s “Days of Thunder”. Born in Hawaii to a biochemist and psychologist father and an activist nursing instructor mother, Kidman spent her first years living in the Washington, DC, area. By the time she was three, she and her parents had returned to Australia and settled in conservative, upper-middle-class suburb of Sydney. As a toddler, she was enrolled in ballet classes and at age four got a taste of theatrical life by stealing her school’s Christmas pageant, garnering laughs as a sheep who upstaged the Nativity scene.
By the age of 10, Kidman had been enrolled in drama school and four years later made her first real impression as a frizzy-haired teen in the Australian holiday perennial “Bush Christmas” (1983).
By that time, she had become a regular on the TV series “Five Mile Creek”, appearing in the show’s final 12 episodes. Her profile rose even higher after an award-winning performance in the miniseries 1985 “Vietnam” which first teamed her with director John Duigan. She continued her rise in the comedy “Emerald City” (1988), delivering a nice turn as the girlfriend of a script supervisor (Chris Hayward) who catches the attention of a screenwriter (John Hargreaves).
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That film was followed by a terrific portrayal of a young woman who is duped into becoming a drug smuggler, gets caught and is imprisoned in the gripping TV drama “Bangkok Hilton” (1989).
That same year, Kidman broke through to international art-house audiences offering one of her finest performances as the traumatized young wife of a middle-aged doctor (Sam Neill) coping with the accidental death of their only child by embarking on a yachting trip that turns threatening when they rescue a stranger (Billy Zane) in the superb thriller “Dead Calm”.
The actress reteamed with director John Duigan for his excellent “Flirting” (1990) to essay a snooty schoolgirl. By the time the film reached US shores in 1991, though, Kidman had already become known as the actress who snared superstar Tom Cruise after co-starring with him in the race-car drama “Days of Thunder” (1990).
Their whirlwind courtship and subsequent marriage proved fodder for the gossip columns and surprised many. In an effort to distance herself a bit from the label of “Mrs. Tom Cruise”, Kidman accepted the part of a society girl who gets mixed up with gangsters in the Robert Benton-directed period drama “Billy Bathgate” (1991), holding her own opposite Dustin Hoffman. Unfortunately, the film failed to appeal to audiences and was a box-office failure.
A reteaming with her husband in the Ron Howard-directed would-be epic “Far and Away” (1992) was also a commercial disappointment. Kidman had her moments as a headstrong Irish lass who determines to follow a penniless worker to America in the mid-19th Century, but the film’s muddled screenplay undercut her efforts. Although she went on to appear as a wife desperate to have a child in “Malice” and the supportive spouse of a dying man in “My Life” (both 1993), neither did much to raise her profile or challenge her as an actor. Making a clearly economic decision, Kidman was cast as the love interest to Val Kilmer’s Bruce Wayne/Batman in the overblown “Batman Forever” (1995).
Later that year, though, she finally had a chance to prove her mettle to US audiences with a brilliantly comic turn as an ambitious weather girl who’ll do anything to succeed in the satirical “To Die For”. Her excellent delineation of self-absorption in the face of ambition was one of the year’s finest performances, but surprisingly the expected Oscar nomination never materialized. One theory floated on why the Academy overlooked her is that no one who saw the film could tell where the character ended and the actress began. It also didn’t help that the tabloids and gossip pages tried to paint Kidman as relentless. Such a gender-biased discriminatory approach wasn’t lost on her. As she pointed out, “Tom [Cruise]’s determination is called intensity. My determination is called ambitious to the point of ruthlessness.”
The Term Paper on Industry Analysis: Feature Film Production
The motion picture industry produces and distributes films for theatrical release, home entertainment, and various other markets. The product of this industry is passive entertainment, typically viewed as a leisure activity. Various genres target all market segments, the largest of which is in the 18-35 year old age group. The same product is released via two main distribution channels, theatrical ...
Jane Campion had once offered her the role of Isabel Archer in a film version of Henry James’ novel “The Portrait of a Lady”, claiming that she couldn’t imagine any other actress in the part. Still, after Kidman’s string of less than spectacular movies, Campion made the actress audition for the 1996 film. Kidman tore into the role, finding the depth and nuance in the character of an idealistic American who marries into European aristocracy for wealth rather than love. Although some of the directorial flourishes tended to undercut the story, the acting shone through, but once again few gave Kidman the credit she deserved.
Perhaps in a further effort to improve her bankability, she co-starred with George Clooney in the action thriller “The Peacemaker” (1997) and teamed with Sandra Bullock in “Practical Magic” (1998).
In an effort to completely overhaul her image and improve her standing in the entertainment business, Kidman returned to the stage, starring opposite Iain Glen in the David Hare play “The Blue Room”, first in London and then on Broadway. A loose adaptation of “La Ronde”, the play had only the two actors and earned acclaim, but it also generated a bit of controversy over brief nudity.
Before she undertook the stage role, Kidman had signed on with Cruise to play a couple facing difficulties in their marriage in Stanley Kubrick’s “Eyes Wide Shut” (1999).
Filmed over a 14-month period from November 1996 to January 1998, “Eyes Wide Shut” was an erotic-tinged fever dream. After the wife (Kidman) confesses to having a sexual fantasy about another man, the husband (Cruise) embarks on a journey that takes him from one charged situation to another, culminating in an orgy. Kubrick died just after completion of the film, but critics greeted it as they had most of his work — with mixed feelings. Neither Kidman nor Cruise were used to particularly good effect in the film, although she had moments where her skill and grace shone through.
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Having earned the tag of “serious actress” after working with Kubrick and on stage, Kidman went to work on back-to-back projects that fully demonstrated her range. In Baz Luhrmann’s hyperkinetic “Moulin Rouge!” (2001), Kidman was cast as Satine, a singing and dancing courtesan who falls in love with a penniless writer she at first mistook for a wealthy patron. While her dancing was adequate (perhaps the numerous injuries she sustained from broken ribs to torn cartilage in her knee hindered her), she displayed a pleasant singing voice. Certainly, she and co-star Ewan McGregor had a terrific chemistry that helped compensate for the uneven screenplay. While “Moulin Rouge!” allowed the actress to cut loose, “The Others” (also 2001) required her to portray a high-strung mother living in isolation during WWII. Deftly underplaying the implicit hysteria while also injecting vulnerability in the character, Kidman painted a portrait of a controlling yet all too human woman. “Moulin Rouge!” allowed her to drop the icy reserve that had undercut her work in other roles while “The Others” exploited it, allowing her to craft an emotionally layered performance.
