Kari and Maureen

Canadian actress. Born 25 March 1970. Matchett was born in Spalding the province of Saskatchewan. She began her career as an actress after moving to Ontario. The mid nineties saw her begin her career with Canadian television. After that, she made the move into the United States and starred in the television series The Secrets of Nero Wolfe Invasion 24 Hours Studio 60 which aired on the Sunset Strip Ambulance Earth. The Last Conflict. She received the Gemini Award, in 2001 in recognition of her performance on the lead character on the Canadian television series The Department of Wet Cases. In addition, she played the wife of one the main characters of several seasons of Impact. In the TV program Covert Operations, she plays the character Joan Campbell. Cube 2 (2002), a Canadian film released in 2002. Hypercube and also appeared as a character in Angel Eyes, Boys with Broomsticks and The Tree of Life . Divorced. Then, in June 2013, her first child was born - the child of Jude Lyon Matchett. Maureen O'hara..........................From her first appearances on the stage and screen Maureen O'Hara (b. 1920) attracted attention for her stunning beauty, radiant red hair and impassioned depictions of strong characters. She charmed her audiences regardless of whether she was rescued from a gallows in The Hunchback on Notre Dame by Charles Laughton (1939) or fell in love with Walter Pidgeon beneath a coal-blackened sky (How Green Was My Valley) in the film with Natalie Wood or matched wits in The Quiet Man with John Wayne. Maureen O'Hara is the first novel-length account of the screen icon who was hailed as the queen of Technicolor. Aubrey Malone traces the life of the screen icon from Dublin which is where she grew in, all the way to Hollywood's heights. The author draws on the Irish Film Institute production notes for films and also from old magazines and newspapers. Malone is also a bit more in-depth about her relationship with frequent collaborator John Wayne and her relationship with director John Ford and he addresses the much-discussed issue of whether the screen siren could be considered a feminist, or an antifeminist figure. While she was an iconic figure of film's golden era, her tendency to keep her privacy private and the tendency to make public declarations in opposition to her personal values have made her an enigma. This groundbreaking biography provides the first glimpse of the person behind the bigger-than-life persona, delving into the myths to present a balanced assessment on one of the greatest stars of the silver screen.