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Juliette Duval Biography & Facts

Shelley Alexis Duvall (born July 7, 1949) is an American actress and producer widely known for her portrayal of distinctive, often eccentric characters. She is the recipient of several accolades, including a Cannes Film Festival Award and a Peabody Award and nominations for a British Academy Film Award and two Primetime Emmy Awards. Born in Texas, Duvall began acting after being discovered by director Robert Altman, who was impressed with her upbeat presence and cast her in the black comedy film Brewster McCloud (1970). Despite her hesitance towards becoming an actress, she continued to work with Altman, appearing in McCabe & Mrs. Miller (1971) and Thieves Like Us (1974). Her breakthrough came with Altman's cult film Nashville (1975), and she earned widespread acclaim with the drama 3 Women (1977), also directed by Altman, for which she won the Cannes Film Festival Award for Best Actress and earned a nomination for the British Academy Film Award for Best Actress in a Leading Role. That same year, she appeared in a supporting role (as a writer for Rolling Stone) in Woody Allen's satirical romantic comedy Annie Hall (1977) and hosted Saturday Night Live. In the 1980s, Duvall became famous for her leading roles, which include Olive Oyl in Altman's live-action feature version of Popeye (1980) and Wendy Torrance in Stanley Kubrick's horror film The Shining (1980). She appeared in Terry Gilliam's fantasy film Time Bandits (1981), the short comedy horror film Frankenweenie (1984), and the comedy Roxanne (1987). She ventured into producing television programming aimed at children and youth in the latter half of the 1980s, notably creating and hosting the programs Faerie Tale Theatre (1982–1987), Tall Tales & Legends (1985–1987) (which earned her a Primetime Emmy Award nomination in 1988), and Nightmare Classics (1989). Duvall sporadically worked in acting throughout the 1990s, notably playing supporting roles in Steven Soderbergh's thriller The Underneath (1995) and the Henry James adaptation The Portrait of a Lady (1996), directed by Jane Campion. Her last performance was in Manna from Heaven (2002), after which she retired from acting. Duvall for many years kept out of the public media, keeping her personal life generally private; however, her health issues earned significant media coverage. After a 20-year hiatus from acting, Duvall returned to acting in the horror film The Forest Hills. Early life Shelley Alexis Duvall was born on July 7, 1949, in Fort Worth, Texas, the first child of Bobbie Ruth Crawford (née Massengale, 1929–2020), a real estate broker, and Robert Richardson "Bobby" Duvall (1919–1994), a cattle auctioneer-turned-lawyer (not to be confused with actor Robert Duvall, to whom Shelley is not related). Duvall has three younger brothers: Scott, Shane, and Stewart. Duvall spent her first years living in various locations throughout Texas due to her father's work, before the family settled in Houston when she was five years old. Duvall was an artistic and energetic young child, eventually earning the nickname "Manic Mouse" from her mother. She also became interested in science at a young age, and as a teenager aspired to become a scientist. After graduating from Waltrip High School in 1967, Duvall sold cosmetics at Foley's and attended South Texas Junior College, where she majored in nutrition and diet therapy. Career 1970–1976: Early roles Around 1970, she met Robert Altman at a party while he was shooting Brewster McCloud (1970) on location in Texas. Several crew members on the film were fascinated by Duvall's upbeat presence and unique physical appearance, and asked her to be part of the feature. Duvall reflected on committing to the project: "I got tired of arguing, and thought maybe I am an actress. They told me to come. I simply got on a plane and did it. I was swept away." Duvall had never left Texas before Altman offered her a role. She flew to Hollywood and subsequently appeared in the film as the free-spirited love interest to Bud Cort's reclusive Brewster. Altman subsequently chose Duvall for roles as an unsatisfied mail-order bride in McCabe & Mrs. Miller (1971), and the daughter of a convict and mistress to Keith Carradine's character in Thieves Like Us (1974). Duvall appeared as a spaced-out groupie in Altman's ensemble comedy Nashville (1975), which was a critical and commercial success, and a sympathetic Wild West woman in Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976). The same year, Duvall left Altman to star as Bernice, a wealthy girl from Wisconsin in PBS's adaptation of F. Scott Fitzgerald's short story Bernice Bobs Her Hair (1976). She also hosted an evening of Saturday Night Live and appeared in five sketches: "Programming Change", "Video Vixens", "Night of the Moonies", "Van Arguments" and "Goodnights". 1977–1980: Breakthrough and acclaim In 1977, Duvall starred as Mildred "Millie" Lammoreaux in Robert Altman's psychological thriller 3 Women, portraying a woman living in a dreary California desert town. Although there was a written screenplay, Duvall, like other cast members, improvised many of her lines. In spite of the film not being a major box-office success, it received critical acclaim, and Duvall's performance was lauded by critics. Texas Monthly critics Marie Brenner and Jesse Kornbluth praised Duvall for giving an "extraordinary performance". Her performance garnered the award for Best Actress at the 1977 Cannes Film Festival and the LAFCA Award for Best Actress, as well as a BAFTA nomination. She next appeared in a minor role in Woody Allen's Annie Hall (1977). Duvall's next role was that of Wendy Torrance in The Shining (1980), directed by Stanley Kubrick. Jack Nicholson said in the 2001 documentary Stanley Kubrick: A Life in Pictures that Kubrick was great to work with but that he was "a different director" with Duvall. Because of Kubrick's methodical nature, principal photography took a year to complete. The film's script was changed so often that Nicholson stopped reading each draft. Kubrick antagonized his actors, and Kubrick and Duvall argued frequently. Kubrick intentionally isolated Duvall, and went through exhausting shoots, such as the baseball bat scene, which she had performed 127 times. Afterwards, Duvall presented Kubrick with clumps of hair that had fallen out due to the extreme stress of filming. For the last nine months of shooting, she said that the role required her to cry 12 hours a day, five or six days a week, and "it was so difficult being hysterical for that length of time." In an interview with Roger Ebert, she also said that making the film was "almost unbearable. But from other points of view, really very nice, I suppose." Of Duvall's performance in The Shining, Vulture wrote in 2019: "looking into Duvall's huge eyes from the front row of a theater, I found myself riveted by a very poignant form of fear. Not the fear of an actor out of her element, or the mo.... Discover the Juliette Duval popular books. Find the top 100 most popular Juliette Duval books.