Anne Bancroft Net Worth Income Profile and Salary. (New York, 1931 – 2005) Actress and director of American cinema, remembered by films like the miracle of Ana Sullivan (1962, Oscar to the best actress) and especially The graduate (1967), that elevated it to the category of erotic myth For generations of film lovers.
Anna Maria Italiano was born on September 17, 1931 in New York (United States). Her parents, Mildred and Michael Bancroft, worked as tailor and telephone operator, and descended from Italian immigrants settled in the Bronx. Annie (as she was always known among her friends) was the second of three brothers.
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From a very young age she was awakened with a strong artistic vocation, which always showed her occasion, and after completing her secondary education, enrolled in the School of Dramatic Art in Manhattan. Her training was completed by entering the famous Actor’s Studio, where the Stanislavski method made her an extremely intuitive interpreter.
He debuted in the cinema in a drama of Roy Ward Baker titled in Spain Niebla en el alma (1952), in which she shared the screen with Marilyn Monroe, who at that time was not yet a star. It was the first of a long list of genre films for Fox, productions that, like Demetrio and the gladiators (1954), in many cases brushed the series B. The producer decided that the name of the actress was not commercial enough and Decided to rename it artistically. Initially accredited as Anne Marno, shortly after – and from a pre-established list – she chose the surname with which she became famous.
In July of 1953 she married Martin May, of whom she divorced in February of 1957. Of all of this time, perhaps the only really interesting film in which it participated was Nightfall (1957), of the always inspired Jacques Tourneur. A year later it debuted on the Broadway charts with the play Two for the Seesaw, next to the great Henry Fonda. Unlike what happened in the sets, her success on the stage was fulminant. She won the Tony Award for her work and after only two years she played the lead role in The Miracle of Ana Sullivan. Public and critical gave him such praise that Hollywood decided to acquire the cinematographic rights of both works.
If in the first adaptation was not chosen by the studies – for the benefit of Shirley MacLaine – things were much better in the second. Director Arthur Penn managed to impose his austere judgment on United Artists, who wanted to produce a “glamorous” and commercial film. Penn’s loyalty to the theatrical version went on to convince the studios that it was necessary to hire the actress who had succeeded with the play on Broadway.
They were not disappointed, because thanks to its work obtained in 1962 the Oscar to the best leading actress. The popularity of Anne Bancroft grew immediately, thanks to which from that moment she could be much more selective in choosing her roles. It was the prize of a decade of hard work, not without its setbacks and frustrations.
Life also smiled on sentimental terrain. And the comedy actor and director Mel Brooks, who “had her eye on”, did not stop until a friend of Anne on the TV show where she worked then confessed “in which restaurant she used to Eat “the actress. Once the information was obtained, the encounter with Anne was astutely made and began a conversation. Whatever she said, she convinced her to the point that they continued together for the rest of their lives. On August 5, 1964, they married.
Although from the miracle of Ana Sullivan the frenetic pace of her career slowed and her works were spaced out, all her papers of the 1960s were memorable. In 1964 she filmed “I’m Always Alone” (for which she earned a new Oscar nomination), and in the following years she garnered excellent reviews for her performances in “Life Is Worth More From Sydney Pollack” (1965) and “Seven Women From John Ford” (1966).
Nevertheless, it was in 1967 when it would be able to give life to the most recognized personage of all its filmography. Although in the real life only took eight years, in the graduate the roles that masterfully interpreted Anne Bancroft (Mrs. Robinson) and Dustin Hoffman (Benjamin Braddock) were respectively those of mother-in-law and son-in-law. They both went beyond their “family skills” by starting a romance behind Benjamin’s girlfriend. Bancroft’s morbid interpretation made her into an erotic myth in full order. Both actors, by the way, got an Oscar nomination. Of the seven obtained by the film, only obtained the reward the director Mike Nichols.
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Bancroft’s pace of work went even lower. She did not return to filming in a lustrum. In 1972 Max was born, the only son of her second marriage. That same year it returned to the cinema in the historical drama the young Winston, of Richard Attenborough. The truth is that although the actress could have oriented her career taking advantage of the eroticism that oozed Mrs. Robinson, she preferred to maintain another criterion of selectivity. During the decade of 1970 it was seen in superproductions like Hindenburg (1975), of Robert Wise, typical product of the then so in vogue “cinema of catastrophes”, or Jesus of Nazareth (1977), of Franco Zeffirelli. With decisive Step, of Herbert Ross, would return to be nominated to the Oscar in 1977.
Already mature, she found her place in an industry always cruel with her ancient myths, and for decades she kept in the memory of producers and directors. At the beginning of the 1980s, she directed the comedy Fatso herself, starting with a script of her own harvest. That same year she worked for David Lynch in The Elephant Man, and participated in two hit television series, Shogun and Marco Polo.
In 1983 she did as a partenaire of her own husband in I am or I am not, a remake of To Be or Not to Be of Ernst Lubitsch directed by Alan Johnson. She even got a more Oscar nomination with Agnes de Dios in 1985, and only a year later she filmed the film version of the thrilling Good Night Mother with Sissy Spacek. Trilogy of New York (1988) was her last great work in the decade of 1980.
In the following decade, she also participated in renowned productions: Mr. Jones (1993), Where Love Lives (1995), Lieutenant O’Neil (1997), Las Seductoras (2001) and Miss Stone’s Roman Spring ). In 1998 she even gave her voice to the Ant Queen in the funny cartoon comedy Antz (Hormigaz). Also it belongs to the field of the animation its last work for the cinema, and posthumous. This is the film Delgo, whose premiere was scheduled for 2006.
The last time she stepped onto a Broadway stage was in 2001, when she starred in the work of Edward Albee The Occupant. Pneumonia prevented him from participating in all performances. On June 7, 2005, Mel Brooks told reporters that her wife for four decades had died the night before at Mount Sinai Hospital in New York, a victim of uterine cancer.
Net Worth of Anne Bencroft
The Net Worth of Anne Bencroft in 2017 is $25 Million.
|Full Name||Anne Bencroft|
|Net Worth||$25 Million|
|Annual Income||$4 Million|
Contemplating with attention her best films, the most observant ones will perceive a gesture “mark of the house” of the actress: before answering to the telephone, always one of the earrings was carried that was wearing. But this was not the only anecdote of an exceptional career: Anne Bancroft belongs to the select group of actors who in history have won an Oscar and a Tony for their interpretation of the same role in film and theater.
Her death left a great void in all those who had the privilege of working with it. This was the case, among others, of filmmaker Arthur Penn, who in a recent debate stated that if she had to stay with only one of the actors and actresses who worked for him, she would choose “without a doubt, Anne Bancroft.”