Claire Bloom(I)
- Actress
Age has not taken the flower off this Bloom. The well-known and
highly respected stage, screen and television actress Claire Bloom continues to be in demand as an
octogenarian actress and looks as beautiful as ever.
She was born Patricia Claire Blume on February 15, 1931, in Finchley, North London, to Elizabeth (Grew) and Edward Max Blume, who worked in sales. Her parents were from Jewish families from Belarus. Educated at Badminton School in Bristol and Fern Hill Manor in New Milton, Claire expressed early interest in the arts and was stage trained as an adolescent at the Guildhall School, under the guidance of Eileen Thorndike, and then at the Central School of Speech and Drama.
Marking her professional debut on BBC radio, she subsequently took her first curtain call with the Oxford Repertory Theatre in 1946 in the production of "It Depends What You Mean". She then received early critical accolades for her Shakespearean ingénues in "King John", "The Winter's Tale" and, notably, her Ophelia in "Hamlet" at age 17 at Stratford-on-Avon opposite alternating Hamlets Paul Scofield and Robert Helpmann. By 1949 Claire was making her West End debut with "The Lady's Not For Burning" with the up-and-coming stage actor Richard Burton.
A most becoming and beguiling dark-haired actress whose photogenic, slightly pinched beauty was accented by an effortless elegance and poise, Claire's inauspicious film debut came with a prime role in the British courtroom film drama The Blind Goddess (1948). It was her second film, when Charles Chaplin himself selected her specifically to be his young leading lady in the classic sentimental drama Les feux de la rampe (1952), that propelled her to stardom. Her bravura turn as a young suicide-bent ballerina saved from despair by an aging music hall clown (Chaplin) was exquisitely touching and sparked an enviable but surprisingly sporadic career in films.
Despite the sudden film attention, Claire continued her formidable presence on the Shakespearean stage. Joining the Old Vic Company for the 1952-53 and 1953-54 seasons, she appeared as Helena, Viola, Juliet, Jessica, Miranda, Virgilia, Cordelia and (again) Ophelia in a highly successful tenure. Touring Canada and the United States as Juliet, she made her Broadway bow in the star-crossed-lover role in 1956, also playing the Queen in "Richard II". A strong presence on both the London and New York stages over the years, she gave other powerful performances with "The Trojan Women", "Vivat! Vivat! Regina!", "Hedda Gabler", "A Doll's House" and "A Streetcar Named Desire". Much later in life she performed in a superb one-woman show entitled "These Are Women: A Portrait of Shakespeare's Heroines" that included monologues from several of her acclaimed stage performances.
Claire's stylish and regal presence was simply ideal for mature period films, and she appeared opposite a roster of Hollywood's most talented leading men, including Laurence Olivier in the title role of Richard III (1955), Richard Burton and Fredric March in Alexandre le Grand (1956), Yul Brynner in Les Frères Karamazov (1958), and Brynner and Charlton Heston in the DeMille epic Les boucaniers (1958), in which she had a rare dressed-down role as a spirited pirate girl. On the more contemporary scene, she appeared with Burton in two classic film dramas: the stark "kitchen sink" British stage piece Les Corps sauvages (1959) and the Cold War espionage thriller L'espion qui venait du froid (1965). In addition she courted tinges of controversy, playing a housewife gone bonkers in the offbeat sudser Les liaisons coupables (1962) and a lesbian in the supernatural chiller La Maison du diable (1963).
Claire met first husband Rod Steiger while performing with him on stage in 1959's "Rashomon". They married that year and in 1960 had a daughter, Anna, who grew up to become a well-regarded opera singer. Claire and Rod appeared in two lesser films together, L'homme tatoué (1969) and Auto-Stop girl (1969), in 1969. That same year, they divorced after 10 tumultuous years.
As with other maturing actresses during the 1970s, Claire looked toward classy film roles in TV movies for sustenance, appearing in Backstairs at the White House (1979) as First Lady Edith Wilson and in Retour au château (1981), for which she was nominated for an Emmy. Also lauded were the epic miniseries Ellis Island, les portes de l'espoir (1984); a remake of Terence Rattigan's Tables séparées (1983); The Ghost Writer (1984), an acclaimed adaption of Philip Roth's novel ; and Shadowlands (1985), the latter earning her a British Television Award. Claire married Roth the writer (her third marriage) in 1990 after a brief second marriage to producer Hillard Elkins (1969-1972). The union with Roth lasted five years.
Claire appeared in several Shakespearean teleplays over the decades while also portraying a choice selection of historical royals, including Czarina Alexandra and Katherine of Aragon. On daytime drama, she delightfully played matriarch and murderess Orlena Grimaldi on the daytime drama As the World Turns (1956) starting in 1993. She left the role in 1995 and was replaced.
Continuing sporadically in films from the 1970s on, Claire graced such films as the stylish British social comedy A Severed Head (1971), the tender coming-of-age drama L'Aube écarlate (1971) as Richard Thomas's mother, and one of that year's versions of Ibsen's A Doll's House (1973) (Jane Fonda starred as Nora in the other). She also movingly played George C. Scott's estranged wife in L'île des adieux (1977) and had a very brief cameo as Hera in Le Choc des Titans (1981), a small part as a manipulative mother in Déjà Vu (1985), and mature parts in the romantic dramedy Sammy et Rosie s'envoient en l'air (1987) and classic Woody Allen drama Crimes et délits (1989).
In the new millennium, Claire has been seen in such quality films as and The Book of Eve (2002), Disparitions (2003), Le Discours d'un roi (2010) (as Queen Mary), And While We Were Here (2012), Max Rose (2013) starring a dramatic Jerry Lewis, and Miss Dalí (2018). She has also made appearances on such TV miniseries as Les dix commandements (2006) and Summer of Rockets (2019).
Claire wrote two memoirs. The first was the more career-oriented "Limelight and After: The Education of an Actress," released in 1982. Her more controversial second book, "Leaving a Doll's House: A Memoir," published in 1996, focused on her personal life.
She was born Patricia Claire Blume on February 15, 1931, in Finchley, North London, to Elizabeth (Grew) and Edward Max Blume, who worked in sales. Her parents were from Jewish families from Belarus. Educated at Badminton School in Bristol and Fern Hill Manor in New Milton, Claire expressed early interest in the arts and was stage trained as an adolescent at the Guildhall School, under the guidance of Eileen Thorndike, and then at the Central School of Speech and Drama.
Marking her professional debut on BBC radio, she subsequently took her first curtain call with the Oxford Repertory Theatre in 1946 in the production of "It Depends What You Mean". She then received early critical accolades for her Shakespearean ingénues in "King John", "The Winter's Tale" and, notably, her Ophelia in "Hamlet" at age 17 at Stratford-on-Avon opposite alternating Hamlets Paul Scofield and Robert Helpmann. By 1949 Claire was making her West End debut with "The Lady's Not For Burning" with the up-and-coming stage actor Richard Burton.
A most becoming and beguiling dark-haired actress whose photogenic, slightly pinched beauty was accented by an effortless elegance and poise, Claire's inauspicious film debut came with a prime role in the British courtroom film drama The Blind Goddess (1948). It was her second film, when Charles Chaplin himself selected her specifically to be his young leading lady in the classic sentimental drama Les feux de la rampe (1952), that propelled her to stardom. Her bravura turn as a young suicide-bent ballerina saved from despair by an aging music hall clown (Chaplin) was exquisitely touching and sparked an enviable but surprisingly sporadic career in films.
Despite the sudden film attention, Claire continued her formidable presence on the Shakespearean stage. Joining the Old Vic Company for the 1952-53 and 1953-54 seasons, she appeared as Helena, Viola, Juliet, Jessica, Miranda, Virgilia, Cordelia and (again) Ophelia in a highly successful tenure. Touring Canada and the United States as Juliet, she made her Broadway bow in the star-crossed-lover role in 1956, also playing the Queen in "Richard II". A strong presence on both the London and New York stages over the years, she gave other powerful performances with "The Trojan Women", "Vivat! Vivat! Regina!", "Hedda Gabler", "A Doll's House" and "A Streetcar Named Desire". Much later in life she performed in a superb one-woman show entitled "These Are Women: A Portrait of Shakespeare's Heroines" that included monologues from several of her acclaimed stage performances.
Claire's stylish and regal presence was simply ideal for mature period films, and she appeared opposite a roster of Hollywood's most talented leading men, including Laurence Olivier in the title role of Richard III (1955), Richard Burton and Fredric March in Alexandre le Grand (1956), Yul Brynner in Les Frères Karamazov (1958), and Brynner and Charlton Heston in the DeMille epic Les boucaniers (1958), in which she had a rare dressed-down role as a spirited pirate girl. On the more contemporary scene, she appeared with Burton in two classic film dramas: the stark "kitchen sink" British stage piece Les Corps sauvages (1959) and the Cold War espionage thriller L'espion qui venait du froid (1965). In addition she courted tinges of controversy, playing a housewife gone bonkers in the offbeat sudser Les liaisons coupables (1962) and a lesbian in the supernatural chiller La Maison du diable (1963).
Claire met first husband Rod Steiger while performing with him on stage in 1959's "Rashomon". They married that year and in 1960 had a daughter, Anna, who grew up to become a well-regarded opera singer. Claire and Rod appeared in two lesser films together, L'homme tatoué (1969) and Auto-Stop girl (1969), in 1969. That same year, they divorced after 10 tumultuous years.
As with other maturing actresses during the 1970s, Claire looked toward classy film roles in TV movies for sustenance, appearing in Backstairs at the White House (1979) as First Lady Edith Wilson and in Retour au château (1981), for which she was nominated for an Emmy. Also lauded were the epic miniseries Ellis Island, les portes de l'espoir (1984); a remake of Terence Rattigan's Tables séparées (1983); The Ghost Writer (1984), an acclaimed adaption of Philip Roth's novel ; and Shadowlands (1985), the latter earning her a British Television Award. Claire married Roth the writer (her third marriage) in 1990 after a brief second marriage to producer Hillard Elkins (1969-1972). The union with Roth lasted five years.
Claire appeared in several Shakespearean teleplays over the decades while also portraying a choice selection of historical royals, including Czarina Alexandra and Katherine of Aragon. On daytime drama, she delightfully played matriarch and murderess Orlena Grimaldi on the daytime drama As the World Turns (1956) starting in 1993. She left the role in 1995 and was replaced.
Continuing sporadically in films from the 1970s on, Claire graced such films as the stylish British social comedy A Severed Head (1971), the tender coming-of-age drama L'Aube écarlate (1971) as Richard Thomas's mother, and one of that year's versions of Ibsen's A Doll's House (1973) (Jane Fonda starred as Nora in the other). She also movingly played George C. Scott's estranged wife in L'île des adieux (1977) and had a very brief cameo as Hera in Le Choc des Titans (1981), a small part as a manipulative mother in Déjà Vu (1985), and mature parts in the romantic dramedy Sammy et Rosie s'envoient en l'air (1987) and classic Woody Allen drama Crimes et délits (1989).
In the new millennium, Claire has been seen in such quality films as and The Book of Eve (2002), Disparitions (2003), Le Discours d'un roi (2010) (as Queen Mary), And While We Were Here (2012), Max Rose (2013) starring a dramatic Jerry Lewis, and Miss Dalí (2018). She has also made appearances on such TV miniseries as Les dix commandements (2006) and Summer of Rockets (2019).
Claire wrote two memoirs. The first was the more career-oriented "Limelight and After: The Education of an Actress," released in 1982. Her more controversial second book, "Leaving a Doll's House: A Memoir," published in 1996, focused on her personal life.
