Sentido Carda Beach Hotel, Greece - save 30%
TalkTalk have created this exclusive biography of Nicole Kidman - we believe it to be the most comprehensive on the web
It's a mark of Australia's cultural strength that they've provided so many of today's top-line cinematic greats. Aside from the obvious Mel Gibson and Cate Blanchett, there's also the less well-known yet hugely talented likes of Judy Davis and Naomi Watts as well as a couple of New Zealanders who made it in Aussie productions. Step forward, Sam Neill and Russell Crowe. And, of course, there's the woman who, Gibson aside, is the hottest of the lot, the ex-Mrs Cruise but a fine actress and Oscar-winner in her own right - Nicole Kidman.
Strangely, given what most people know of her, Nicole is not a fair dinkum Aussie at all, actually being born on Honolulu, Hawaii (on the 20th of June, 1967), and holding dual US and Australian citizenship. Her father, Anthony, a biochemist and clinical psychologist, had moved to the island with his wife Janelle to work on a research project. Almost as soon as Nicole appeared (she'd be closely followed by sister, Antonia), Anthony's work with breast cancer took the family to Washington DC for three years. It was only then that the girl who would be known as one of Australia's prime exports began life on Antipodean soil, when the Kidmans moved back to the posh Longueville district of Sydney (coincidentally, one of Nicole's most renowned relatives was also named Sydney - he was a cattle baron).
Nicole was an active, artistic child, and focused from an absurdly young age. She began taking ballet lessons at 3, moving onto mime at 8 and drama at 10. Her first public role was at 6, as a loud sheep in her elementary school's Christmas pageant. She grew up fast. Janelle was an active feminist and Anthony a labour advocate, both of them discussing the issues of the day with their kids over dinner and having them hand out pamphlets on the street.
When it came to acting, Nicole possessed the same intensity as her future husband. She was always seen as an outsider - she was known as Storky due to her peculiar height (she fast reached a whopping 5' 11") - and, as she approached her teens she departed even further from her peers. While the other girls were down the beach, eyeing up the boys, Nicole spent her weekends at the Philip Street Theatre, watching, learning. She had her sights set on higher things - as you'd expect from someone whose influences include Jane Fonda, Vanessa Redgrave and, above all, Katherine Hepburn - and, indeed, she had her first kiss onstage in Frank Wedekind's Spring Awakening. As the play concerned sexual repression in the late 1800's, it was something of a wild one too, Nicole having to yell "Beat me! Harder! Harder!" each night. More impressive than a clumsy fumble under the pier, eh?
Come the age of 14, things started to move. As a sign of events to come, one night Nicole received a note of congratulations and encouragement from an audience member, a film student who invited Nicole to appear in her examination short. Nicole turned it down, as it conflicted with her own school exams. Shame, for the student was Jane Campion, later to direct The Piano and then the Kidman-starring Portrait Of A Lady.
Then the real roles began to appear. There were a couple of TV parts, and then a sudden success. Kidman's film debut was in Bush Christmas, about a poor family relying on their racehorse to make their fortune in a race on New Year's Day. Unfortunately, the horse is stolen and the kids, with the help of a friendly aborigine, have to track it down. The movie was a big hit, and would become a festive favourite in Oz.
As Nicole continued her education at the Australian Theatre For Young People in Sydney (to which she'd later donate $100,000), and the St Martin's Youth Theatre in Melbourne (her studies concentrated on voice, production and theatre history), the parts kept coming. She appeared as a High School track star learning there's more to life than athletics in the TV series Winners, on film in the amusing romp BMX Bandits, and in a video for Pat Wilson's Bop Girl. Then, at 17, there was a Disney production, the TV serial Five Mile Creek, a family-orientated affair about the wild Aussie West. Shooting five days a week for seven months, this allowed Kidman to gain vital confidence before the camera.
Now there was a blow, as Janelle was diagnosed with cancer. Nicole took time off to take a massage course in order to give her mum physical therapy. Her family's efforts helped bring about Janelle's recovery. Back at work, Nicole scored five parts in quick succession, including Wills & Burke, a lampoon of historical epics, the futuristic Nightmaster, and Windrider, about a kid who builds a hi-tech surfboard in order to snatch the World Championship, then falls in love with Nicole. Tough break. Kidman herself fell in love on Windrider - with actor Tom Burlinson, who she'd see for three years (she'd later date another actor, Marcus Graham).
Next came the breakthrough. Kidman won a meaty role in the miniseries Vietnam as a gawky Sixties schoolgirl protestor who evolves into a freethinking Seventies activist, the series covering the activities of Aussie troops in Vietnam (many of them social and seedy) as well as the public and political furore back home. In the meantime, Kidman found her own flat, cooking and cleaning for herself for the first time. The series was produced by the Kennedy-Miller partnership, who'd broken big with Mad Max, and was written by Terry Hayes, who'd penned Mad Max 2 and 3. Hayes in particular was captivated by Kidman's performance, especially a scene where Kidman is on a radio show, complaining about conscription, when her brother, a returning vet, calls in, causing her to break down. Kidman herself was impressed - now was when she really decided to become a career actress.
So moved was Hayes that, apparently, he was inspired to dive into a new project, an adaptation of Dead Calm. This had begun life as a Charles Williams novel in 1963. It had been picked up by Orson Welles who, in 1969, attempted to film it (as The Deep) with Laurence Harvey and Jeanne Moreau. But Harvey died while on location so the project was shelved, with Welles' widow refusing to sell the rights to any Hollywood studio as she believed they had treated her late husband so shabbily. Eventually, she sold to Kennedy-Miller, and they brought in Hayes. Initially, thoughts were of hiring Sigourney Weaver or Debra Winger for the part of Sam Neill's wife, held hostage aboard a yacht by a psychotic Billy Zane. But Hayes kept banging on about Kidman and, despite the fact that the character was supposed to be 30+ and Nicole was but 19, director Phillip Noyce (later to helm Patriot Games and The Bone Collector) relented.
Kidman threw herself into the part, arriving on location a month before shooting in order to learn how to sail the 80-foot yacht. She studied posture and voice techniques to appear older, and met mothers who, like her character, had lost children. Then production began, with the team spending three months at work, mostly at sea off the Great Barrier Reef. On shore breaks, Nicole would take Neill to the local rough-house night-club, wowing him with the freaky dances she'd learned for Vietnam.
Dead Calm did it for Nicole. Vietnam had won her an Australian Film Institute Award and an American agent and now there something genuinely meaty to work with. While at a film festival in Japan, Nicole received a call from Tom Cruise's people, asking her to come talk about his next project, Days Of Thunder, to be directed by Tony Scott. She had been to America for roles before, believed there was no real hope but, hey, it was a free trip to LA. Meeting Cruise and his people in a hotel conference room, she was embarrassed by the way she towered over the megastar. Now she was convinced she'd be sent on her way. But the next day she was informed she was in. And the height problem? "It doesn't bother Tom, so it doesn't bother us".
So, Nicole spent 5 months down in Daytona Beach as Dr Claire Lewicki, the medic who patches up Cruise's near-dead racing driver and sets him on his way to eventual glory. And there was plenty of media interest. Rumours of an affair were rife, fuelled by the fact that Cruise's divorce from Mimi Rogers came through a couple of weeks before the end of filming. Kidman stressed the romance did not begin till a little later, but she was seen on Cruise's arm at the 1990 Academy Awards, and the couple would marry, in a rented house in Telluride, Colorado, on Christmas Eve that same year.
Suddenly, Kidman was a star, and not simply due to her marriage. The TV miniseries Bangkok Hilton, wherein she played an inadvertent drug mule sent to a fabulously unpleasant jail, was hugely impressive, as was her catty senior school-girl in Flirting (alongside Thandie Newton, later Cruise's co-star in Mission: Impossible 2). Next she was the mysterious moll of Dustin Hoffman's Dutch Schultz in Billy Bathgate, then Cruise's muse and lover, Shannon Christie, in Ron Howard's epic of Irish exile and redemption, Far And Away.
Now, for those who thought Kidman to be simply Mr Cruise and a very lucky lady indeed, came two roles which proved her excellence for good. In Malice, as Tracy Kennsinger, she was fantastically beastly to Bill Pullman, even having her own body parts removed to work her evil scam. Then, in To Die For, she was even beastlier to poor Matt Dillon as she strove to find TV stardom. Her wicked seduction of young Joaquin Phoenix was masterful, her eventual death at the hands of a supremely sinister David Cronenberg uniquely disturbing. For this role, having knocked Meg Ryan out of the picture by calling director Gus Van Sant direct, she spent three days in a Santa Barbara inn, watching nothing but trashy TV, then spoke in a full-blown US accent from the beginning of rehearsals to the end of production. It worked - she won a Golden Globe for her efforts, having earlier been nominated for Billy Bathgate.
The roles kept coming. She played Michael Keaton's pregnant wife, helping him accept onrushing death from cancer in My Life. She was Dr Chase Meridian, devouring Bruce Wayne in Batman Forever (reports said she got the role when Val Kilmer stepped into the Bat-shoes for Keaton and producers felt the original Dr Meridian, Rene Russo, was too old for him). Then came Campion and Henry James' Portrait Of A Lady, where Kidman played Isabel Archer, a wealthy woman whose tricked by wicked Barbara Hershey into marrying the even more wicked John Malkovich. In the meantime, Kidman took time to enrol at New York's Actor's Studio to study The Method. Ever conscientious, that Nicole.
For Kidman, the role was extremely stressful, emotionally speaking. She took six months off then, having been persuaded to join Cruise in Stanley Kubrick's upcoming Eyes Wide Shut (not that she needed much persuading), she took the role of Julia Kelly, the nuclear weapons expert who helps George Clooney track down smuggled nukes in the fast and furious The Peacemaker. A big deal, this, as it was the movie that launched Steven Spielberg's DreamWorks. She also managed to squeeze in the witchy comedy, Practical Magic, with Sandra Bullock. And, once Eyes Wide Shut's incredibly extended shoot was done, she blew away theatre audiences in London and on Broadway, with her performances in The Blue Room, directed by American Beauty's Sam Mendes, where she briefly appeared naked. Unsurprisingly, the production was a sell-out.
Eyes Wide Shut was a big media event, though many considered it cold and slow (despite the supposedly red-hot trailer). Kubrick himself would die soon after, but all seemed well in Camp Cruise. The couple had adopted two children - daughter Isabella Jane and son Conor Antony - and Kidman's quote that "I just feel so fortunate that I have found someone who will put up with me and stay with me" seemed based on a solid foundation. The lawsuits that flew at any tabloids printing sordid rumours seemed also to point to the couple's strength and unity - especially the one against The Star for claiming the Cruises needed a sex therapist to get through Eyes Wide Shut's more physical scenes.
Yet the marriage wasn't as tight as we all thought, Tom and Nicole separating in February, 2001, with Cruise quickly taking up with Penelope Cruz. The couple said very little about it publicly, but her professional connection to Cruise will be noted for some time to come. Before their separation, Kidman starred in weirdo thriller The Others, directed by Alejandro Amenabar (writer of Cruise's forthcoming Vanilla Sky) and co-produced by Cruise himself. The film - slow, surreal and deadly quiet - was an object lesson in how to build tension, with the whole thing being held together by Kidman's extraordinary performance as a fraught young mother living with her kids in a seemingly haunted country mansion while her husband is away at war. It was utterly terrifying, the best horror movie in years, though the greatest mystery surrounding it must be why Kidman, nominated for a Golden Globe, was not similarly forwarded for an Oscar.
She found consolation in an Oscar nod (and Golden Globe win) for Baz Luhrmann's Moulin Rouge, filmed earlier, wherein she played beautiful courtesan Satine, plaguing poor poet Ewan McGregor as well as much of aristocratic society. We see Kidman sing (she'd also have a Christmas Number One duetting with Robbie Williams on Something Stupid) and, utilising the training she began 31 years ago, dance. Indeed, so frenetic were the dance sequences that she at one point badly hurt her knee, delaying production. Moving on to The Others without giving the injury time to heal, it flared up again, forcing her to withdraw from David Fincher's The Panic Room after two weeks (though she would provide a disembodied voice on the phone to Jodie Foster). Next would be Birthday Girl, where Nicole played Nadia, the Russian mail-order bride of shy Brit bank clerk Ben Chaplin (how does this guy GET these peachy roles?). Speaking different languages, they nevertheless begin to fall for one another - then some thoroughly dodgy Russian types turn up, claiming to be Nadia's relatives.
After that came The Hours, placing her in what must now be seen as appropriate company. Co-starring with Meryl Streep and Julianne Moore, she was up there amongst the finest screen actresses alive. The film was set in three separate times and examined the writing and effects of Virginia Woolf's Mrs Dalloway, Kidman playing Woolf herself, struggling in a lifeless marriage, growing ever more distant from her family and friends, and finally discovering a dreamt-for freedom in suicide. Radically altering her appearance with a prosthetic nose, she still managed to convey (mostly with her eyes) the flashes of frustration, indignation and love that kept this highly sensitive depressive going as long as she did. A tremendous performance, deserving of the Oscar and Golden Globe she now won.
Nicole claimed that, throughout her marriage to Cruise, she'd been playing a supporting role, pushing his career before hers. And it's clearly true that she was hardly prolific during that time. Now divorced (and having suffered a miscarriage just a month after the initial separation) she set about changing this. Having turned down Jane Campion's visceral In The Cut, which arrived too soon after the Cruise trauma (Nicole would remain with the project as executive producer), 2003 would see her in three productions, beginning with Lars Von Trier's Dogville. This was a real oddity, with many of the sets and props shown only as lines on the ground. Kidman would play a young woman on the run from the Mob during the Depression, who's discovered by kindly Paul Bettany and, through his persuasion, a whole Rocky Mountain village decides to harbour her. The price she pays for safety, though, is hard labour and gross humiliation, for which she will eventually seek revenge upon the townsfolk. She'd move on to The Human Stain, adapted from the Philip Roth novel, where Anthony Hopkins played a college professor who, accused of racism, resigns in order to safeguard a painful secret. As the film discusses divisions in race and class, he now embarks on an affair with Nicole, a semi-literate janitor with a wife-beating ex-husband (Ed Harris, one of Kidman's co-stars in The Hours).
2003 would end with Cold Mountain, Anthony Minghella's American Civil War epic, where Nicole and Jude Law played lovers separated by the conflict, Law going off to fight. Upon the death of her preacher father, city-girl Nicole must now run a farm, aided by local yokel Renee Zellweger and constantly threatened by Ray Winstone, head of the home guard, who fancies her ass and her land. The movie was well-received (Nicole herself being Golden Globe-nominated for the 6th time), but not the huge success anticipated. Most were more interested in the constant flood of stories claiming that an on-set affair between Kidman and Law had broken up Law's marriage. Nicole denied all of them and, keeping up her former husband's habit of litigation, successfully sued British tabloids The Sun and The Mail, donating the proceeds to charity. She also began a relationship with rock musician Lenny Kravitz, which would last into 2004.
Movie-wise, 2004 brought first The Stepford Wives, a remake of Bryan Forbes' 1975 paranoia thriller. Here Nicole played a high-powered but recently sacked TV exec who moves to quiet Stepford with her husband, Matthew Broderick, who'd previously worked as her underling. Both are surprised to find the Stepford women, led by Glenn Close, are crazy-keen to be perfect little wives for their husbands, led by the supremely spooky Christopher Walken. Teaming up with town maverick Bette Midler, Kidman seeks the bitter truth behind the sickly sweet apple pie.
Far more controversial would be Birth, where a 10-year-old boy claims to be the reincarnation of widow Nicole's husband, now 10 years gone. Having finally entered a new relationship, she's frightened, shocked, hurt but eventually convinced, now facing the terrible problems of continuing her marriage in such taboo circumstances, particularly when she's threatened with police action. It was creepy stuff, but also sophisticated and intelligent, seriously questioning the audience in the way that movies should. The year would also see a reunion of sorts with her Moulin Rouge director Baz Luhrmann when she appeared in a 2-minute super-ad for Chanel No 5, having signed with the company in 2003 for a reported $7.5 million (around half of what she was now accustomed to receiving for a movie role).
Having dropped out of a new screen version of Mel Brooks' The Producers (she'd initially accepted the part of Swedish secretary Ulla when asked by star Matthew Broderick during the filming of The Stepford Wives), Kidman would for a while remain in the public consciousness purely due to rumours concerning her relationship with award-winning, million-selling country singer Karl Urban. Born in New Zealand and raised in Australia before going off to seek (and find) his fortune in Nashville, Urban had enjoyed a similar career path to Kidman's and the couple would be so well suited that, in June 2006, they'd marry after an 11-month courtship, tying the knot at the Cardinal Cerretti Memorial Chapel in Sydney, the venue pointing to a return by the bride to her earlier Catholicism. Six months earlier, having spent 12 years working for UNICEF and having been appointed Goodwill Ambassador for the UN's Development Fund for Women, Kidman had been made a Companion in the General Division of the Order of Australia due to her contributions to both the performing arts and health care.
With both American Darlings and Eucalyptus (in which she was slated to appear with Jennifer Lopez and Russell Crowe respectively) serially postponed, Kidman would next be seen - or rather heard - in the animated Happy Feet, where Elijah wood's young Emperor Penguin cannot sing as he should but sure can dance. Playing Wood's Marilyn Monroe-a-like mum, Kidman would here be reunited with her earlier mentor George Miller, as well as act alongside the latest Aussie film phenomenon, Hugh Jackman. 2006 would also bring Fur, a strange, artistic and visually imaginative exploration of the life and work of influential photographer Diane Arbus, who took an overdose and slit her wrists back in 1971. Considering herself a journalist on the streets of New York, Arbus was famed for her unflinching pictures of freaks, underground culture and troubled humanity and Kidman, as she had done in The Hours, would be forced to dig deep to make us care.
2007 would be another interesting and varied year for Kidman releases. First she'd return to horror with The Invasion, where spores from a crashed space shuttle would infect humanity and turn us into totalitarian weirdos. Kidman would play a Washington psychiatrist whose ex-husband, disease control expert Jeremy Northam, becomes infected. She'd then, with slight help from buddy Daniel Craig, attempt to save her young son and bring an end to the chaos. The third remake of Invasion Of The Body Snatchers, it was by far the weakest, possibly due to a crazy production cycle that saw director Oliver Hirschbiegel (Downfall, The Experiment) sacked when Warners thought his movie to be too dark, and replaced by writers the Wachowski brothers and director James McTeague. Small wonder the film seemed confused. There can be little doubt that Kidman would not have signed on for a remake directed by McTeague and written by the Wachowskis.
Kidman's next release of the year would be Margot At The Wedding, written and directed by Noah Baumbach, where she'd travel to the nuptials of her estranged sister Jennifer Jason Leigh. Kidman's a wound-up writer who's dumped her husband John Turturro and hopes to hook up with former lover Ciaran Hinds at a book signing. Meanwhile she and Leigh, who lives in the family home and plans to marry Jack Black, are constantly tearing into each other and, smart, articulate, selfish and cruel, they're really good at it. With its hidden agendas and deep conversations, the movie was a must for fans of Eric Rohmer.
Kidman's final movie of 2007 was a big one, The Golden Compass, intended to open a filmic trilogy based on the bestselling novels of Philip Pullman. Set in a world ruled by sinister religious group the Magisterium, this would see newcomer Dakota Blue Richards as Lyra, a young girl who must travel north to rescue her friend, encountering sky-borne pirates, polar bear warriors and flying witches, being aided by her uncle (Daniel Craig again) and Kidman's creepy Mrs Coulter, a rich sophisticate who's quite clearly up to no good. It was a shame that the movie did not fare well at the box office as Kidman's character would surely have blossomed in any sequels.
Now settled on a farm in Tennessee with her husband Urban and, as of July, 2008, daughter Sunday Rose, Kidman would concentrate on her next big project, Australia. This would be a reunion with Baz Luhrmann, with whom she'd made Moulin Rouge and that Chanel ad (and would have made a biopic of Alexander the Great had not Oliver Stone sneaked in there first). Here she'd play an English aristocrat in 1939 who, believing her husband to be cheating on her while he's running their ranch in north Australia, travels into the outback to see what's going on. When she arrives she discovers he's been murdered, an aborigine is suspected, and evil rancher Bryan Brown is threatening to take her property. Thus she joins drover (and former Happy Feet co-star) Hugh Jackman in a cattle drive to Darwin, a race against Brown that will see her triumph or be brought to ruin. It was a giant movie, a visual feast and a throwback to the great Hollywood melodramas of the past, with all the leads performing with style. However, perhaps because it was called Australia and not America, it did not recoup its huge budget at the US box office.
With a new family to look after, Kidman would now be quoted as saying she might leave film-making behind entirely. She'd certainly slow down, next being seen only in a minor role in Rob Marshall's Nine. Kidman might have worked with Marshall before but turned down the role of Roxie Hart in Chicago as she'd just completed Moulin Rouge and didn't fancy two musicals on the trot. Now she'd be ready to strut her stuff once again as Marshall attempted to film a stage show that had been a Broadway Tony winner in 1982, with Raul Julia, and again in 2003, with Antonio Banderas. For the film, the male lead would be taken by Daniel Day-Lewis, playing a 40-something film director in mid-life crisis, blocked on his next movie and haunted by the women in his life, both past and present. An eminent female cast would see Marion Cotillard as his wife, Penelope Cruz as his mistress, Judi Dench as his producer, Kate Hudson as a journalist who digs at him, and Kidman as Claudia Nardi, his protege, a glamorous actress he has led to fame and who has always served as his muse and inspiration.
Though we'll probably see less of her in the next few years, Nicole Kidman's still very much on the up. Can anything stop this Aussie firebrand, famed for her tinkling laugh, self-deprecating humour and crusading work on behalf of abused children? Perhaps only the humble bee - to which she is painfully allergic.