ума турман на английском
Uma Thurman Biography
Also Known As: Uma Karuna Thurman
Born in: Boston, Massachusetts, United States
father: Robert Thurman
siblings: Dechen Thurman, Ganden Thurman, Mipam Thurman
children: Levon Roan Thurman-Hawke, Luna Thurman-Busson, Maya Thurman-Hawke
Partner: Arpad Busson (2007–2009; 2011–2014)
Ancestry: German Americans
education: American Embassy School, Professional Children’s School, Northfield Mount Hermon, Lee Strasberg Theatre and Film Institute, Amherst Regional Middle School
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Who is Uma Thurman?
Uma Karuna Thurman is an American actor who rose to fame with her portrayal of ‘Mia Wallace’ in the dark comedy movie ‘Pulp Fiction.’ Her role in the movie made her one of Hollywood’s A-list stars. She is a dedicated actor who does not mind shedding her glamorous image. Her deglamorized role in the ‘Kill Bill’ movie series won her awards and appreciation. She was born into a family known for its unconventional ways of life, and was given a Hindu name and a Buddhist upbringing. Growing up, the lanky girl was often made fun of because of her angular frame and large feet. Though she is now famous for her exotic beauty, there was a time when she was highly insecure of herself and her body. She found solace in acting and actively participated in dramatics in high school. Believing that she was meant to be an actor, she quit school at 15 to pursue an acting career. Initially, she had to earn her livelihood by doing dishes and modeling, before landing small roles in films. She got her big breakthrough in 1994 when she appeared in the movie ‘Pulp Fiction.’ She was then critically acclaimed for her role in the ‘Kill Bill’ film series.
Uma Thurman
Who Is Uma Thurman?
Uma Thurman first made a splash in Quentin Tarantino’s Pulp Fiction, earning a Best Supporting Actress Academy Award nomination. After starring in The Avengers and Batman and Robin, she later garnered more attention for another collaboration with Tarantino, as a vengeful, sword-slashing assassin in the two-volume epic Kill Bill.
Early Life and Films
Actress Uma Thurman was born on April 29, 1970, in Boston, Massachusetts. Named for a Hindu deity, Thurman made her film debut in Kiss Daddy Goodnight (1987), a low-budget thriller. Her first well-known role was as Venus in Terry Gilliams’s The Adventures of Baron Munchausen (1988). Wearing only hair extensions in her brief performance as the Roman goddess of love, the alluring young actress went on to take a number of sexually charged roles over the next few years.
At age 18, she bared all in Dangerous Liasons (1988), a big-budget period piece starring John Malkovich and Glenn Close, and in 1989 she starred in Henry and June, the first film to be released with an NC-17 rating.
‘Pulp Fiction’
After appearing in a number of marginally successful Hollywood movies, Thurman stepped off the beaten track to appear in Pulp Fiction (1994), the second movie by acclaimed independent director Quentin Tarantino. For her nuanced performance as a glamorous underworld moll, she was nominated for a Best Supporting Actress Academy Award.
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Thurman capitalized on the popular success of Pulp Fiction by appearing in a series of big-budget productions, including Gattaca (1997), Batman and Robin (1997), Les Miserables (1998) and The Avengers (1998). Shen then embarked on a more «independent» tack, favoring a series of riskier projects that included Woody Allen’s Sweet and Lowdown (1999), a Merchant/Ivory production of Henry James’ The Golden Bowl (2000) and Chelsea Walls (2001), directed by then-husband Ethan Hawke.
‘Kill Bill’ and ‘The Producers’
In 2003 and ’04, Thurman starred in Tarantino’s two-volume epic Kill Bill as a vengeful sword slashing assassin. The actress also starred with Ben Affleck in the sci-fi thriller Paycheck. With 2005’s The Producers, Thurman took on musical comedy with Nathan Lane and Matthew Broderick.
But her humor missed its mark with My Super Ex-Girlfriend (2006), which proved to be a commercial and critical disappointment. Directed by Griffin Dunne, 2008’s The Accidental Husband also explored love and revenge. It featured Thurman as a radio talk show host who convinces a woman to break up with her boyfriend.
In recent years, Thurman has taken on a variety of roles, from playing a mythic monster in Percy Jackson & the Olympians: The Lightning Thief (2010) to a powerful Parisian woman in Bel Ami (2012), as one of Robert Pattinson’s love interests. She also had a recurring television role around this time, on the musical drama Smash, and later appeared in the culinary-themed drama Burnt (2015), with Bradley Cooper.
Abuse Allegations
After a series of sexual assault allegations against Harvey Weinstein sparked the #MeToo movement in late 2017, Thurman signaled that she would weigh in on the matter soon enough.
The moment came in a New York Times interview published in February 2018. Thurman said that she, too, had been violated by the studio chief, but admitted to more complicated feelings on the subject, as she felt that her contributions to Weinstein-produced flicks like Pulp Fiction enhanced his image as someone other actresses could feel comfortable working with
The interview also provided some startling revelations about Tarantino: According to the actress, some of the more difficult scenes from the Kill Bill films, including footage of its star getting spat on and being strangled by chains, were conducted by the director himself. Furthermore, he refused to use a stunt driver for one scene, even through the actress didn’t feel safe in the reconfigured car. Thurman ultimately lost control of the car and crashed, resulting in a concussion and knee and neck pain that continues to plague her.
Personal Life
Thurman married British actor Gary Oldman in 1990. They divorced in 1992. In 1998, she married Gattaca co-star Ethan Hawke, and in the same year they welcomed their first child, Maya Ray Thurman-Hawke. In 2001, the couple had a son, Roan. Thurman and Hawke split up two years later and divorced in 2004. Thurman and boyfriend Arpad Busson welcomed a daughter on July 15, 2012.
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That background was not simply intellectual, it was also hugely exotic. Her maternal grandmother, Brigit Holmquist, was a great Swedish beauty who, in 1930s Berlin, met and married the monocled Westphalian Baron Karl von Schlebrugge. After the baron had been briefly jailed by the Nazis for refusing to denounce his Jewish business partners, the couple would take off for Sweden, then Mexico and China. Such were Brigit’s looks that a nude statue of her would be erected in the port town of Trelleborg, and her daughter Nena would also turn out a stunner. Spotted in a Stockholm playground by society photographer Norman Parkinson when she was just 16, she was taken to London to model for Vogue, then off to New York where she became a top fashionista. Caught up in the high-brow swinging set, she would find a father figure in psychedelic guru Timothy Leary and marry him in 1964.
Back in the US, Thurman was invited to lecture at the Hitchcock estate in Millbrook, New York, where, at the time, Leary and his acolytes were enjoying a frenetic course of acid experimentation. It was here that Robert met Nena, already attempting to extricate herself from a poorly conceived marriage. In 1966, when her divorce came through, Robert would renounce his robes and the couple would wed. Children would come soon. First Ganden (later a computer whizz), then Uma, then Dechen (an actor and director) and finally Mipam. All the names were culled from Buddhist theology.
The first of these was Terry Gilliam’s magnificently ambitious The Adventures Of Baron Munchausen, an extraordinarily imaginative piece that saw the titular baron criss-crossing time and the universe, enjoying/enduring all manner of fabulous encounters. At one point he would come into contact with Vulcan, the God of War (Oliver Reed) and romance the god’s wife, Venus. This would be Thurman, appearing naked and on one leg in a giant sea-shell, being dressed by cherubs. She and the baron would literally take off in an aerial ballroom scene, a beautiful and highly romantic distraction from the movie’s ongoing mayhem.
By the end of 1990, Uma would have appeared in another two deliberately chosen «classy» projects. First was John Boorman’s Where The Heart Is, where demolition magnate Dabney Coleman moves his supposedly spoilt kids into a building he’s been refused permission to destroy to see if they can stand on their own. It was an acceptable mild comedy, with Thurman appearing as one of the daughters, the ethereal, Stevie Nicks-like Daphne. Far superior was Philip Kaufman’s Henry And June, concerning the three-way affair between writers Henry Miller and Anais Nin and Miller’s enigmatic wife, June in 1930s Paris. Fred Ward and Maria De Medeiros were excellent as Miller and Nin, but Uma was outstanding as June, despite her tender years appearing far more worldly than her husband and proving an understandable obsession for the sexual explorer Nin.
The movie was hugely provocative, its literary roots not saving it from the censor’s attention. Staying true to Miller and Nin’s notions of sexual liberation, it forced the creation of the NC-17 rating (which it then received instead of an X). Absolutely No Children. And quite right, too. It was far too stylish, intelligent and erotic for the likes of them.
Henry And June was not a big hit (Thurman’s next co-starring credit with Medeiros, Pulp Fiction, would be a very different story). Neither was her next feature where she played Maid Marian to Patrick Bergin’s titular Robin Hood. This was actually another good film but, consciously realistic, it was buried by Kevin Costner’s huge, self-mythologising Robin Hood: Prince Of Thieves. Lucky for her Brian De Palma had turned her down for Bonfire Of The Vanities on the grounds of lacking comedic skills.
1993 served only to confuse matters further. In Mad Dog And Glory, an unusual comedy directed by John «Henry: Portrait Of A Serial Killer» McNaughton, she played a girl trying to pay off her brother’s gambling debts by entering the service of gangster Bill Murray. When painfully reserved cop Robert De Niro saves Murray’s life, he loans Thurman to him for a week and she, rather liking him, tries to open him up, giving him kissing lessons and the like. De Niro is naturally smitten so, when Murray wants her back, must overcome his meekness to battle for what he desires. Once more Thurman performed well, this time in hugely intimidating company, but once more the movie was no big hit. Though she was gaining experience fast, particularly from De Niro who would kindly scream at her off camera to get the right mood, to many outsiders she appeared to be treading water.
Treading water, that is, until she sank. For 1993 also brought the crazy failure of Even Cowgirls Get The Blues. Here Thurman was Sissy Hankshaw, a born hitch-hiker with enormous thumbs (easy for Uma to relate to, given her ungainly shape as a kid), who becomes a «feminine hygiene» model and hooks up with feminist renegades on the outlandish Rubber Rose cattle ranch. The original novel was a counter-culture hit in the Seventies, but Gus Van Sant’s meandering adaptation seemed to miss whatever points were there to be made and, really, only John Hurt, as the massively camp Countess, emerged with his reputation undamaged.
Thankfully, artistic redemption came immediately in the shape of Quentin Tarantino and Pulp Fiction. In this extraordinary, multi-faceted crime drama, Thurman beat off Holly Hunter and Meg Ryan to take her place as Mia Wallace, wife of Marcellus, an uber-thug who, we quickly learn, has thrown a man out of a window for daring to massage his beloved’s Size 11s. Of all the film’s myriad memorable moments, Thurman appears in several of the stand-outs. Discussing milkshakes with Travolta and winning the contest with their wacky peek-a-boo dancing. Accidentally snorting Travolta’s heroin and becoming cinema’s most beautiful coma victim. Leaping back to life when they’ve slammed a syringe full of adrenaline direct into her heart (her hi-octane performance in this scene was actually based on the similar revitalisation of a drugged panther on the set of Baron Munchausen). And she dominated the film’s poster. Oscar-nominated for her efforts, suddenly she was amongst the biggest actresses in Hollywood.
And, naturally, she took no advantage of this whatsoever, not making a big budget movie for 3 full years. Attempting to widen her experience further, she reunited with her Robin Hood director John Irvin for the comedy of manners A Month By The Lake, based on the HE Bates story. Here she played Miss Beaumont, just expelled from a Swiss boarding school in 1937 and working as a nanny beside Lake Como. As spinster Vanessa Redgrave makes a tentative move on ageing major Edward Fox, so Thurman gazumps her, for no good reason beyond brattishness, and sends the poor old man wild with desire. In a very contained, British kind of way, you understand.
After contributing to friend Griffin Dunne’s short Duke Of Groove, now Thurman chose to re-enter the big-time. And what better way to do it than as a super-villain in the Batman franchise? As Poison Ivy, a formerly mild mannered botanist now aiming to kill all humans and leave the world free for her evil, genetically-modified plant buddies, she really was quite special. For the first time since her screen debut, she was a true vamp, entrancing all the men with her air-borne aphrodisiacs (not that she needed those, given the sensuousness of her performance). Unfortunately, though Arnold Schwarzenegger delivered a surprisingly emotional Mr Freeze and merchandise tie-ins gave it a mighty profit, Batman And Robin was deemed a disaster, the death of the franchise. Much of the blame was laid on director Joel Schumacher, though really it was more to do with the undermining of Tim Burton’s original vision by the silly and perfunctory presence of both Robin and Batgirl. Whatever, Thurman was the only one who emerged with her reputation actually enhanced.
Now her life changed radically. Appearing in the complicated and philosophical Gattaca, wherein a future world is ruled by a biotech-created super-elite, she fell for the movie’s star, Ethan Hawke. They had met earlier, once at an ATM machine, then at the premiere of Pulp Fiction and Thurman had considered him too young for her (he was only a year younger, but she was always looking to gain experience). Now she recognised him as an actor, writer and director, and a sensitive and intense worker. Soon she was pregnant with daughter Maya Ray, born in 1998, two months after the couple married in New York’s Cathedral of St John the Divine (their union being blessed by the Dalai Lama). A son, Levon (often called Roan in the press because that’s what Maya used to call him) would follow in 2002.
Professionally, she moved on to Victor Hugo’s relentlessly depressing Les Miserables. Though the story was based around petty thief Liam Neeson rising to prominence despite a lifelong pursuit by obsessive copper Geoffrey Rush, it was Thurman who stole the show. As Fantine, an unfortunate fired from her job at Neeson’s factory for bearing his bastard child, then turning to prostitution before succumbing to a fatal illness, she hit an impressive balance of decency, strength and terrible vulnerability.
Now, though, came her third high-profile disaster with The Avengers. As an eye-catchingly leather-clad Emma Peel opposite Ralph Fiennes funky Steed, battling Sean Connery and his destructive weather-machine, you’d have thought she’d have been onto a winner. Sadly, confusion reigned, the plot was lost (in fact many plots were lost) and, having been hacked from 150 minutes down to 89, the film sneaked out to the multiplexes without press showings. Reviews, of course, were not kind. Thurman, it was said, was lost somewhere between a vamp and an ice-queen. Whether this would have been the case had most of her performance not been left in the editing suite we will never know.
As ever, she took the slings and arrows without grumbling and moved on to another series of more «artistic» projects. First there was Woody Allen’s Sweet And Lowdown, where she played a mean-hearted novelist and society-type who coaxes wayward jazz guitarist Sean Penn away from the true love of mute Samantha Morton and into an unhappy marriage. Then there was a long-overdue return to the stage in a New York production of The Misanthrope, followed by more Frenchness in Vatel, directed by Roland Joffe, where a prince, hoping for favours, throws a 3-day feast for Louis XIV. Here Thurman was a much-desired lady-in-waiting who causes trouble by engaging in an affair with the prince’s head honcho Gerard Depardieu. It was a lavish piece, but strangely unengaging, though Thurman was often impressive in her stunning baroque poses.
Also lavish, but far more interesting was Henry James’ The Golden Bowl, a Merchant-Ivory production. Uma had originally turned down the movie but was persuaded to reconsider by her friend Natasha Richardson. A good move, as it allowed her to engage with a fascinating character in a complex menage a quatre. Here she’s Charlotte Stant, lover of impoverished Italian prince Jeremy Northam. When Northam marries Uma’s mate Kate Beckinsale for money, Uma then marries Beckinsale’s rich daddy Nick Nolte, in order to stay close to her beloved. Of course, her manipulations can only lead to emotional catastrophe.
And more acclaim was now to come. With Mira Nair’s Hysterical Blindness, based on Laura Cahill’s play, Thurman acted as star and executive producer (having optioned the script after seeing the off-Broadway production). Here she played 80s Jersey girl Debby Miller, a beautiful woman but so emotionally needy she continually flies into outbursts that not only drive men away but eventually cause her to lose her sight. Ably backed by Juliette Lewis and Cassavetes stalwarts Gena Rowlands and Ben Gazzara, Uma went way overboard, dancing to Phil Collins and freaking out big-time. Some found it too much, most though found it deeply fascinating and eventually true to the story. It was certainly a courageous effort and deserved the Golden Globe it won.
Now came the biggest step yet, when she donned a Bruce Lee-style yellow track-suit and reunited with Tarantino for Kill Bill. Various joys were to be had even before production began. First, she turned down Brian De Palma’s Femme Fatale, avenging that Bonfire Of The Vanities setback. Then Warren Beatty, originally set to play the titular Bill, asked that Uma, then pregnant with Levon, be dropped in favour of Winona Ryder or Gwyneth Paltrow. Tarantino, who has publicly stated that Thurman is a form of muse to him, decided to wait for his girl, and it was Beatty who left the project.
And what a project. Uma starred as The Bride, a retired assassin whose ex-boss (Bill) turns her wedding party into an abattoir and thus starts a quite startling cycle of murder and revenge. Tarantino pulled out all the stops, aping many of the greatest Asian action flicks to gore-flecked effect and remaining true to his stylish and well-written oeuvre. Far too long but apparently impossible to cut, the film would be released in two parts, ensuring that Thurman would be the world’s most visible actress throughout 2003 and 2004. Her performance deserved it, too. Engaging in lengthy and brilliantly choreographed scraps with Lucy Liu, Daryl Hannah and Vivica A Fox, as well as several hundred ninjas, she also managed to bring great humanity and pathos to her relationship with mentor and forner lover David Carradine. On top of this, as he had done in Pulp Fiction, Tarantino worshipped her with his camera, lending great weight to claims that she was truly the most beautiful actress in the world. It all made the Kill Bill phenomenon massively profitable, Volume One shirting two million home videos in its first 24 hours on sale. And it saw Thurman twice more nominated for Golden Globes.
Sadly, this visibility brought serious press attention when, in August 2003, while Thurman was in Vancouver filming Paycheck, Hawke (now also high profile after his Oscar nomination for Training Day) was spotted away from the Montreal set of Taking Lives with Canadian model Jen Perzow. The tabloids went wild and Thurman, who had never courted celebrity, was forced to suffer a very public humiliation. Eventually the story circulated that Hawke had simply reacted to a fear that his wife was acting as more than a muse for Tarantino, but this seemed unlikely. Then it was said that her desire to be movie star put too much pressure on the raltionship. Whatever, this marriage of seemingly well-suited independent spirits was over. Adding a further minor injury, her 3-year relationship with Lancombe, for whom she had launched the Miracle fragrance, was terminated. She and Hawke would file for divorce in 2004, and she would soon be spotted with hotel tycoon Andre Balazs.
Thurman, as ever, would soldier on. Between Kill Bills would come Paycheck, a John Woo take on a Philip K Dick tale, where Ben Affleck would play a computer wizard who’s hired to illegally break vital corporate codes then has his memory erased to stop him blabbing. Sadly, he also has his memories of a love affair with biologist Uma erased, and the pair attempt to rekindle it as they battle against an evil corporation trying to steal a machine that can predict the future. Of course, being Woo the effects were startling and explosive, but Thurman still managed to bring depth to her character.
2005 was another busy year. It began with a reunion with John Travolta in Be Cool, a follow-up to Get Shorty. Penned by Elmore Leonard, it saw Travolta’s gangster Chili Palmer switch his attentions from the movie industry to music. While he’s trying to cut a deal over lunch with indie label owner James Woods, Woods is killed and Travolta moves in on Woods’ widow, Uma, passing himself off as her new business partner. And on we go, the problems this time including pushy managers, Russian mobsters and gay bodyguards who want to make it as actors.
Following this would come Prime, where Thurman played a sophisticated divorcee and career woman in Manhattan who becomes the love object of a much younger Brooklyn artist who happens to be the son of Uma’s therapist, Meryl Streep. Viewing love from all angles, it was a character-based comedy and one which Uma had stepped into at very short notice, when Sandra Bullock bailed out. She’d continue in the comedy vein by replacing Nicole Kidman as Ulla, the sexy Swedish secretary of Nathan Lane and Matthew Broderick as they plot their ill-fated theatrical disaster in The Producers: The Movie Musical. On the cards, there was also the long-delayed Accidental Husband where, applying for a marriage licence, she’d discover that she’s somehow already hitched to Brendan Fraser. It was another great opportunity to once more prove to Brian De Palma that, yes, she could do funny.
Перевод песни Uma Thurman (Fall Out Boy)
Uma Thurman
Ума Турман
I can move mountains
I can work a miracle, work a miracle
Oh, oh, I’ll keep you like an oath
May nothing but death do us part
She wants to dance like Uma Thurman
Bury me till I confess
She wants to dance like Uma Thurman
And I can’t get you out of my head
I can move mountains
I can work a miracle, work a miracle
Oh, oh, keep you like an oath
May nothing but death do us part
She wants to dance like Uma Thurman
Bury me till I confess
She wants to dance like Uma Thurman
And I can’t get you out of my head
The blood, the blood, the blood of the lamb
It’s worth two lions,
But here I am
And I slept in last night’s clothes
And tomorrow’s dreams
But they’re not quite what they seem
I can move mountains
I can work a miracle, work a miracle
Oh, oh, keep you like an oath
May nothing but death do us part
You’ll find your way
And may death find you alive
Take me down the line
In Gem City
We turn the tide
You’ll find your way
And may death find you alive
Take me down the line
In Gem City
We turn the tide
She wants to dance like Uma Thurman
Bury me till I confess
She wants to dance like Uma Thurman
And I can’t get you out of my head
I can move mountains
I can work a miracle, work a miracle
Oh, oh, keep you like an oath
May nothing but death do us part
I can move mountains
I can work a miracle, work a miracle
Oh, oh, keep you like an oath
May nothing but death do us part
Я могу свернуть горы,
Я могу сотворить чудо, чудо,
О, о, я сохраню тебя, словно клятву,
И пусть ничего, кроме смерти, не разлучит нас.
Я могу свернуть горы,
Я могу сотворить чудо, чудо,
О, о, я сохраню тебя, словно клятву,
И пусть ничего, кроме смерти, не разлучит нас.
Она хочет танцевать как Ума Турман,
Схорони меня, пока я не признаюсь.
Она хочет танцевать как Ума Турман,
И я не могу выкинуть тебя из головы.
Кровь, кровь, кровь агнца 3
Стоила двух львов,
Но вот я здесь,
И я спал во вчерашней одежде
И мечтами о завтрашнем дне,
Но они не совсем такие, какими кажутся.
Я могу свернуть горы,
Я могу сотворить чудо, чудо,
О, о, я сохраню тебя, словно клятву,
И пусть ничего, кроме смерти, не разлучит нас.
Она хочет танцевать как Ума Турман,
Схорони меня, пока я не признаюсь.
Она хочет танцевать как Ума Турман,
И я не могу выкинуть тебя из головы.
Я могу свернуть горы,
Я могу сотворить чудо, чудо,
О, о, я сохраню тебя, словно клятву,
И пусть ничего, кроме смерти, не разлучит нас.
Я могу свернуть горы,
Я могу сотворить чудо, чудо,
О, о, я сохраню тебя, словно клятву,
И пусть ничего, кроме смерти, не разлучит нас.