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{  پاچینو بازیگری 20  }

کدام فیلم پاچینو را بهتر می بینید ؟

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عکس !!!

Two for the Money (2005)

William Shakespeare's The Merchant of Venice (2004)

People I Know (2003)

The Recruit (2003)

Insomnia (2002)

S1M0NE (2002)

Any Given Sunday (1999)

The Insider (1999)

Premiere Photos

Special Events

زندگی نامه ی پاچینو ( یاهو )

After making his feature debut in "Me, Natalie" (1969), Pacino portrayed his first leading role (another drug addict) in "Panic in Needle Park" (1971), and it was his terrific performance in this quirky picture that helped director Francis Ford Coppola persuade an extremely skeptical Paramount to accept him as Michael Corleone in "The Godfather" (1972). In retrospect, could anyone else have played what is tantamount to the greatest role of modern American cinema? Marlon Brando and Robert De Niro may have earned Oscars for their work as Vito Corleone in the original and its equally compelling sequel, "The Godfather, Part II" (1974), but it was Pacino's Michael that dominated the two movies, maturing from a cherubic war hero to the steely-eyed man who can coolly order executions, including that of his own brother Fredo (Cazale). He was the right actor at the right time to play the lonely tyrant, and his finely calibrated, dark volatility perfectly embodied the alienation and moral tumult of the decade.

Trading on the moody romanticism of his sad, sunken eyes, Pacino become a major star of the 70s, enjoying a four-year career roll practically unmatched in film history. In one searing performance after another, his brooding, anti-authoritarian, streetwise figures reflected the cynical mood of the times. Crossing to the other side of the law to portray the tightly-wound hippie cop of Sidney Lumet's "Serpico" (1973), he continued establishing his tragic, hair-trigger persona as Sonny, the bungling bisexual bank robber exposed to the glare of the media as he holds hostages in Lumet's "Dog Day Afternoon" (1975). Take Pacino out of either of these films, and the director's flavorful NYC atmosphere notwithstanding, it is much ado about nothing. Tucked amidst the career-making turns, there was also his underrated gem in "Scarecrow" (1973), a road movie co-starring Gene Hackman, which removed the actor from his typical inner city environs. His breakdown after hearing from the bitter wife he has abandoned that his son is dead (though the audience knows better) is one of his finest moments on screen.

Inevitably, Pacino had to make a false step after such an impressive string of well-written and forcefully rendered characterizations, and it came with "Bobby Deerfield" (1977), which cast him as a sports car racer involved in a maundering romance with Marthe Keller. "...And Justice for All" (1979) seemed like a move back to terra firma, but its mix of sadness and satire didn't come off, with Pacino displaying lots of angry flash but little complexity or soul. "Cruising" (1980), meanwhile, elicited either scorn or outrage from audiences and critics alike for its ridiculous, simplistic and hateful story of an undercover cop who infiltrates New York's gay scene to find a killer and ends up being "corrupted". "Author! Author!" (1982), Pacino's first outright comedy, was a mildly enjoyable attempt to channel his intensity and energy in a new direction, and his performance in the remake of "Scarface" (1983) was, like the film, over-the-top but undeniably potent. Unfortunately, a case of incredible miscasting placed him in the dull, superficial saga of 1776, "Revolution" (1985). The nadir of his film career, it drove him from the screen for four years while he reassessed the situation.

Unlike many stage-trained actors who abandon the theater when their movie stardom ascends, Pacino has never been far from the footlights, often likening stage work to tightrope walking as he did in the Los Angeles Times (June 29, 1999): "When you walk the wire in a movie, it's not easy to walk, but it's painted on the floor. But when you walk it on the stage, it's 100 feet high without a net." He won his second Tony Award for "The Basic Training of Pavlo Hummel" (1977), reprising the starring role he had played in a Boston production earlier in the decade, and has several times essayed the villainous "Richard III", not to mention portraying Marc Antony in a 1988 NYC production of "Julius Caesar". He also enjoyed a long association with David Mamet's "American Buffalo", playing Walter 'Teach' Cole from 1980-83 in a variety of venues, both off-Broadway and on, as well as on tour in the USA and Great Britain. Though asked to play the role in the 1996 film version, his loyalty to others previously connected to the project resulted in Dustin Hoffman assuming his signature role.

Pacino rediscovered his zest for film co-directing and producing "The Local Stigmatic", a pet project (adapted from a play he had once acted in) which he has occasionally showed privately and continues to tinker with to date. Harold Becker's sexy, urban thriller "Sea of Love" (1989), provided the perfect comeback role as a streetwise cop-on-the-edge who falls for a murder suspect (Ellen Barkin at her most sizzling). Aided by an excellent, witty script by Richard Price, Pacino brought great depth to his loner clutching at a second chance with the femme fatale, and his impassioned reaction when one particular twist seems to clearly indict Barkin ranks right up there with his best work for the screen. After amusingly parodying his previous gangster roles with an appropriately outlandish turn as Big Boy Caprice in "Dick Tracy", he dusted off his Michael Corleone for "The Godfather, Part III" (both 1990), then poignantly played a short order cook recently released from prison opposite a game (but miscast) Michelle Pfeiffer in Garry Marshall's "Frankie and Johnny" (1991), although audiences did not flock to see the actor's softer side.

Pacino fared far better in the 1992 adaptation of Mamet's blistering "Glengarry Glen Ross", picking up a Best Supporting Actor Academy Award nomination as the real estate office's dynamic hotshot. That same year, he finally copped the elusive Oscar (after eight nominations) for his bravura star turn as the unabashed, hoo-hahing blind veteran cutting loose on the town in "Scent of a Woman", a slight story ennobled by his winning portrayal. Similarly, his prison-sprung drug lord in "Carlito's Way" (1993) showed that his way with gutter-tough poetry and his talent for various ethnic characterizations could be as riveting as ever. Michael Mann's "Heat" (1995) paired Pacino's high-strung police detective opposite De Niro's professional thief, marking their first appearance on screen together, and though both received high marks from reviewers, the lion's share of the praise went to writer-director Mann. That year also saw him age himself to beautifully render the grandfather in "Two Bits", a Depression-era family drama too slow and delicate to realize its full potential.

Former NYC deputy mayor Ken Lipper scripted "City Hall" (1996), which cast childhood friend Pacino as a compassionate NYC mayor embroiled in a corruption scandal and teamed him for the first time with another Bronx native Danny Aiello. Though a descent into implausible melodrama compromised its compelling beginning, another project that year stands as one of the most intriguing of his career. Pacino had worked four years on "Looking for Richard" (1996) before finally unveiling it to great acclaim. Distilled down to two hours from more than 80, this documentary-style film about the actor-director's staging of "Richard III" explored the relevance of Shakespeare to people in every walk of life and proved there was a limited market for his inspired vision. He was back on Broadway as director and star of Eugene O'Neill's "Hughie" in 1996, his first visit to the NYC boards since his 1992 performances in "Salome" and "Chinese Coffee", the latter becoming his next pet project as filmmaker. He finished shooting it in 1997, but his modus operandi established on his two previous films has remained the same. As of 1999, it was still in post-production.

If the 80s had been inimical to Pacino's talents, the 90s were turning out to be his most productive decade yet. He delivered an atypical, introspective turn as a low-level gangster in Mike Newell's "Donnie Brascoe" (1997), a tremendous story of two men who grow to love one another. As far removed from Michael Corleone as you can get in the mob food chain, Pacino's world-weary Lefty is both tragic and pathetic, but most of all he is intensely human and real, inspiring our understanding if not our sympathy. The always fine Johnny Depp in the title role raised his acting level a notch in keeping with the high standards set by his co-star. If Pacino was back to his old scenery-chewing tricks as a lawyer who just happens to be Satan in "The Devil's Advocate" (also 1997), well, who better to watch go over-the-top than a master at pulling out the stops. A small man of immense power, he was at his intense best as rabble-rousing "60 Minutes" producer Lowell Bergman in Mann's "The Insider" (1999), an ambitious Hollywood attempt to examine journalism, and then closed out the decade in Oliver Stone's "Any Given Sunday", playing an aging football coach.

Pacino's next major role was as the sleep-deprived Detective Will Dormer in the crime thriller feature "Insomnia" (2002), writer-director Christopher Nolan's English-language remake of Erik Skojdbjaerg's 1997 Norwegian film, in which Pacino starred opposite Robin Williams and Hilary Swank. The film received wildly mixed reviews, but each of the actors were roundly praised for their performances. Less appreciated was the Hollywood send-up "Simone" (2002), with Pacino playing a nearly washed-up director who revitalizes his career by secretly creating a digital actress that perfectly executes his every command and becomes a major star. Not only was the movie's fable style tale a bit too wafer-thin, Pacino seemed a bit at sea with the material and gave one of his less impressive performances. Next up was 2003's "The Recruit," in which he played a manipulative CIA instructor who complicates the life of rising young agent Colin Farrell, and a supporting role in the dismal Ben Affleck-Jennifer Lopez mob comedy "Gigli" (2003), in which he reunited with his "Scent of a Woman" director Brest to play a federal prosecutor whose mentally disabled younger brother is kidnapped. Pacino's turn as Roy Cohn in HBO's acclaimed TV adaptation of the Tony Award-winning play "Angels In America" (2003) earned him a Golden Globe for Best Performance by an Actor in a Mini-Series or a Motion Picture Made for Television and an Emmy for Outstanding Lead Actor in a Miniseries or a Movie.

In 2004 Pacino was able to bring one of his favorite Shakespeare plays to the big screen with director Michael Radford, playing the bitter Shylock in "The Merchant of Venice"; although the anti-Semetic overtones of the play make it difficult to adapt in the social climate of modern times, Pacino effectively portrayed the moneylender's claim for his pound of flesh as driven by a realistic anger over the loss of his daughter to a Christian man, compounded by his shabby treatment by the people of ghettoized Venice. Pacino returned to his scenery-chewing style in “Two For the Money” (2005), playing Walter Abraham, a sports wagering consultant who takes a former college basketball star (Matthew McConaughey) under his wing after learning that he has a knack for predicting games.

• Also Credited As:
  Alfredo James Pacino
• Born:
  on 04/25/40 in New York, New York
• Job Titles:
  Actor, Director, Producer, Writer, Delivery boy, Mail room worker, Porter, Superintendent, Usher

Family

• Daughter: Julie Marie Pacino. born in October 1989; mother, Jan Tarrant
• Daughter: Olivia Pacino. born on January 25, 2001; fraternal twin of Anton; mother, Beverly D'Angelo
• Father: Salvatore Pacino. was 18 years old when Pacino was born; left home when Pacino was two; later reconciled
• Grandfather: James Gerardi. maternal grandfather; helped to raise Pacino
• Grandmother: Kate Gerardi. maternal grandmother; helped to raise Pacino
• Half-sister: Paula Pacino. twin of Roberta
• Half-sister: Roberta Pacino. twin of Paula
• Mother: Rose Pacino. died in 1962; her death and death of his maternal grandfather soon after devastated the young Pacino
• Son: Anton Pacino. born on January 25, 2001; fraternal twin of Olivia; mother, Beverly D'Angelo
• Step-mother: Katherine Kovin-Pacino.

Significant Others

• Companion: Beverly D'Angelo. dating as of 1997; mother of Pacino's twin son and daughter
• Companion: Diane Keaton. reportedly became involved in the early 1970s; rekindled relationship in the early 1980s
• Companion: Jan Tarrant. mother of Pacino's daughter Julie
• Companion: Jill Clayburgh. met while both were acting at Charles Street Repertory Company in Boston c. 1966
• Companion: Kathleen Quinlan. together c. 1979-81
• Companion: Lyndall Hobbs. born c. 1953 in London; Australian; has adopted son, Nick
• Companion: Marthe Keller. co-starred together in "Bobby Deerfield"
• Companion: Penelope Ann Miller. became involved during the filming of "Carlito's Way" (1993)

Education

• HB Studio, New York, New York
• The School of Performing Arts, New York, New York

Milestones

• 1966 Appeared in the New Theatre Workshop presentation of "The Peace Creeps" in December
• 1967 Acted in "America Hurrah" and "Awake and Sing" at the Charles Playhouse in Boston; earned first real pay as an actor, $125 per week
• 1968 Made Off-Broadway debut in January in the one-act play "The Indian Wants the Bronx", written by Israel Horovitz; earned Best Actor OBIE Award; production co-starred John Cazale
• 1969 Broadway debut, "Does a Tiger Wear a Necktie?"; named most promising new Broadway actor in a VARIETY poll of metropolitan drama critics; also received first Tony Award
• 1969 Film acting debut in "Me, Natalie"
• 1970 Directed first stage production, Horovitz's "Rats" (also acted) at the Charles Playhouse, Boston
• 1971 First leading role in a film, "Panic in Needle Park", directed by Jerry Schatzberg
• 1972 Earned first Oscar nomination as Best Supporting Actor for his role as Michael Corleone in Francis Ford Coppola's "The Godfather"; Cazale played older brother Fredo
• 1972 Joined David Wheeler's Experimental Theatre Company, Boston; played in "The Basic Training of Pavlo Hummel"
• 1973 First Best Actor Oscar nomination, "Serpico", directed by Sidney Lumet
• 1973 Played "Richard III" in Boston
• 1973 Reteamed with Schatzberg for "Scarecrow", co-starring Gene Hackman
• 1974 Reprised Michael Corleone in Coppola's "The Godfather, Part II", garnering Academy Award nod as Best Actor
• 1975 Picked up another Best Actor Oscar nomination for Lumet's "Dog Day Afternoon"; film reteamed him with Cazale as bank robbers
• 1977 Reprised "The Basic Training of Pavlo Hummel" on Broadway; won second Tony Award
• 1977 Stopped drinking after having developed a serious habit
• 1979 Portrayed "Richard III" on Broadway
• 1979 Snagged fourth Best Actor Oscar nomination as a crusading lawyer in "...And Justice For All"
• 1980 Performed the role of Walter Cole in David Mamet's "American Buffalo" at various venues, beginning at New Haven's Long Wharf Theatre and including stops Off-Broadway, Broadway, at Washington DC's Kennedy Center, in London and on tour in both the USA and Britain
• 1982 Starred as a playwright in the romantic comedy "Author! Author!" written by Israel Horovitz
• 1983 Portrayed Cuban drug kingpin Tony Montana in Brian De Palma's remake of "Scarface", written by Oliver Stone
• 1985 Was miscast in Hugh Hudson's Colonial drama "Revolution"
• 1988 Starred in "Julius Caesar" in a limited engagement at New York's Public Theater
• 1989 Returned to films after a four-year absence in Harold Becker's "Sea of Love" playing a dectective investigating a murder
• 1990 Earned a Best Supporting Actor nomination for his role as Big Boy Caprice in Warren Beatty's "Dick Tracy"
• 1990 Once again played Michael Corleone in Coppola's "The Godfather, Part III"
• 1992 Finally won a Best Actor Academy Award for his role as a blind veteran cutting loose on the town in "Scent of a Woman"; also garnered a Best Supporting Actor nod for that year's "Glengarry Glen Ross", adapted from the Mamet play and directed by James Foley
• 1992 Returned to the New York stage to play roles in "Salome" and "Chinese Coffee" in repertory
• 1993 Reteamed with De Palma for "Carlito's Way"
• 1995 Played a grandfather in Depression-era "Two Bits", helmed by Foley; role was Pacino's tribute to his beloved grandfather who raised him
• 1995 Portrayed a cop tracking criminal Robert De Niro in Michael Mann's "Heat"; pic featured the actors in their first scene together (though both were in "The Godfather, Part II", they did not act with each other)
• 1996 Directed and starred in Broadway production of Eugene O'Neill's "Hughie"
• 1996 Feature directorial debut with the quasi-documentary "Looking for Richard"; also co-wrote narration
• 1996 Reteamed with Becker for "City Hall"
• 1997 Delivered delicious, pull-out-the-stops portrayal of a 1990s Satan in "The Devil's Advocate"
• 1997 Directed an adaptation of "Chinese Coffee"; also co-starred with Jerry Orbach and Susan Floyd; film screened for the public at the 2000 Toronto Film Festival
• 1997 Played small-time mobster in Mike Newell's "Donnie Brasco"
• 1997 Received a star on the Hollywood Walk of fame; ranked fourth on Empire magazine's "The Top 100 Movie Stars of All Time" list
• 1999 Headlined Oliver Stone's "Any Given Sunday", playing an aging football coach at war with the pressures of corporate management; shadowed NFL coaches Bill Parcells Mike Shanahan and Steve Mariucci as part of his research
• 1999 Made L.A. stage acting and directing debut recreating "Hughie"
• 1999 Starred as "60 Minutes" producer Lowell Bergman in Mann's "The Insider"
• 2002 Co-starred in "Simone," playing a movie producer who shoots a film with a computer-generated leading lady
• 2002 Portrayed a sleep-deprived detective in "Insomnia"
• 2003 Appeared as a manipulative CIA trainer in "The Recruit" opposite Colin Farrell
• 2003 Cast as Roy Cohn in the HBO adaptation of "Angels in America" directed by Mike Nichols
• 2003 Played a press agent reportedly modeled after real-life flak Bobby Zarem in "People I Know"
• 2004 Starred in "The Merchant of Venice" a Shakespearian adaptation, set in 16th century Venice
• 2005 Cast as sports bookie, opposite Matthew McConaughey in "Two for the Money"
• Born in Manhattan's East Harlem
• Made film producing and directing debut with "The Local Stigmatic", co-directed by David Wheeler, a 52-minute film shot in 16mm; not intended for release; screened at museums and colleges
• Off-off Broadway debut at Caffe Cino in "Hello Out There", directed by best friend Charlie Laughton
• Raised in NYC's South Bronx, living with mother in her Sicilian parents' home after father left them
• Served as co-artistic director (with Ellen Burstyn, who served until 1988) of NYC's Actors Studio
• Worked as an actor at New York's Cafe La Mama and Living Theatre; also worked as a comedy writer
• Worked in the mail room at COMMENTARY magazine; also as movie theater usher and building superintendent