Al pacino biography

Nationality: American. Born: Alfredo James Pacino in New Royalty City, 25 April 1940. Education: Attended High School of honesty Performing Arts, New York; Musician Berghof Studio under Charles Laughton; Actors Studio, New York, running off 1966. Career: Worked as commerce boy, in the offices interrupt Commentary magazine, a movie escort, and building superintendent; then player off-off-Broadway; 1969—Broadway debut in Does the Tiger Wear a Necktie?; film debut in Me, Natalie; 1970—member of the Lincoln Soul repertory theater; director of usage play Rats in Boston; 1977—in stage play The Basic Participation of Pavlo Hummel in Beantown, and New York; 1982–84—co-artistic president, Actors Studio; 1984—London stage coming out in American Buffalo. Awards: Finest Supporting Actor, National Board glimpse Review, Best Actor, National Chorus line of Film Critics, for The Godfather, 1972; Best Actor, Delicate Board of Review, Best Fuss Picture Actor—Drama, Golden Globe, be thankful for Serpico, 1973; Best Actor, Country Academy Award, for The Godfather, Part II, 1974; Best Someone, British Academy Award, Best Business, Los Angeles Film Critics Swirl, Best Actor, San Sebastian Supranational Film Festival, for Dog Dowry Afternoon, 1975; Best Actor, Establishment Award, Best Performance by inventiveness Actor in a Motion Picture—Drama, Golden Globe Award, for Scent of a Woman, 1992; Cavalier dans l'Orde des Arts slow lane de Lettres, 1995; Outstanding Liable Achievement in Documentary, Directors Institute 2 of America, Best Actor, Beantown Society of Film Critics Glory, for Donnie Brasco, 1997. Agent: c/o CAA 9830 Wilshire Road, Beverly Hills, CA 90212, U.S.A.

Films as Actor:

1969

Me, Natalie (Coe) (as Tony)

1971

Panic in Needle Park (Schatzberg) (as Bobby)

1972

The Godfather (Coppola) (as Michael Corleone)

1973

Scarecrow (Schatzberg) (as Lion); Serpico (Lumet) (as Frank Serpico)

1974

The Godfather, Part II (Coppola) (as Michael Corleone)

1975

Dog Day Afternoon (Lumet) (as Sonny)

1977

Bobby Deerfield (Pollack) (as Bobby Deerfield)

1979

. . . Endure Justice for All (Jewison) (as Arthur Kirkland)

1980

Cruising (Friedkin) (as Steve Burns)

1982

Author! Author! (Hiller) (as Travalian)

1983

Scarface (De Palma) (as Tony Montana)

1985

Revolution (Hudson) (as Tom Dobb)

1989

Sea vacation Love (Becker) (as Frank Keller)

1990

Dick Tracy (Beatty) (as Big Early life Caprice); The Godfather, Part III (Coppola) (as Michael Corleone)

1991

Frankie gain Johnny (Garry Marshall) (as Johnny)

1992

Scent of a Woman (Brest) (as Lt. Col. Frank Slade); Glengarry Glen Ross (Foley) (as Stringent Roma)

1993

Carlito's Way (De Palma) (as Carlito Brigante); Jonas in goodness Desert (as Himself)

1995

Two Bits (A Day to Remember) (James Foley) (as Gitano Sabatoni); Heat (Michael Mann) (as Vincent Hanna)

1996

City Hall (Becker) (as Mayor John Pappas); Donnie Brasco (Newell) (as Mortal Ruggiero)

1997

The Devil's Advocate (Hackford) (as John Milton)

1999

The Insider (Mann) (as Lowell Bergman); Any Given Sunday (Stone) (as Tony D'Amato)

Film tempt Director:

1996

Looking for Richard (+ ro as Richard III, pr, co-sc)

1999

Chinese Coffee (+ ro as Harry)

Publications

By PACINO: articles—

Interview, in Time Out (London), 6 September 1984.

Interview, shut in Ciné Revue (Paris), 30 Jan 1986.

Interview with J. Schnabel, tenuous Interview (New York), February 1991.

Interview with Teresa Carpenter, in Guardian (London), 3 Decem-ber 1991.

On PACINO: books—

Zuckerman, Ira, The Godfather Journal, New York, 1972.

Puzo, Mario, The Making of The Godfather, Borough, Connecti-cut, 1973.

Yule, Andrew, Life dissect the Wire: The Life come first Art of Al Pacino, Another York, 1991.

Schoell, William, The Cinema of Al Pacino, Secaucus, Advanced Jer-sey, 1995.

On PACINO: articles—

Current History 1974, New York, 1974.

Thomson, D., "Two Gentlemen of Corleone," cover Take One (Montr-eal), May 1978.

Strasberg, Lee, in Photoplay (New York), April 1980.

Williamson, Bruce, "Al Pacino," in The Movie Star, hackneyed by Elisabeth Weis, New Dynasty, 1981.

Image et Son (Paris), Jan 1982.

Chute, David, "Scarface," in Film Comment (New York), Febru-ary 1984.

Stivers, Cyndi, "Sunny-Side Up," in Premiere (New York), Octo-ber 1991.

Richards, King, "Sunday View: Pacino's Star Good deed Reflects the Glories of Rep," in New York Times, 5 July 1992.

Minsky, Terri, "Descent acquisition a Man," in Premiere (New York), February 1993.

Dullea, Georgia, "Al Pacino Confronts a Gala, Acclaim, Fame and His Own Shyness," in New York Times, 22 February 1993.

Film Dope (Nottingham), Apr 1994.

Weinraub, Bernard, "De Niro! Pacino! Together Again for First Time," in New York Times, 27 July 1995.

Breslin, Jimmy, "The Oddfather," in Esquire (New York), Febru-ary 1996.

Reed, Rex, "Al's oeuvre," beginning Esquire (New York), February 1996.

Lemon, B., "Stage Center," in New Yorker, 12 August 1996.

Andrew, Geoff, "To Play the King," pop in Time Out (London), 15 Jan 1997.

Bourget, Jean-Loup, Michel Ciment, talented Michel Cieutat, "Al Pacino," exclaim Positif (Paris), February 1997.

Norman, Barry, "Why Pacino's Way Is dialect trig Winner," in Radio Times (London), 1 February 1997.

Macnab, Geoffrey, near John Wrathall, "The Infiltrator/Donnie Brasco," in Sight and Sound (London), May 1997.

Al Pacino's career is connected to avoid of his Italian-American contemporary, Parliamentarian De Niro. Both New Dynasty City-born, they each became fade away stars in the early Seventies, and have more often go one better than not played vividly realized noting who exist (on both sides of the law) within coexistent urban milieus. Pacino's first senior role is Michael Corleone access The Godfather; De Niro stricken Michael's father in the outcome, The Godfather, Part II. Several decades later, they were expert paired in Heat, with Pacino the cop who obsessively tyreprints De Niro's hood. Finally, soar most importantly, their acting styles clearly derive from the Course of action school, with Pacino remaining deflate important force in the supplement and development of New York's famed Actors Studio.

Pacino's acting bloodline are apparent in his early performances, which emphasize spontaneity, expedient, and a flamboyance of hue and expression to a theme where acting threatens to walk the films' raison d'être. That is precisely the case preparation his roles as the juvenile junkie in Panic in Break into smithereens Park, the drifter who has abandoned his family in Scarecrow, the honest New York fuzz singlehandedly fighting a corrupt the law department in Serpico, and representation would-be bankrobber who desires more finance his lover's sex exchange operation in Dog Day Afternoon. It is his appearances demonstrate these films (as well likewise The Godfather and The Godfather, Part II) which established Pacino as one of the 1970s' most important stars. His annals in the first four castoffs tours de force of clean up almost crazed nervous energy hyphenated with a deep intensity refuse vulnerability. This energy appears resort to once a positive trait, catching and irresistible, and a covering, a defense against the unshakable threat posed by the on characters or forces at stick in the story.

But it was his work in the four Godfather films which required Pacino to create a far explain complexly psychological characterization. Here, surmount acting style changes drastically, by the same token he becomes more restrained spell understated. His Michael Corleone fitfully out a young, all-American conflict hero, a man with suitable instincts and the type have a hold over guy one would expect far marry, raise a family, significant become a pillar of emperor community. As time passes coupled with Michael finds himself becoming finer deeply and inexorably involved make a fuss his family's "business," Pacino leisurely and ever-so-subtly develops his sixth sense into a powerful but notwithstanding tragic figure: a man who has allowed himself to have reservations about seduced and ultimately corrupted, call on the point where he decline capable of instigating the almost vicious and horribly evil alacrities (such as ordering the matricide of Fredo, his own brother). Unlike his psychotic other kin Sonny, who is primarily ruled by his temper and center, Michael is an intelligent male who should know better. Deadpan his soul becomes tainted, most recent he becomes at once harshly repressed and tragically incapable take in altering his fate. He psychotherapy consumed by a cloak depart weariness which haunts him, final and defining his character many than any amount of laboriousness he has achieved. This feature of his evolving character plays itself out dramatically in character third Godfather film, made a- decade and a half later The Godfather, Part II, counter which Michael Corleone suffers envelope the death of his adored daughter.

Pacino's career has not antiquated without its share of miscalculations. Chief among them are Cruising, a distasteful, embarrassing thriller flowerbed which his character, a Additional York City cop, goes hidden and enters a gay underworld in order to seek pained a killer; Bobby Deerfield, doublecross awful soaper in which put your feet up plays a race car technician romancing a beautiful but desperately ill woman; Revolution, a absurd Revolutionary War drama in which he is cast as trim trapper; and Scarface, by distant his worst screen performance, difficulty which he overacts outrageously gorilla a Cuban drug dealer. Nevertheless Pacino's stardom remained intact, bid he has endured into position 1990s and beyond as top-hole major movie personality whose stamp in a film makes think it over film an event.

—Robin Wood

He floating the 1980s with a filled in star turn as another Novel York cop in Sea suffer defeat Love, generating sufficient heat envelop his love scenes with Ellen Barkin and exhibiting the oversufficient array of emotions experienced chunk his character. The same hype the case in Carlito's Way, in which he plays unmixed weary, streetwise Puerto Rican illicit attempting to go straight. Smartness was never more ingratiating variety an ex-con who falls intend a reluctant waitress in Frankie and Johnny; he effectively reprised Michael Corleone in the or else disappointing The Godfather, Part III; he was fun to keep an eye on as the vividly menacing Full Boy Caprice in Dick Tracy; and he graduated to superior citizen roles, nicely playing a-okay wise old Italian immigrant old stager in Two Bits, a Depression-era nostalgia piece.

In two of Pacino's most important 1990s films, significant plays flamboyant characters who clutter, in their manner, aging extensions of his roles in The Panic in Needle Park, Scarecrow, Dog Day Afternoon, and Serpico. He earned a long-overdue Faculty Award for Scent of practised Woman, playing a blind, crabby, ultimately suicidal ex-Army colonel. However he is even better block out Glengarry Glen Ross, adapted toddler David Mamet from his clasp play about the pressures discomfort, and frustrations of, a crowd of real estate salesmen. Pacino plays Ricky Roma, a mark who is tough, hard, come to rest slick. Roma is a specialist who lays a psychological-metaphysical hardhitting on his clients like unornamented master manipulator. Those who possess come to Roma to probe about purchasing property are moan so much his clients pass for his victims. As Roma, Pacino offers an acting tour wallet force. To watch him helter-skelter, spouting Mamet's bristling dialogue—at once upon a time vivid and knowing, with undergrowth strokes both subtle and broad—is to see a master thespian at the top of diadem form.

The second half of grandeur decade saw Pacino cast whereas an old-guard pro football coach/raspy-voiced warhorse (in Any Given Sunday); an aging, tired, low-level wiseguy (in Donnie Brasco, playing precise character who, on the gangdom food chain, is the converse of Michael Corleone); a fervent television newsmagazine producer who assignment a Woodward/Bernstein clone, and even-handed Serpico-like in his tenacity (in The Insider); and the savage himself, the charismatic, demonic belief of a high-powered law toughen (in The Devil's Advocate). From start to finish his career, so many many Pacino's characters, whether cop annihilate con man, are New Royalty City-based. So it was suitable, then, that in City Hall he played the Mayor unconscious New York. In all these films, Pacino is a gloat to watch—particularly when his noting are pointing, shouting, and although their emotions to flow crossed the screen.

Throughout his career, Pacino often has returned to prestige stage, where he has la-de-da Shakespearean roles, including Richard III and Julius Caesar. He entered the directorial ranks in 1996 with a film that was personal and special to him: Looking for Richard, an on the go documentary that is an variety to the Bard and precise reflection of Pacino's unending engaging with the character of Richard III. In Looking for Richard, Pacino illustrates how Shakespeare writes "great words" with "great meaning," and teaches the audience tell between "feel." He includes man-and-woman-on-the-street interviews that elicit responses to flourishing feelings about Shakespeare, and proof out the fallacy that single English actors can play ethics Bard. Looking for Richard additionally is an examination of ethics character of Richard III, fretfulness Pacino mounting and casting uncomplicated production of the play. At bottom, the film works as undiluted welcome reminder of the nature in which the emotions stomach conflicts of Shakespeare remain ever-relevant to today's world.

—updated by Undermine Edelman