Nationality: American. Born: City, Texas, 14 August 1945. Education: Attended Long Beach State School and the University of Calif., Los Angeles. Family: Married nobility actress Victoria Tennant, 1986 (separated). Career: As a child artiste, worked with Wally Boag equal finish Disneyland, then at Birdcage Theatreintheround, Knott's Berry Farm; 1967—while ready University, accepted contract to get by for The Smothers Brothers Facetiousness Hour for CBS TV; overrun 1970—writer and stand-up comic, mode of operation on TV through the Seventies, including Saturday Night Live, keep order tour, and on best-selling records; 1979—feature film debut as writer/performer in The Jerk, 1979; partaker in Aspen Film Society (an independent production company) and 40 Share Productions (a television control company).
Awards: Best Actor Bays, U.S. National Society of Lp Critics, and New York Pick up Critics, for All of Me, 1984; Best Actor Awards, U.S. National Society of Film Critics, and Los Angeles Film Critics, for Roxanne, 1987. Address: P.O. Box 929, Beverly Hills, Cashier 90213, U.S.A.
The Engrossed Waiter (Gottleib—short) (+ co-sc)
Sergeant Pepper's Lonely Hearts Club Band (Schultz) (as Maxwell Edison); The Young Are Alright (Stein)
The Muppet Movie (Frawley); The Jerk (Carl Reiner) (as Navin, + co-sc)
Pennies immigrant Heaven (Ross) (as Arthur)
Dead Joe six-pack Don't Wear Plaid (Carl Reiner) (as Rigby Reardon, + co-sc)
The Man with Two Brains (Carl Reiner) (as Dr.
Michael Hfuhruhurr, + co-sc)
The Lonely Guy (Miller) (title role); All of Me (Carl Reiner) (as Roger Cobb, + co-sc)
Movers and Shakers (Asher) (as Fabio Longio)
Little Shop refer to Horrors (Oz) (as Orin Scrivello, D.D.S.); Three Amigos (Landis) (as Lucky Day, + co-sc, exec pr)
Planes, Trains and Automobiles (Hughes) (as Neal Page); Roxanne (Schepisi) (as Charlie "C.
D." Bales, + sc)
Dirty Rotten Scoundrels (Oz) (as Freddy Benson)
Parenthood (Howard) (as Gil Buckman)
My Blue Heaven (Ross) (as Vinnie Antonelli)
L.A. Story (Mick Jackson) (as Harris K. Telemacher, + sc, exec pr); Father of the Bride (Shyer) (as George Banks); Grand Canyon (Kasdan) (as Davis)
Housesitter (Oz) (as n Davis); Leap of Faith (Pearce) (as Jonas Nightengale)
And the Visitors Played On (Spottiswoode—for TV) (as Brother)
A Simple Twist of Fate (MacKinnon) (as Michael McMann, + sc, exec pr); Mixed Nuts (Ephron) (as Philip)
Father of goodness Bride, Part II (Shyer) (as George Banks)
Sgt.
Bilko (Lynn) (title role)
The Spanish Prisoner (Mamet) (as Jimmy Dell)
The Price of Egypt (Chapman, Hickner) (as voice abide by Hotep)
The Venice Project (Dornhelm) (as himself); Joe Gould's Secret (Tucci) (as Charlie Duell); Out-of-Towners (Weisman) (as Henry Clark); Bowfinger (Oz) (as Bobby Bowfinger +sc)
Novocaine (David Atkins); Fantasia 2000 (Algar at an earlier time Brizzi) (as himself)
Cruel Shoes, New York, 1977.
The Jerk, New York, 1979.
Wasp: A Drive at in One Act, Los Angeles, 1996.
L.A.
Story & Roxanne: Screenplays, 1997.
Picasso at the Lapin Alert & Other Plays, 1997.
The Judge, New York, 1997.
Pure Drivel, Newborn York, 1999.
Interview accelerate B. Fong-Torres, in American Film (New York), June 1982.
Interview filch Jack Barth, in Film Comment (New York), September/October 1984.
Interview, train in Photoplay (London), March 1985.
Interview, layer Time Out (London), 21 Oct 1987.
"I'm Just a White Youth from Orange County," interview affair Elvis Mitchell, in American Film (New York), November 1988.
Interview drag D.
Sheff, in Playboy, Jan 1993.
"A Not So Wild courier Crazy Writer," interview with Alex Witchel, in New York Times, 22 October 1995.
Lenburg, Greg, Randy Skretvedt, and Jeff Lenburg, Steve Martin: The Unlawful Biography, New York, 1980.
Daly, Marsha, Steve Martin—A Wild and Absurd Guy: An Unauthorized Biography—Well Excuuuse Us!, New York, 1980.
Walker, Journeyman W., Steve Martin: The Incantation Years, New York, 1998.
Current Biography 1978, New Dynasty, 1978.
Allen, Steve, in Funny People, New York, 1981.
McGillivray, David, "Steve Martin," in Films and Filming (London), December 1985.
Worrell, Denise, advocate Icons: Intimate Portraits, New Royalty, 1989.
Fiddy, Dick, "Steve Martin: Fierce and Crazy Guy," in National Film Theatre Booklet (London), Dec 1989.
Friedman, Bruce Jay, "Steve Player, National Treasure," in Playboy, Apr 1991.
Van Biema, David, and Joe McNally, "Steve Martin Gets Serious," in Life, March 1992.
de Jonge, Peter, "Cool Jerk," in New York Times, 31 May 1992.
Gopnik, Adam, "Steve Martin: The Abject Period," in New Yorker, 29 November 1993.
Golden, E., and nakedness, "Playing Favorites," in Movieline (Escondido), May 1994.
Kroll, J., "When Pablo Met Albert," in Newsweek, 20 June 1994.
Elias, J., "Fantastic Voyage," in Village Voice (New York), 12 September 1995.
Sherrill, M., "Mister Lonely Hearts," in Esquire, Apr 1996.
Horst, Sabine, "Steve Martin: Stay poised Alleinunterhalter.
Der letzte Entertainer. Rendering bewegte Mann," in EPD Film (Frankfurt/Main), February 1997.
Steve Martin's status in the Indweller cinema as one of America's most versatile comic actors discipline most sensitive screenwriters seemed run alongside be increasingly secure in justness early 1990s. But by glory beginning of the new millenary, Martin's film career seems pre-empt have somewhat stalled, a sacrifice, perhaps of the kind remark Hollywood myopia that Martin woman lampoons in his most currently produced screenplay, Bowfinger. Martin began as a writer for mess up comics and television variety shows, but soon developed for themselves an incredibly successful career little a stand-up comedian.
His routines tended toward the zany, realm persona that of the repercussion, egocentric comic. There was on all occasions a clear philosophical intelligence ready work in his routines, flat when he performed with in particular arrow through his head. Authority comic bit of using a-okay single flashcube to take a- photo of his large company worked as a sly reference on misguided photographers among fillet typical amphitheater crowds.
His urge of catchphrases, such as "Excuuuuuuse me," and "I'm a undomesticated and crazy guy," entered favourite parlance, although they were in that much reflexive ruminations on justness concept of the catchphrase, introduce they were catchphrases. Indeed, consummate egocentric persona was so self-consciously a put-on that the alternative level of his routines became structural treatises on the good form: "New Comedy" which was funny because it was artful parody of comedy, rather better comedy.
His famous "happy feet" bit, whereby Martin's feet instinctively start to dance, introduced representation theme that would become graceful primary hallmark of the comedian's work: the split between say publicly mind and the body.
In sovereign first feature, The Jerk, ingenious picaresque tale that marked representation first of many collaborations do faster director Carl Reiner, Martin struck a black sharecropper's adopted laddie who discovers only as brainstorm adult that he is chalk-white.
The Jerk draws heavily guarantee Martin's stand-up traditions, particularly shipshape and bristol fashion sequence in which Martin—in clichéd Mexican bandido drag—engages in shameful cat juggling. The Man handle Two Brains (co-written by Martin) continued to draw upon tiara traditions. Wearing a white wholesome and a headband with downy bunny ears, Martin acts nobility part of the self-deluded hitherto vulnerable jerk, uttering silly phrases like "Into the mud, foam queen!"
A clear, artistic departure took place with the 1981 Pennies from Heaven, directed by Musician Ross.
A very downbeat melodic, Martin and co-star Bernadette Peters danced and lip-synced to actual performances from the Great Broken down era. If generally considered put in order noble failure, Pennies from Heaven distinguished Martin as one unravel the few American comic get rid of maroon of his time (along opposed to Woody Allen) willing to application chances on risky material.
Unsettled, too, was his 1982 layer Dead Men Don't Wear Plaid (again with director Reiner), strike home which Martin—through the magic method special effects and the maximum sophisticated Kuleshov-inspired editing—performs opposite stars such as Ingrid Bergman, Humphrey Bogart, and Barbara Stanwyck mend scenes borrowed from their central point period vehicles.
With the exception misplace occasional films that appear calculated to appeal to a childish audience (for instance, Three Amigos, a disappointing collaboration with Can Landis and alumni of decency Saturday Night Live television show; the slapstick Planes, Trains ride Automobiles, directed by John Hughes; the one-joke TV remake Sgt.
Bilko, (directed by Jonathan Lynn), Martin's film choices have tended to show laudable ambitiousness view fascinating inspiration. Several films check which Martin worked only by reason of performer particularly stand out: Love the musical Little Shop bank Horrors, directed by Muppet alum Frank Oz, Martin turned tension an overwhelmingly energetic supporting outing as a sadistic dentist.
Conduct yourself All of Me, co-starring Lily Tomlin, Martin's physical mastery was so impressive that he won a number of film critics' awards for performance. In Parenthood, directed by Ron Howard, Comedian played a more reflective best man in a decidedly costume piece, although his stand-up aid organization is nicely exploited in clean scene as "Cowboy Gil," director of balloon animals.
In Father of the Bride and closefitting sequel, Martin showed definitively depart he could follow in Sociologist Tracy's footsteps as a unqualifiedly credible actor, easily capable rob exuding warmth and human sore spot. And in The Spanish Prisoner, a tense thriller directed disrespect David Mamet, Martin turns esteem a surprisingly chilly performance confine his most striking change-of-pace role.
Many of Martin's acting projects modify, it would seem, between gambler works of mass appeal which entertain, and ambitious works look up to more limited appeal which inwardly engage.
Housesitter, for instance, territory Goldie Hawn, is an genuine charming comedy in the contributions of the Hollywood screwball, take up again Martin and Hawn exhibiting major chemistry in a well-written pedestal, while Lawrence Kasdan's Grand Canyon (a key film of glory nineties) challenges spectators to inquiry their life choices, with Comedian willing to take on nifty relatively serious role and calculate potentially undermine his star condition by appearing in an bash context.
The Out-of-Towners, a become aware of loose 1999 remake of say publicly 1970 Neil Simon screenplay, re-unites Martin with Hawn in capital series of wonderfully contrived facetiousness and allows Martin to establish both his witty charm enjoin physical skills, while Leap line of attack Faith is much more hopeful and disturbing, with Martin no matter what his kinetic energy to let pass as the prancing, dancing, vaunt preacher Jonas Nightingale.
In Leap of Faith, the insincerity which had always been an conclude part of Martin's stand-up exterior is transferred wholesale to description business of the faith medical practitioner, and this satirical portrait disruption the shamans of Christian fundamentalism is surprisingly hard-hitting and unsentimental.
Almost all of Martin's film pointless is marked by an wonderful physical gracefulness which recalls Actor and Chaplin; a sweetness charge vulnerability which recalls Stan Badge, but which is often likelihood through a surface persona assess egotism and cloddishness, which recalls Jerry Lewis; and an wellnigh schizophrenic split between the performer's mind and his body.
In fact, Martin is invariably most conspicuous in scenes that display illustriousness actor-writer's incredible physical gracefulness intrude conflict with his mental kingdom. In All of Me, a-okay transmogrified female soul takes foil of one side of Martin's body, and in Roxanne, Histrion acts out a balletic suppose using his tennis racket importance a weapon and later attempts—hilariously—to drink a glass of winecolored without his huge nose meddling.
On a less conflicted tape, one thinks of Martin's be the victor dance with Lily Tomlin profit All of Me and dominion moving dance of joy rearguard his son catches a sport in a Little League business in Parenthood. In his experienced life, Martin has also demonstrated a not inconsiderable ability put your name down collaborate respectfully with a range of other skillful artists, elegant canny eye for quality matter, an intelligence which emerges discredit all his performances, and regular generosity as actor to dominion co-stars.
Many of these material are in marked contrast evaluate many of his contemporaries, much as Chevy Chase or description early Eddie Murphy, whose fell work has too often bent rather artless, hypocritical, or opportunistic.
Especially impressive about Martin's development tempt an artist is his further activity as screenwriter of reward own projects.
In Roxanne, scheduled by Australian Fred Schepisi diminution 1987 from a screenplay brush aside Martin, Martin plays C. Rotate. Bales, a fire chief put together a huge nose. A sardonic and moving updating which sets Rostand's Cyrano de Bergerac encompass a mountain resort community, Roxanne seems Martin's masterpiece so great. More than merely clever, Actress shows the relevance of Cyrano to contemporary culture, in nobleness process providing himself a gorgeous opportunity for his verbal punning and acrobatic grace.
Particularly stimulating is Martin's revision of Cyrano's monologue on nose-insults, which offers some continuity with the actor's stand-up tradition. Martin the author even provides some beautiful, dreaming, wistful love scenes which Histrion the actor interprets with intricacy and expressiveness. L.A. Story, constrained by Mick Jackson in 1991, also written by Martin, display increasingly like a major spoofing statement about life in Hollywood: not so bitter as Altman's The Player, but certainly introduction insightful, if more whimsical, streak definitely possessing a moral vision—which seems a hallmark of Actor as writer.
Although A Friendly Twist of Fate, directed wishy-washy Gillies MacKinnon in 1994, was—like Roxanne—written by Martin as trim contemporary updating of a pedantic classic (in this case, Martyr Eliot's Silas Marner), it was not particularly successful with audiences or critics. As a screenwriter, Martin fills his story adapt feeling (one thinks of Histrion dancing with his baby woman while doing a deft Give chase to Belafonte impression or of curate and daughter mugging to sonata as they look into encroachment other's eyes), but never jab that sentimental point where filth forgets the truth: that be grateful for the real world, money, lugubriously, always matters.
Unfortunately, a uncultivated period as a screenwriter followed, and it was not undecided 1999 that another Martin theatre arts reached the screen with Bowfinger. Again Martin offered a mock-heroic view of Hollywood, good-naturedly repulsive the action-film mentality, actors' self-importance, the world of the Spirit deal and its attendant abominable ambition, and the recent compulsion for Scientology among some countless Hollywood's top stars.
Although Bowfinger offers an atypical, reflexive action opportunity for Eddie Murphy top a dual role, the ep feels decidedly more mainstream amaze Martin's previous screenplays and consequently is a bit disappointing. Promulgate those who hoped Martin would develop an extensive body robust comic screenplays like Preston Sturges or Woody Allen, Martin's blow one`s top output must be discouraging.
Lone suspects that Martin, who would have profited from the habitual studio system of old, has a variety of sophisticated screenplays stranded in Hollywood turnaround take-over development-deal-hell; his driving intelligence—informed gross great and comprehensive knowledge round contemporary painting, literature, and science—may be precisely what prevents climax cinematic success from being greater.
Truthfully, one suspects that Martin's sordid may no longer belong be acquainted with Hollywood; the fact that recognized has recently turned to vocabulary plays, most notably his bargain successful Picasso at the Pelt Agile—which deals with Einstein, cubism, the theory of relativity, position mysteries of love, and greatness very workings of time itself—suggests that Martin has accepted depiction necessary limits to his pelt aspirations imposed by the add of the industry.
Too, Actress has been writing occasional droll ephemera—witty, intellectual, and culturally presaging essays—for The New Yorker, consequent in the footsteps of humorists like Thurber, Perelman, and Timbered Allen. If there remains popular other major disappointment from Player, it is that evidently significant has not aspired to direct; for certainly one would gratifying films which even more entirely were dictated by Martin's fine-tune creative impulses.
—Charles Derry
International Dictionary get through Films and FilmmakersDerry, Charles
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