Here is a brief preview of career stats, Burt Lancaster net worth, and an annual income throughout his career in acting and production. Burt Lancaster is an American film actor. At sixteen he taught gymnastics at New York University and basketball at Settlement House, while training with the trapeze artist Nick Cravat, with whom he later partnered as a rocker in two memorable films of the adventure genre, The Hawk and the arrow and The fearsome mockery. In 1932, they both formed an acrobatic number that circumnavigated the circus country (though, basically, at Kay Brother Circus). Years later, during the war, they served in the Fifth Army, special service, for the entertainment of the troops that fought overseas.
Burt Lancaster Net Worth:
Graduated in 1946, he returned to New York and, after a brief break through the theater, was discovered by Mark Hellinger, who took him to Universal to play, in Robert Siodmak’s masterpiece, Outlaws (1946), a failed boxer Who is surprised by a death intrigued and seduced by the priceless charms of a never-so-beautiful Ava Gardner, embedded in an insinuating black satin dress. Thanks to the interpretations that both made of those cursed characters, that oozed eroticism by all the pores, the film soon entered in the mythology of the black cinema.
Burt Lancaster continued to unfold to the thousand ways by the black path, scaring to Barbara Stanwyck in a magnificent film of Anatole Litvak, Voices of death (1948). In Robert Siodmak’s Embrace of Death (1949), he was forced by a woman’s influence (Yvonne De Carlo) to take part in a senseless coup, a perfect stunt in a racecourse, having as an accomplice precisely the new partner of The woman, a dangerous gangster, the ever-disturbing Dan Duryea. Lancaster returned to incarnate a man physically endowed but sentimentally weak that ends up being handled by a woman (as in Forajidos), dazzled by the love or by the sexual desire.
Immediately, Lancaster interpreted the Javelin of the Hawk and the arrow (1950), of Jacques Tourneur, and the pirate of the fearsome mocker (1952), of Robert Siodmak. In the first, Lancaster is unveiled as the brave and smiling medieval Italian hero fighting for his son, for the love of a Virginia Mayo (with his lips in Technicolor) and for the freedom of his land, Lombardy. In the second, he is a gallant pirate in one of the classic pieces of the genre of adventures, not to say the cinema in general. In both of them, he had an old friend for, among the knave of gallantry and the fall of candles, to keep his backs: his dumb companion Nick Cravat.
Here is a complete list of the net worth of burt lancaster and his annual and monthly earnings.
burt lancaster net worth
|Burt Lancaster Net Worth||$8 Million|
|Annual Income||$500,000 Million|
|Endorsements / ads (1950)||$0.2 Million/year|
|Monthly Income / Salary||$50,000|
Some Pivotal Movie Roles by Burt Lancaster:
Ava Gardner and Burt Lancaster in Outlaws (1946)
In the midst of these two classics, he went to the West for the first time, curiously, of a great adventure expert, Richard Thorpe: The Valley of Revenge (1951) was in fact his first western. But it returned three years later with force in two masterful samples of the sort. Before, in 1953, the most famous bath of the history of the cinema was given, perhaps because it did with a beautiful Deborah Kerr (corseted in a swimsuit most daring for the time) in the most erotic and seductive paper of all its race: the one that Played in Fred Zinnemann’s film From Here to Eternity, which became a huge success and earned eight Oscars, including Best Picture. Burt Lancaster impressed with his sober performance, earning him the first New York Critics Award and an Oscar nomination.
Burt Lancaster was also the first actor of his generation who realized in time the fragility of the system of great studies and launched to produce on its own. Together with the famous scriptwriter Ben Hecht he founded Norma Production in 1947, which with the incorporation of James Hill would be renamed Hecht-Hill-Lancaster. The fruits arrived with Apache (1954), by Robert Aldrich (one of the first allegations in favor of the battered and exterminated Indian race that had the magnificent interpretation of a Lancaster jammed for the occasion) and, especially, in that same year , With Veracruz, by Aldrich himself.
Lancaster embodied a somewhat frustrated character, a vividor with a murderous smile as detestable as it was charming; Quite the opposite of his companion Gary Cooper, reflective, calm, fair and imbued with his moral principles. They had no choice but to live together the same adventures, the same epic, in an almost epic interpretive duel. Spanish actress Sara Montiel wore her wonderful physique between these two monsters on the screen.
Gary Cooper and Burt Lancaster in Veracruz (1954)
He launched himself in the direction of The Man from Kentucky (1955), which brought nothing new to his career; He would try again, many years later, in The Man of Midnight (1974), who suffered the same fate. Also in 1955, he brought a superb tranquility to his personage of carefree Italian in the rose tattooed, of Daniel Mann, next to Anna Magnani, according to the homonymous work of Tennessee Williams. He traveled a year later to Europe to recall old acrobatics in Trapezoid, of Carol Reed, a charming tape of trapeze artists that throw in a triple mortal jumping without a net. These air-daredevils were, apart from Burt Lancaster, Tony Curtis, and a wonderful Gina Lollobrigida.
In 1957 he returned to the genre of the West playing the Wyatt Earp of Duel of Titans, by John Sturges, a new version of the old subject of the clash between the Clanton and the Earp in O.K. Corral, already taken masterfully to the celluloid by John Ford in Passion of the forts (1946). On this occasion, Dimitri Tiomkin composed a catchy and original melody that became very familiar. The Oscar came to him with Richard Brooks’ Fire and the Word (1960), where he gives sublime life, under the guise of altruism and generosity, to a false evangelist who, with the blessing of religion, manipulates Without some rejoicing to the gullible and traumatized masses through the mythical blackmail of hell.
With Winners or losers? (1961), by Stanley Kramer, began a series of humanitarian and tender interpretations. He was followed by his encouraging work for John Frankenheimer’s The Man in Alcatraz (1962), a fascinating reconstruction of the reconversion of a criminal to a prestigious ornithologist; And ended with Angels Without Paradise (1963), a poignant John Cassavetes film about children having trouble relating to others.
the total income of Burt Lancaster is the year 1990 was around $10 Million.
That same year it marched to Italy to be put under the orders of Luchino Visconti. Lancaster was sublime as the Prince, Don Fabrizio Salina, in one of the most beautiful, fresh and romantic films of the history: The Gatopardo, a true classic of the historical and political cinema. With Visconti, eleven years later, he returned to be splendid in Confidencias (1974). Lancaster was reincarnated in that old teacher, lover of literature and painting, who feels death is coming, and who is torn between personal anguish and the disenchantment of having to share a place with dissolute and disorderly young bourgeois, incapable of feeling art Nor life. In Italy, he would participate in another mythical title, this time the work of Bernardo Bertolucci: Novecento (1976), who, like El Gatopardo and Confidencias, failed again among his compatriots.
In The Gatopardo (1963)
Throughout the Seventies appeared in a film that made products of catastrophes of fashion: Airport (1970), of George Seaton. And later, in another that helped to reinforce the genre, The Cassandra Bridge (George Pan Cosmatos, 1977). It offered one of its best interpretations in the revenge of Ulzana (1972), an impressive western of Robert Aldrich, and also intervened in the important super production Amanecer Zulú (1979), of Douglas Hickox.
His presence was required for three cult films in the 1980s: Bill Forsyth’s A Great Guy (1983), where he plays an obsessed tycoon with a boreal aurora, so he plans to buy a whole town; The Skin (1981), by Liliana Cavani; And Louis Malle’s Atlantic City (1980), for which he was again nominated for an Oscar for his memorable performance. Still, in 1989, it was a luxury to see him again in that little jewel of the cinema that is Field of Dreams, by Phil Alden Robinson, playing a doctor who has taken the roads that life has offered him, but he has never forgotten what Baseball had meant for him.
Burt Lancaster’s film career has gone through several stages: in the fifties he was one of the most acclaimed adventure film acrobats; In the sixties he rebelled like the most stubborn cult actor; In the seventies it was a safe bet for the productions in which it participated, and in the eighty it enjoyed a glorious maturity. It scares to see the impeccable filmography of an actor unrepeatable, able to jump on a horse, to pass by an Italian aristocrat or to swing to 25 meters of height. Lancaster has not stopped surprising the different generations of moviegoers who have been known through their films. When in its beginnings it was cataloged like limited actor of the registry, Lancaster gave quantity and quality and knew to shut up the languages that assigned few arms to him to triumph.