Born Feb. 22, 1975, in Los Angeles, Barrymore was the product of a five-generation strong acting dynasty that included her grandfather, Shakespearean actor John Barrymore, silent film star grandmother Dolores Costello, great-uncle and Oscar winner Lionel Barrymore, and a stage actress and Oscar-winning great-aunt Ethel Barrymore, among others. Her father John Barrymore, Jr., a Bohemian screen actor known for his drug arrests and hippie lifestyle during the 1960s, and Barrymore’s mother, actress and model Ildyko Jaid, split up before the youngest Barrymore was even born. Raised by a struggling single mom, Barrymore made her screen debut at two and a half quite by accident; a favor by her mother to director of the TV film “Suddenly Love” (1978) starring Cindy Williams. More than just another cute, dimpled blonde, Barrymore showed an unusual amount of concentration and overall understanding of her job on the set. Her mother had concerns, but the girl who loved creating fantasy worlds and playing dress-up begged her mother to let her act more. She was cast in a number of commercials, hit theaters in a small role in “Altered States” (1980), and became America’s sweetheart at the age of seven for her refreshingly wry, scene-stealing performance as wide-eyed Gertie in the Steven Spielberg family classic, “E.T.: The Extra-Terrestrial.” The film went on to become one of the top-grossing of all time, earning Barrymore a BAFTA nomination for Most Promising Newcomer, a Young Artist Award for Best Young Supporting Actress, and instant fame.

While Barrymore’s lineage was responsible for some of the notice, her precocious charisma propelled her career onto the next phase, where she was promptly cast against-type in the sci-fi offering “Firestarter” (1984) as a destructive, telekinetic tot in the Stephen King adaptation. In the comic but somber “Irreconcilable Differences” (1984), Barrymore played a nine-year-old Hollywood daughter who sues for emancipation from her self-involved, high profile parents, which earned her a Golden Globe nomination for Best Supporting Actress. The story struck home with the young actress because while Barrymore appeared to be America’s lovable, precocious scamp, off-screen her peripatetic lifestyle, absent father, and rocky relationship with her mother made for an emotionally starved kid who turned to drugs and alcohol to escape the loneliness and chaos. Meanwhile, Spielberg tapped his protégé (who credited him with being a wonderful father figure to her during that era) for another King adaptation, “Cat’s Eye” (1985) and she appeared in more TV movies including “Babes in Toyland” (1986). But before long, Barrymore was attracting less attention for her appearances on screen than for stories about her pre-adolescent cocaine and alcohol abuse, complete with tabloid photos of the 10-year-old out at nightclubs.

After a three-month stint in rehab at age 12, Barrymore relapsed, attempted suicide and was again sent back to the facility. She relapsed a second time and upon her third release, she moved in with sober musician David Crosby (of Crosby, Stills & Nash) and his wife where she remained committed to sobriety. Struggling to make sense of her tumultuous youth (and to set the records straight before the tabloids dragged her through the mud), she co-wrote the memoir, Little Girl Lost (1989). She returned to the screen to star, appropriately enough, in the CBS Schoolbreak Special “15 and Getting Straight” (1989) and, in a case of life imitating art, successfully filed for emancipation from her nightlife-loving mother. She began the long road of rebuilding her career by taking advantage of her troubled, fast-living image with Lolita-like roles in low budget thrillers like “Poison Ivy” (1992) and Tamra Davis’ “Guncrazy” (1992), for which she earned a Golden Globe nomination. She was similarly cast as an angsty teen in “2000 Malibu Road” (CBS, 1992) a short-lived trashy soap, as well as the TV movie “The Amy Fisher Story” (ABC, 1993), based on the sordid case of the Long Island teenager who shot the wife of her former lover. Off-screen, the 18-year-old actress’ engagement to one-hit wonder Jamie Walters and her new collection of tattoos assured audiences that her wild days were not entirely behind her, even if her unhappiness was.

Re-entering the big budget mainstream and putting teen characters behind her, Barrymore was cast alongside respected actresses Madeleine Stowe, Mary Stuart Masterson and Andie McDowell in the female-fuelled Western, “Bad Girls” (1994). She had a whirlwind, 11-month marriage to Hollywood bar owner Jeremy Thomas, followed by a number of memorable public displays of irreverence – including flashing her breasts at talk show host David Letterman while standing on his desk, and posing for Playboy magazine – that cemented her image as a free-spirited, irrepressible, but good humored antidote to the mopey-young-adult-trend of the 1990s. Her ensuing film roles reflected the spunky survivor’s appeal, beginning with her charming, funny, and touching role in “Boys on the Side” (1995), a chick flick road movie co-starring Whoopi Goldberg and Mary-Louise Parker. Barrymore impressed with an acting depth not previously seen, and planted a new stake in Hollywood as a producer, forming Flower Films with partner Nancy Juvonen. Following a cameo as the glitzy but inherently childlike femme fatale Sugar in “Batman Returns” (1995), Wes Craven hired her for a pivotal role in his tongue-in-cheek slasher flick “Scream” (1996), which bucked the preset conventions of horror films and begat a new era of the well-worn genre. Her opening scene, in which she died a gruesome and horrifying death, became one of the most famous opening scenes in cinema history – certainly in the horror genre.

In a show of screen credibility, Barrymore was cast in the ensemble of Woody Allen’s philosophical musical “Everyone Says I Love You” (1996), gracefully and sympathetically portraying a tony New York City daughter of privilege. In the first of many successful romantic comedies, she had a huge hit with 1998′s “The Wedding Singer,” where she was sweetly captivating as a New Jersey waitress who falls for Adam Sandler’s aspiring entertainer. The same year, she happily took on the character of Cinderella in the charming and affirming romance “Ever After,” embroidering the story with an empowering, modern sensibility that would become a common theme throughout her career, as it mirrored her own hard-won evolution. After receiving positive notices for the smart, sensitive, non-traditional fairy tale heroine, Barrymore proved she could attract audiences as a film lead, headlining the quirky comedy “Home Fries” (1998). Another romantic comedy success, the film found Barrymore playing a pregnant fast food worker who falls in love with her unborn child’s adult would-be stepbrother, played by Barrymore’s then-boyfriend, Luke Wilson. She veritably lit up the screen with her inimitable spirit and radiance, which led to a production deal with Fox 2000, Flower Films and the unveiling of its first partnering – “Never Been Kissed” (1999). Another comedy with an undertone of girl power, the film starred executive producer Barrymore as a twenty-something reporter posing as a high school student for an undercover assignment.

In a big budget follow-up that secured Barrymore a firm place on Hollywood’s A-list, Flower Films produced and Barrymore starred in an updated version of the 1970s “jiggle TV” series, “Charlie’s Angels” (2000). The stylish, tongue-in-cheek actioner co-starring Cameron Diaz and Lucy Liu was a box-office hit, luring in a considerable male audience, as well as Barrymore’s usual female fan base. She did make a successful visit to tearjerker territory the following year, undertaking a demanding role as a pregnant teenager who raises her child as a single mother in Penny Marshall’s poignant “Riding in Cars with Boys” (2000). Playing a character who ages from 16 to her mid-30s, Barrymore offered a strong turn that showed a previously untapped range and depth. Barrymore next served as executive producer of the acclaimed indie cult favorite, “Donnie Darko” (2001), which starred then-unknown Jake Gyllenhaal as a high school student who is haunted by troubling visions of the end of the world. The film was acclaimed on the festival circuit, nominated for the Jury Prize at Sundance, and the ever-unpredictable Barrymore paired this professional success with a surprise elopement to juvenile comic prankster and TV star, Tom Green. The pair had been in the news earlier that year when a fire destroyed the home they shared in Los Angeles, but the couple escaped safely, thanks to a warning by their dog.

In 2002, Barrymore was well-cast by first time director George Clooney to portray a Bohemian but grounding force in the fictionalized bio of game show king, Chuck Barris in “Confessions of a Dangerous Mind.” Displaying her usual warmth, Barrymore was also mature and vulnerable and gave a powerhouse performance that spanned over 30 years and the emotional range of a long-term, tumultuous relationship. Off-screen, she and Green filed for divorce and Barrymore was promptly linked to Fabrizio Moretti, lead singer of the hip New York rock group, The Strokes. She reunited with Diaz and Liu for the successful but critically lambasted sequel, “Charlie’s Angels: Full Throttle” (2003), the trio again demonstrating their expertise as masters of espionage, martial arts and disguise. As producer of the film, Barrymore scored a major coup by personally luring Hollywood expatriate Demi Moore out of semi-retirement to play the villainess. She made a rare misstep, however, when Barrymore produced and co-starred in “Duplex” opposite Ben Stiller. The stale, predictable comedy lacked chemistry, and Barrymore playing a young yuppie spelled a box office bomb.

Just days after becoming the sixth member of her family to receive a star on Hollywood’s Walk of Fame, Barrymore reteamed with Sandler in “50 First Dates” (2004), a runaway screwball hit that cast her as a woman without a short term memory and the smitten veterinarian (Sandler) who has to win her heart anew every 24 hours. Again wearing the hats of both producer and star, Barrymore next rolled out “Fever Pitch” (2005), directed by the Farrelly Brothers from the Nick Hornby novel. A winsome, appealing effort, Barrymore played a corporate climber whose idyllic romance with a schoolteacher (Jimmy Fallon) is threatened by his insane devotion to the Boston Red Sox. Next she generously made an all-important appearance in low budget filmmaker Brian Herzlinger’s shameless “My Date With Drew” (2005), a documentary chronicling his attempts to meet the object of his supposed lifelong crush before having to return the video camera he purchased. In 2005, Barrymore began a recurring voice role on the animated cult TV hit “Family Guy” (Fox, 1999-2002, 2005- ) and made a long-overdue return to family fare by voicing Maggie in the animated “Curious George” (2006). Barrymore scored another romantic comedy hit with “Music & Lyrics” (2007), an international favorite that paired her with Hugh Grant as a washed-up pop star and ever-sparkling Barrymore as an unlikely songwriting partner who fuels his comeback, as well as a romance.

However, Curtis Hanson’s drama “Lucky You” (2007), co-starring Barrymore as an aspiring singer and Eric Bana as a professional gambler, folded almost instantly amid a flurry of flashier summer releases. Barrymore’s five-year relationship with rocker Moretti ended that same year, leading to a quick rebound with director Spike Jonze and ensuing relationship with actor and Mac computer hawker, Justin Long, whom she met on the set of the romantic comedy “He’s Just Not That Into You” (2008). She was “just not into him” by the time the film hit theaters in early 2009, though audiences flocked to the tongue-in-cheek big screen adaptation of the humorous self-help tome, populated by favorites Barrymore, Ben Affleck, Scarlett Johansson and Jennifer Aniston. The 34-year-old actress continued to push the boundaries of her career, delving into dramas like “Grey Gardens” (HBO, 2009), based on the 1975 cult documentary about a pair of eccentric, wealthy New Yorkers (also Jessica Lange) related to Jacqueline Kennedy Onassis (Jeanne Tripplehorn). The made-for-cable movie earned numerous kudos and accolades, including Emmy and Screen Actors Guild award wins over Lange for Barrymore.

On the big screen, she was featured in “Everybody’s Fine” (2009), a dramedy starring Robert De Niro as the widowed father trying to reconnect with his grown daughter (Barrymore). Meanwhile, Barrymore made her directorial debut in 2009, where she was a perfect choice to helm the story of a teen who escapes humdrum small town Texas life by joining a roller derby team. “Whip It,” starring Ellen Page, also included Barrymore, Juliette Lewis and Kristen Wiig strapping on skates to play cutthroat rivals.

Drew Barrymore movies

1. Whales (2012) Rachel Kramer
2. Going the Distance (2010) Erin
3. Whip It (2009) Smashley Simpson
4. He’s Just Not That Into You (2009) Mary
5. Everybody’s Fine (2009) Rosie
6. Beverly Hills Chihuahua (2008) Voice Of Chloe
7. Manufacturing Dissent (2007) Herself
8. Grey Gardens (2007) Little Edie
9. Music and Lyrics (2007) Sophie Fisher
10. Lucky You (2007) Billie Offer
among many others…

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Drew Barrymore movies

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Drew Barrymore movies

Born Nov. 11, 1962 in Roswell, NM, Demetria Gene Guynes never had an easy life. Her biological father left her mother before Moore’s birth, and Moore’s stepfather and mother had a contentious, difficult relationship marked by a series of dead-end jobs, abuse and addictions. Moore’s family moved around the country almost constantly, and the young girl – named after a brand of shampoo her mother saw in a magazine – suffered from health problems, including having to wear an eye patch to correct her crossed eyes. Moore’s family finally settled in Los Angeles in 1976, and the teen befriended several other future Hollywood players, including Nastassja Kinski, who convinced her to drop out of high school to pursue an entertainment career. While Moore found success as a model in Europe, her stepfather committed suicide in 1980, and her volatile relationship with her alcoholic mother deteriorated even further. The same year, she married singer Freddy Moore and took his last name; even sharing a few songwriting credits with him. At 19, her beauty, husky voice and charisma helped land Moore the role of Jackie Templeton – “a Margot Kidder/Karen Allen type” – on “General Hospital” (ABC, 1963- ). Playing an aggressive reporter searching for her sister (Janine Turner) who resembled the soap’s biggest star, Laura Spencer (Genie Francis), Moore’s star power quickly helped her stand out.

Moore soon segued to features, making her debut in the high school drama “Choices” (1981), as the supportive girlfriend of a deaf football player. She went on to appear in Charles Band’s drive-in horror hit “Parasite” (1982) and made a cameo as her soap opera character at the end of Garry Marshall’s “Young Doctors in Love” (1982). In 1984 she became a Hollywood mainstay, playing Michael Caine’s vulnerable young daughter in “Blame It on Rio” and a callous model in “No Small Affair.” Moore graduated to full-fledged stardom as one of the iconic members of the 1980s “Brat Pack,” co-starring in the post-college drama “St. Elmo’s Fire” (1985) along with Ally Sheedy, Mare Winningham, Rob Lowe, Emilio Estevez and Andrew McCarthy. Moore was fired by director Joel Schumacher after three days of filming on “St. Elmo’s” for her cocaine addiction – she was ironically playing an addict in the film as well – but she was allowed to return when she entered treatment and signed an agreement pledging to get and stay clean.

That same year, she and Freddy Moore divorced, and she began a romance with fellow Brat Packer, Emilio Estevez, appearing in his road trip movie “Wisdom” (1986). The beautiful actress continued her professional ascent, starring in “About Last Night ” (1986) opposite the equally beautiful Rob Lowe, and playing an aspiring singer (as well as lending her husky vocals) in the cult classic “One Crazy Summer” (1986) opposite John Cusack and Bobcat Goldthwait. After breaking it off with Estevez, she met and married fellow Hollywood heavyweight Bruce Willis in 1987, giving birth to their eldest daughter, Rumer, the following year. Moore moved on to adult roles as the prophecy-bearing mother in the apocalyptic “The Seventh Sign” (1988) and a quick-witted hooker in Neil Jordan’s misfire “We’re No Angels” (1989), but launched into superstardom as Molly, Patrick Swayze’s gorgeously teary-eyed lover in the surprise hit “Ghost” (1990). The film reached heavenly heights at the box office and earned two Oscars, while Moore herself took home the Saturn Award for Best Actress for her emotional, tender performance. She was also nominated for a Golden Globe. If that were not enough, women the world over vied for the pixie haircut Moore sported so stylishly throughout the film.

Now more powerful than ever, Moore flexed her considerable clout to co-produce and star in Alan Rudolph’s intriguing drama “Mortal Thoughts” (1991). She received some of her best acting reviews as a woman ensnared in a plot to murder her best friend’s husband (Bruce Willis), but the film underperformed at the box office, as did “The Butcher’s Wife” (1991) which saw the actress sporting long blonde tresses, a Southern drawl, and psychic powers. She also appeared in Dan Aykroyd’s colossal comedy bomb, “Nothing But Trouble” (1991), but rebounded hugely in the public eye by posing nude and pregnant with her second daughter, Scout, on the cover of Vanity Fair in an iconic, controversial Annie Leibovitz portrait. Reaction was rabid and immediate, with some finding the image distasteful or exploitative and others embracing the portrait as a celebration of the beauty of pregnancy. The image achieved pop culture immortality and inspired many parodies. Adding to her clout, she – along with Willis, Arnold Schwarzenegger and Sylvester Stallone – invested in the Planet Hollywood restaurant chain that was lucrative for over a decade before tanking in the new millennium.

The extremely popular “A Few Good Men” (1992) kept her in the public eye but the military courtroom proceedings sidelined her in favor of male co-stars like Tom Cruise and Jack Nicholson. Moore scored another massive hit as Woody Harrelson’s wife who sleeps with Robert Redford for $1 million in Adrian Lyne’s smash “Indecent Proposal” (1993), and she rode another zeitgeist-capturing wave in the thriller “Disclosure” (1994), where she played a ruthless corporate exec accused of sexually harassing Michael Douglas. While many reviewers slammed the film for glamorizing the hot-button issue, Moore impressed with her steely, icy turn. That same year, she gave birth to her third daughter, Tallulah, and once again, she and Willis received their share of scorn for naming their children with monikers most deemed plain odd. Next, Moore made her debut in a costume epic as Hester Prynne in the wildly revised, tarted-up adaptation of Hawthorne’s classic “The Scarlet Letter” (1995) opposite Gary Oldman. Moore suffered some fallout for the increased sexual content of the movie as compared to the novel, as well as a drastically different ending.

The actress – an outspoken feminist – helped put together, produce and star in the coming-of-age woman-centric comedy/drama, “Now and Then” (1995), uniting Moore, Melanie Griffith, Rosie O’Donnell, Thora Birch, Christina Ricci, and Gaby Hoffmann. She followed with the title role of “The Juror” (1996) as a single mother pressured by a gangster (Alec Baldwin) to influence a jury. Moore could also be heard as the voice of the empowered, independent Gypsy Esmeralda in Disney’s animated version of “The Hunchback of Notre Dame” (1996). At her peak, Moore made Hollywood history when she earned a $12.5 million salary to play a single mother who turns to exotic dancing in the comedy “Striptease” (1996), making her the highest-paid actress in Hollywood. Unfortunately, the highly-hyped film failed to entice critics or moviegoers, and effectively hobbled Moore’s box office prowess. While she earned a second Golden Globe nomination for a heartbreaking performance as a 1950s nurse seeking an abortion in the anthology “If These Walls Could Talk” (HBO, 1996), Moore found high-profile work increasingly difficult to book after the epic failure of “Striptease.”

She took part in the groundbreaking coming-out episode of “Ellen” (ABC, 1994-98) with a cameo as a grocery clerk, and wowed the world yet again with her iron will and discipline by sculpting her body into a formidable weapon and shaving her head for “G.I. Jane” (1997), in which she played a female recruit training for the Navy SEALs. Although the film received mixed reviews, it debuted at the top of the box office. The actress also earned a featured role in Woody Allen’s “Deconstructing Harry” (1997) before suddenly disappearing from movie screens for a lengthy stretch, retreating to Idaho to raise her daughters. Her only appearances in the public eye at the time were during media coverage of her 1998 split with Bruce Willis. Dipping her toes back into Hollywood waters in 2000, Moore took the lead role in the little-seen fantasy drama “Passion of Mind,” in which she played a woman living two entirely different lives – a mother in the French countryside and a fast-track Manhattan literary agent in two separate timelines, each dreaming about the other and neither knowing which life is actually the real one.

Another three years would pass before Moore would make another film – although she charmed with a guest spot on “Will & Grace” (NBC, 1998-2006) as Jack’s former babysitter – playing the villainous “fallen Angel” Madison Lee in the 2003 sequel, “Charlie’s Angels 2: Full Throttle” after being heavily recruited by producer-star Drew Barrymore, who conceived the role specifically for Moore. Looking unbelievably well-preserved and gorgeous at age 40 – with the help of some strategic plastic surgery, speculation abounded – Moore made a major impact onscreen and off, nearly walking away with all of the film’s publicity due to her high-profile relationship with 25-year-old actor Ashton Kutcher, then best known for his role on the fluffy sitcom, “That ’70s Show” (Fox, 1998-2006). Though many initially scoffed at the coupling and claimed it was a publicity stunt – with many pointing out Kutcher was closer in age to Rumer than to Demi – the relationship endured and they married in September 2005 in a traditional Kabbalah ceremony. Surprising many, Bruce Willis appeared with the couple and their children frequently in public, speaking well of Kutcher and Moore and sending a message of a thoroughly modern and happy family, no matter how unconventional the arrangement might be.

Moore returned to the big screen in an attempt to remake herself into a critically respected actress with a strong performance in “Bobby” (2006), former fiancé Emilio Estevez’s engaging look at the 16 hours prior to Senator Robert F. Kennedy’s assassination at the Ambassador Hotel in Los Angeles as seen through the eyes of several guests and employees. She played aging lounge singer and raging alcoholic, Virginia Fallon, a role Moore was at first was reluctant to take because of the similarities to her own late mother, but Estevez was determined she play the part. Starring opposite Anthony Hopkins, William H. Macy and Helen Hunt, Moore held her own – and even stole a few scenes – with her mature and emotionally charged performance. After a nine-minute standing ovation at the 2006 Venice Film Festival, critical kudos were heaped upon the film and talk of an Oscar nod for Moore circulated. Moore continued her comeback with starring roles in “Mr. Brooks” (2007), a thriller in which she played a detective investigating a serial killer (Kevin Costner), and “Flawless” (2006), where she played an executive at a London-based diamond firm who teams up with an almost-retired janitor (Michael Caine) in a plot to steal from their employers. The actress earned further good reviews for her work in the indies “Happy Tear” (2009) and “The Joneses” (2009), cementing yet another career transformation, from box office megastar to respected indie actress.

Demi Moore movies

1. Margin Call (2011) Actor
2. Another Happy Day (2011) Actor
3. Bunraku (2009) Alexandra
4. Happy Tears (2009) Laura
5. Joneses, The (2009) Kate
6. Flawless (2008) Laura Quinn
7. Mr. Brooks (2007) Detective Atwood
8. Half Light (2006)
9. Half Light (2006) Rachel Carson
10. Bobby (2006) Virginia Fallon

among many others.

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Demi Moore movies

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Demi Moore movies

There is a sad and strange irony in the same day of two figures, each in its own way, were icons of American popular culture, even for very different reasons. While Jackson was to embody the tradition of “freak” reclusive and eccentric, Farrah Fawcett began as the “pin-up” statuesque, “all-American girl,” looking after us to forget this status through its investment in the craft of acting.

Fawcett had, however, all against each other – the “show business” of the 1970s, a beautiful woman was hardly taken seriously as an actress, especially one with a past as a model and married to a television star. His film career ended before it started, and would be television that would offer a second chance, with Fawcett to become, in the words of critic of Time magazine, Richard Corliss, “the monarch of biographical TV films of the 80s “before the colon cancer which was diagnosed in 2003 to become a tireless activist, spokesman for the Cancer Society of America.

A native of Texas, Farrah Fawcett graduated in art and, although initially reluctant, eventually to be tempted by the possibilities that opened its beauty. He debuted in cinema in 1969, paradoxically in a film that the French Claude Lelouch was run to the U.S. “A Man Who I Like”. Before spending the years that followed the advertising (the toothpaste or hair products), photo shoots and television series like figuration in “The Partridge Family,” “Dr. Marcus Welby” or “McCloud”. In 1973, she married Lee Majors, on the verge of becoming a star in the series “The Six Million Dollar Man”. And then came “Charlie’s Angels”.

The series about three private detectives (Fawcett, Jaclyn Smith and Kate Jackson) investigating the behest of a mysterious boss who was never seen started in 1976 and became an instant phenomenon of popularity. Fawcett, years later, I would say that “when the series reached the third place of the audience, because we thought it was good actresses. But when we got to number one, decided it could only be because none of us wore bra.”

Farrah is the only of “Angels” to create a public identity itself – a sort of “ideal woman”, a mixture of affordable and sex symbol next door neighbor. During the years in which he was cast in the series, his posters were sold in the millions. In 1977, however, enticed by the “siren song” of cinema, abandoned “Charlie’s Angels” after only 22 episodes – and fame eclipsed as quickly as it had arisen. The pin-up “of America fell by the wayside as their films (“Somebody Killed Her Husband”, “Open War”, “Saturn 3″) Were box office flops and aligning it with the marriage disintegrated Majors (divorced in 1979, divorced in 1982). Meanwhile, the series continued a path of success that will last five seasons.

Throughout the 1980s, it was television that came to their rescue. Fawcett would become the first choice of television films about “cases of life”, with three times nominated for the Emmy and six for the Golden Globes, has never won any of the awards. Although ultimately accepted as an actress, Fawcett would not dwell on the big screen (although well received in contributions from Alan J. Pakula films, Robert Altman, and especially in “Humiliation”By Robert Young, and”The Apostle “, Robert Duvall) and would keep punctual presence on television (as a guest on shows such as “Ally McBeal”). Pursued by the paparazzi and the tabloids due to his tumultuous relationship with the intermittent and actor Ryan O’Neal, Fawcett made some minor plastic surgery and let himself be photographed nude for Playboy magazine in 1997 (the number was selling the decade. ..), the same year he filmed “The Apostle” and gave an interview in the incoherent “Talk show” David Letterman, and in 2005 was the “star” of a fugitive Reality show called “Chasing Farrah”.

However, the moment that would ultimately define the latter years of Farrah Fawcett would be his fight against colon cancer that was first diagnosed in 2003. After a short period of remission, the disease reappeared in 2007 and eventually produce Fawcett, with her friend Alana Stewart, a documentary about his fight against the disease that was aired at prime time on NBC a few weeks ago. Even on the eve of his death, Farrah returned in the news for having finally accepted the knot with Ryan O’Neal, after 25 years of living together.

Farrah Leni Fawcett Mary was born in Corpus Christi, Texas, February 2, 1947, and died in Santa Monica, Calif., June 25, 2009. Leaves a son, Redmond, 24 years, born of her relationship with actor Ryan O’Neal.