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Mark would now make a name for himself taking pictures (mostly of grand houses and other architectural wonders) for Country Life and other magazines.Люди, признайтесь, а нет ли среди вас желающих попереводить на досуге биографию Файнса с английского?
Я в меру своих более чем скромных сил пробежалась глазами по диагонали - так вот, впечатление такое, что статья и впрямь весьма отличная о похоже, что даже полная. По-моему, перевести ее для сайта стоит, дело лишь за волонтером.
Только большая уж очень, собака!..
Не то, чтобы мне было лень написать биографию самой. Пробема в том, что материалов для ее написания крайне мало, и их крохи приходится кропотливо наскребать по многочисленным переводным статьям, а информация, содержащаяся в таких статьях зачастую противоречива и далеко не всегда корректна. Лажу же писать очень не хочется - на мой взгляд, уж лучше вообще ничего не писать, чем заниматься художественным пересказом чужих сплетен.
Биография же, о которой идет речь, размещена на основном англоязычном фан-сайте в разделе "Биография", так что если нельзя доверять этому материалу, то чему же тогда можно доверять вообще?..
В общем, вот:
(копирую с сайта, а то там шрифт очень мелкий)
http://ralph-fiennes.net/>index.php?id=110
Biography: Ralph Fiennes
By Dominic Wills
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Ralph Fiennes is notoriously hard to pin down. He made his cinematic debut as a smouldering Heathcliff in Wuthering Heights and was Oscar-nominated for the war-torn love-story The English Patient, yet he is not really viewed as a romantic lead actor. He was famously terrifying as camp kommandant Amon Goeth in Schindler's List and deeply disturbing as serial killer The Tooth Fairy in Red Dragon, yet he's not considered a villain. He played an arch John Steed in The Avengers and fell for Jennifer Lopez's serving-girl in the rom-com Maid In Manhattan, yet is not seen as a comedian. The truth is, he's simply a superb character actor - any character, any situation.
And he always brings something extra to his roles, something that may have been in the script but is extremely difficult to understand and express. This is human complexity. Perhaps due to his genes, his itinerant childhood, his unusual family life, Fiennes seems to have a remarkably strong grasp of people's weaknesses, their idiosyncratic thought processes, their troubles. His heroes are always flawed - confused, angry, vacillating - and his villains are always vulnerable, wishing to walk the path of righteousness but fatally undermined by other, darker compulsions. Consequently a Fiennes performance, even in legendary duffer The Avengers, is always fascinating. He muddies the waters around him, makes us peer more closely at movements on the screen, opens us up for surprise. His success is not simply down to his looks or his natural charisma - though he has both in spades - but a mighty emotional intelligence and a hard-won access to feelings of loss, loneliness, alienation, perturbation of every sort. Fiennes is not always easy to watch, but still you cannot turn your eyes away. He's a brilliant actor, quite brilliant.
He was born Ralph Nathaniel Fiennes at East Anglia General Hospital, Ipswich on the 22nd of December, 1962. His father, Mark, son of an industrialist, was Eton-schooled but, after spells working on sheep stations in New Zealand and Australia, returned to England in the Fifties to undergo a training in agriculture and become a tenant farmer near Southwold in Suffolk. In 1962 he would marry Jennifer Lash, known as Jini, an author who the year before had published her first novel, The Burial. Jini, a child of the Raj, had until the age of six lived in India where her father was a colonial administrator. Her family was academic, cerebral and remote - her uncle Sebastian was a Benedictine monk and her brother Nicholas a priest who became a theology professor at Cambridge. Jini was more artistic. Rebellious at school, she was diagnosed as mentally unstable, even "hysterical", and left at 16. At 23 she would write The Burial and quickly follow it with The Climate Of Belief.
Her writing, though, would stop as the family began. Ralph would be followed in quick succession by Martha, Magnus, Sophie and twins Jacob and Joseph (later a film star himself). Michael Emery was adopted in 1963, when he was 11. It was a big family, but not hierarchical. As the eldest Ralph enjoyed no privileges but, he's said, always felt part of a team. Believing that there was no higher calling than the arts, Jini would constantly encourage her children to paint, to read, to perform. Despite their complaints there would be no TV in the house. Further inspiration would come from father Mark, for years a keen home-movie maker and a fine artisan, particularly in the field of carpentry. For a long time Ralph's favourite toy would be a replica of a Victorian theatre. He loved this fantasy world of glamour and false perspective, this empty place he could fill with the contents of his own mind.
Mark's skills would help keep the family afloat as farming was not a lucrative pursuit. He'd buy houses and do them up for resale, and the family would move wherever he found premises to improve - Wangford and Blythburgh being just two. Thus Ralph's youth would see him live in 15 different places (lucky he had a big family, because he didn't have long-term friendships). In 1969, Mark would decide on a major change of direction. He'd continue the building to finance a new career in photography. Soon the family would move again, this time to Dorset, where he'd cover local horse trials and weddings, and take portraits of clients. Jini, meanwhile, having ditched the writing, was putting much of her spare energy into painting. A Catholic by birth (Ralph would disappoint her when refusing to attend church in his early teens), she'd come to explore other religions - Sufism, Buddhism, paganism - and all of this would inspire works of great mystery and sprituality.
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Commissioned to photograph a house in Ireland, Mark decided this would be the ideal place to escape the rat race, so he bought a plot of land on Sheep's Head by Dunmanus Bay, County Cork (the next bay down from Bantry Bay) and helped to build a house he'd designed himself. Here a narrow shingle beach would separate a tiny sea-cove from a freshwater lake. Mark would take the kids out mackerel fishing in a small boat. At carnival time he'd build a wooden ark for the kids to carry, all of them wearing home-made animal heads.
It sounds an idyllic existence, but Mark's plan to finance it by designing and building houses in the west of Cork proved unrealistic. Eventually he'd buy and begin to renovate a large Georgian town-house in Kilkenny and, along with Jini, design a series of black and white postcards featuring beautiful landscapes and philosophical snippets, called "Insight cards". Having attended a Quaker school, when the money ran out and the fees could no longer be paid young Ralph was now sent to St Kieran's, a Catholic college in Kilkenny. Another move, another alienation. But home-life was still fulfilling. Ralph inherited his father's interest in military history and became a keen and skilled model-maker, concentrating on cavalry. Encouraged to read (especially Shakespeare) and paint by Jini, he'd also be given recordings of songs and poetry read by actors, thereby building an appreciation of the power of words. After appearing in a school play, his mother would tell him that he could become an actor. She already knew he liked to perform. When a conjuror at a kids' party asked if anyone would come up to help, Ralph was first on his feet. When a song was required, he sang, and kept singing despite the conjuror's evident annoyance.
But there was a darkness, too. Clearly ongoing financial worries and constant changes of environment can have done little for Ralph's sense of security, despite his parents' best efforts to keep things stable within the home. And such changes, where a child is continually tossed into the new, forever surrounded by unfamiliar faces, makes them distant, perennial outsiders. Famously, at one kids' party, Ralph would ask on arrival if the hosts had a puzzle he might work on. Joining in with the strange tumult was not for him, he prefered to be alone with the imagination his mother had so assiduously fed. Over 20 years later, once he'd split from wife Alex Kingston, Kingston said that Ralph would use this distance, this other-ness, as a social weapon, deliberately being heavy and morose at dinner parties in a passive-aggressive demand for attention.
Beyond this, Jini, earlier diagnosed as "unstable", was up and down and Ralph's sisters would later say that Ralph shared his mother's dark side. Though he was not as emotional as her, they remembered, they felt he had a real understanding of sadness and distress.
Come 1976, the Irish adventure having come to nothing, Mark would move the family back to England, to Salisbury where the girls would attend a convent and Ralph the Bishop Wordsworth grammar school. Mark would now make a name for himself taking pictures (mostly of grand houses and other architectural wonders) for Country Life and other magazines. He'd later collaborate on several tomes about Ireland, work with former Prime Minister's wife Norma Major on a book about Chequers, and on histories of Elizabeth I and Mary, Queen of Scots - 25 books in all. Jini, meanwhile, would return to writing, bringing in nannies to look after the kids and in 1977 releasing Get Down There And Die. Ten years later, discovering she had breast cancer and undergoing a painful operation, she would write the renowned On Pilgrimage, an inspirational work which saw her travel to Lourdes, Lisieux, Santiago de Compostela and many other sacred sites.
For a while Ralph would be keen to turn his hobby into a career and join the army. His father later recalled the whole house shaking each night as his eldest son performed marine-style one-armed press-ups in his room. But a visit to a regimental barracks would turn the boy off. It was a grey place, dismal in the rain, thoroughly uninspiring. Instead, he'd take his mother's lead and move on to study painting at the Chelsea College of Art and Design, living in his dad's Clapham flat and cycling in to college each day. This didn't last, either. During a foundation course deliberately designed to steep students in new ideas and wash away their preconceptions, Ralph realised that actually painting was not his vocation. He wanted to act. And so, in 1983, he auditioned for RADA.
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Under the tutelage of the famed Hugh Crutwell, Fiennes would flower at RADA. Alongside fellow students Imogen Stubbs, Iain Glen, Jane Horrocks and Clive Owen, he'd learn songs, poems and plays, his earlier home experience giving him an edge, winning him prizes and earning him the nickname "the voice beautiful". If he had one failing it was in movement. He'd always been uncoordinated, very bad at sports and dancing, too tense to move freely. Yet he would improve markedly, particularly in stage-fighting. Indeed, along with Glen he would compete in the school's fight competition, performing a right barney with rapiers and daggers that went on for ages and won them top prize. He'd also win a girlfriend in fellow student Alex Kingston, already known as the school bully in TV series Grange Hill, but now aiming at more serious thespian goals. They would be together for the next deacde and more.
Graduating from RADA in the class of 1985, with Shakespearean prizes to his name, Fiennes followed the time-honoured route into provincial rep to increase his experience. At the Welsh Theatr Clwyd he performed in Night And Day and See How They Run, then he moved on to Oldham for Me Mam Sez, Don Quixote and Cloud Nine. Next he would join the New Shakespeare Company and begin a run at the Open Air Theatre in London's Regent's Park that would see him rising rapidly through the ranks. Beginning as a footman in Anouilh's Ring Round The Moon, he'd then play Curio in Twelfth Night and Cobweb in A Midsummer Night's Dream. The next season, though, he'd play Lysander in A Midsummer Night's Dream (this production would be taken on a tour of Europe) and then take the male lead in Romeo And Juliet.
Fiennes' Romeo was very well received and saw him, in 1987, taken on by the Royal National Theatre. With them he'd perform in Pirandello's Six Characters In Search Of An Author at the Olivier, he'd be Arkady in Turgenev's Fathers And Sons at the Lyttelton, and then Lisha Ball in Nick Darke's Ting Tang Mine at the Cottesloe, all three productions being directed by Michael Rudman. It was great exposure and another springboard as he was, in 1988, invited to join the Royal Shakespeare Company. His audition, as Berowne in Love's Labour's Lost, was described by RSC director Adrian Noble as one of the three best he'd ever seen.
In his first season with the RSC, Fiennes would play Claudio in Much Ado About Nothing at the Royal Shakespeare Theatre, then the Dauphin in Deborah Warner's studio version of King John at The Other Place. There'd also be a breakthrough of sorts when he was outstanding as a grave and edgy Henry VI in Adrian Noble's epic The Plantagenets. 1989 would then see him reprise his roles in King John and The Plantagenets at the Pit and the Barbican Theatre respectively. Briefly stepping away from Shakespeare, he'd now play Bert in The Man Who Came To Dinner, still at the Barbican, then Gant in Stephen Poliakoff's Playing With Trains, before rejoining the RSC for their 1990-91 season. As a member of director Terry Hand's final troupe, he'd star as Troilus in Sam Mendes' Troilus And Cressida at the Swan in Stratford, then shine as Edmund in Nicholas Hytner's King Lear and Berowne in Love's Labour's Lost, directed by Hand himself. All three productions would then move down to the Barbican. In King Lear, the part of Cordelia would be taken by Alex Kingston, who'd joined her boyfriend in the company in 1990.
By the time Fiennes left the RSC in 1991 it had already given him a major break. He'd been spotted by famed film producer David Puttnam who'd cast him in the TV movie A Dangerous Man: Lawrence After Arabia. Here he'd followed in the footsteps of Peter O'Toole, but this time the great war hero was embroiled in a political battle, attending the 1919 Paris Peace Conference and fighting for some form of justice as the Brits, French and Americans bickered over rights to oil and land in the Middle East. The film said much about Arab desires, needs and attitudes and is perhaps even more relevant today. Another success would be Prime Suspect, where top cop Helen Mirren would attempt to catch a serial killer while being bullied, derided and disobeyed by her male subordinates. Fiennes would appear as the boyfriend of one of the victims, slightly shady and another suspect.
Having left the RSC, Fiennes would make his cinematic debut in 1992 and the role he chose was telling - Heathcliff in a new adaptation of Wuthering Heights. Clearly the taking of such a romantic lead was proof positive of Fiennes' ambition. Then again, anyone who's read the book knows Heathcliff to be brutish and brooding, almost wholly unpleasant, not really even redeemed by the impressive intensity of his feelings for Catherine Earnshaw. A good actor could have a field-day with Heathcliff, dig into his bitter and poisonous nature. And maybe smoulder a little for the ladies. As the film, unlike its predecessors, attempted to cover the whole book, this was a great chance and Fiennes took it, stalking the wondrous Yorkshire landscapes, bringing his own sense of anger and alienation to a character that desperately needed it. It could have worked well, unfortunately there was little chemistry with co-star Juliette Binoche who was certainly moody but lacked outward passion - she was just too damn French for the part. The pair would fare better when they next co-starred, some four years later. But Fiennes' efforts were far from wasted. His performance, more particularly his violence, his self-hatred and his inner void, were spotted by Steven Spielberg. Spielberg was looking for a fellow with just those qualities, and his call would change Fiennes' life completely.
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Before the pair's collaboration was unleashed upon the public, though, Fiennes would be seen in two other productions, both high-calibre oddities. First would come the literary horror of The Cormorant where he played a teacher who inherits an isolated North Wales cottage from his uncle and moves there with his wife and baby son. The only condition set is that Fiennes must care for the uncle's pet cormorant, a malevolent bird that seems to cast an evil spell over the child and bring bad luck to the family. As the tension rises and the situation becomes ever more Poe-like, Fiennes decides to go against his uncle's wishes and destroy the satanic avian. Following this would come Peter Greenaway's outrageous The Baby Of Macon. A lavish 17th Century drama concerned with the destruction of innocence, this would see beautiful Italian peasant Julia Ormond claiming to have immaculately conceived the baby of the title, thereby winning power and status. This, of course, does not sit well with Church leaders and Fiennes, son of the bishop, is sent to investigate. But the situation spirals out of control as Ormond attempts to seduce him, the baby proves to be more than a tad demonic and it all reaches a religiously ordained conclusion that stands as one of the most horrific scenes in cinema's history. The film, as Greenaway must have predicted, caused much disturbance and was refused entry to many theatres, most prominently in America. Nevertheless, it was visually stunning and gave Fiennes an opportunity to waver brilliantly.
And now came Spielberg and Schindler's List. Having made his film debut only the year before, this sent Fiennes into the stratosphere as he turned in a fantastic performance as Amon Goeth, kommandant of the death camp near the factory where Liam Neeson is harbouring hundreds of Jews. A diet of Guinness had made Fiennes slightly flabby, accentuating his character's lack of self-control, as he veered wildly between charm and casual murder. It was perfect for Fiennes as Goeth wishes so desperately to become Schindler's friend, to be a charismatic and cosmopolitan socialite like him, yet is undone by his own emptiness, disaffection and rage. His inner displacement is seen in several incredible scenes, none better than when he seems to be recognising Jewish girl Embeth Davidtz as a human being, only for his humanity to be replaced by bestiality as he adminsters a brutal beating. It was quite right that Fiennes was Oscar nominated for his efforts, and really beyond the pale that he should've been denied by Tommy Lee Jones' turn in The Fugitive.
As Fiennes career was reaching this new high, his private life was in turmoil. His mother, Jini, had been suffering from breast cancer for some seven years and now it would take her life. She would die two weeks after being wheeled in to see her son's triumph in Schindler's List. Ralph, of course, was mortified, but it was to get worse. Work schedules had kept him and Alex Kingston apart for long periods and their relationship was at its weakest. Thinking (foolishly, in retrospect) that an official bond might bring them back together, they were married. There would be more pain to come.
Now a name in Hollywood, Fiennes would move on to Robert Redford's Quiz Show, again being cleverly cast, this time as Charles Van Doren, a blue-blood American who became a popular champion on Fifties quiz show Twenty-One only to be revealed as a cheat and publicly humiliated. It was another great part for Fiennes, seduced by the money and fame, charming the congressional investigator sent to bury him, then suffering the pangs of guilt and remorse as he admits his misdemeanours to his eminently respectable father, his Shakespearean hero Paul Schofield (he'd earlier seen Schofield as Lear at the National). To perfect Van Doren's voice (the family not wishing to be involved in the production), Fiennes would drive out to the old man's Connecticut home and, seeing him sat on his porch, would pretend to be lost and ask him directions.
Fiennes next Hollywood effort would be radically different from anything he'd yet attempted. This was Strange Days, an ambitious mixture of sci-fi and noir, written by James Cameron and directed by his partner Kathryn Bigelow. Set around the millennium celebrations of 1999, the film would see Fiennes as Lenny Nero, a former cop who's now a cheap hustler, peddling recordings that - as in Brainstorm - allow people to vicariously experience the lives of others. Naturally, the industry has turned seedy and clients are seeking porn and snuff software. Fiennes himself is addicted, constantly replaying memories of happy times with former girlfriend and rock singer Juliette Lewis, and his abiding love leads him to try to save her from the grip of super-crim Michael Wincott as Los Angeles is rocked by race riots and giant celebrations. Though it was a box office failure, Strange Days was a fascinating movie, and all the more so due to Fiennes' sweaty, self-seeking, cowardly but oddly moral anti-hero.
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As said, one of Fiennes' greatest strengths as an actor is his ability to have his characters' thoughts appear on his face and in his eyes. Where many actors find an appropriate emotion and stick with it, Fiennes follows complicated (and real) thought patterns and you see it all flash across his face. He's one of the very few worth watching in slow motion. So, after the excess of Strange Days, it was no surprise that he should return to the stage and take on the most famously wavering character of them all - Hamlet. Directed by Jonathan Kent, staged at London's Hackney Empire and then transfering to Broadway's Belasco Theatre, this production would be a huge success for Fiennes, making him the first actor to ever win a Tony for a portrayal of the tortured Dane. But the run would bring him much more than kudos and awards. Nobody would have been overly shocked had he fallen for his Ophelia, Tara Fitzgerald, but the tabloids went barmy when it was revealed that he had begun a relationship with Francesca Annis, 18 years his senior, who'd been playing his mother Gertrude. The reviews certainly noticed that sparks were flying, noting Fiennes' and Annis's "passionately physical confrontation" and the "raging Oedipal intensity".
For a while the affair was secret, but then Annis would leave photographer Patrick Wiseman, her partner of 22 years standing. Alex Kingston would later recall how Fiennes travelled up to see her in Manchester where she was filming the miniseries Moll Flanders at the beginning of 1996. She thought he was going to suggest they go away together after the shoot, she remembers him as being bright and breezy. Instead he informed her that he was in love with Annis and the marriage was over. They'd divorce in 1997.
Kingston was hit hard but bounced back quickly. Moll Flanders was an international hit, mostly due to her buxom vivacity, and led to her scoring a meaty role as Dr Elizabeth Corday in TV series ER. Coincidentally, her success with Moll Flanders mirrored the earlier period piece triumphs of her love rival Francesca Annis who, in the Seventies, had been superb in Polanski's Macbeth and lauded for her TV portrayals of Madame Bovary and Lillie Langtry (though many would now know her better for her spots in the fantasies Dune and Krull). Annis, like Fiennes, was also a top-line Shakespearean, having played Ophelia to Nicol Williamson's Hamlet in 1969 and spent the mid-Seventies with the RSC when she'd be Juliet to Ian McKellen's Romeo. Really, as a thespian couple, Fiennes and Annis were even more impressive than Kenneth Branagh and Emma Thompson.
After Hamlet, Fiennes had moved immediately into his next film project, Anthony Minghella's The English Patient. This would begin with a horribly burned Fiennes being cared for by nurse and former co-star Juliette Binoche in the final days of WW2, then flash back to see him as a pilot mapping the desert and, amidst the social whirl of pre-War Cairo, falling for Kristin Scott Thomas, newly married to Colin Firth. Employing scenes of sweeping grandeur and extraordinary intimacy, the film would gradually piece together Fiennes character, the romance and the tragedy, and Fiennes would be Oscar nominated for the second time. It can only be guessed how much he drew on his own personal experience as his illicit affair with Francesca Annis blossomed.
With Oscar nominations having rained down on Schindler's List, Quiz Show and The English Patient, Fiennes kept to high-quality literary material for his next outing, an adaptation of Peter Carey's Booker Prize-winning Oscar And Lucinda. Here Fiennes would play the shy son of stern minister Tom Wilkinson (who'd earlier appeared in Prime Suspect). Having become a priest himself he takes off for Australia, on the boat meeting headstrong Aussie country girl Cate Blanchett. He's obsessive, she's compulsive and they both like a gamble, so she uses her inherited glassworks to build a glass church and together they attempt to float it down river and into the outback. It was an odd kind of love story, but witty and well-rounded and unfairly ignored.
1997 would also see Fiennes return to the stage when he reunited with his Hamlet director Jonathan Kent to play the title role in Ivanov, a production that opened at London's Almeida then moved on to Moscow. The next year, though, would be less fruitful as he suffered his first filmic catastrophe in The Avengers. It sounded good on paper - Fiennes as Steed, Uma Thurman as sexy, kickboxing Emma Peel, getting together to stop wicked Sean Connery taking over the world with his ingenious weather machine - but it was a disaster. Test screenings went very badly, persuading studio bosses to hack the movie from 150 minutes to around 86. Continuity and narrative errors now abounded. Worse, Fiennes and Thurman lacked that certain something, Fiennes saying himself that there was "some spark not there" (he added "I looked crap in that bowler hat").
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Added to his Strange Days experience, The Avengers had Fiennes feeling burned by Hollywood. Having provided the voice of Ramses in Prince Of Egypt, Dreamworks' first animated challenge to Disney, he'd keep away from mainstream productions for some four years. Of course, he'd still be busy and 1999 would see three more releases. First would come Sunshine where he'd play three characters, each from successive generations of Hungarian Jews and each suffering under three successive regimes - the empire, the Nazis and the Communists. His second character would perhaps offer the greatest challenge, a military man who's won Olympic gold and simply cannot believe that he's going to die along with the rest in a concentration camp.
Next would come Onegin, a real family affair with sister Martha directing, brother Magnus composing and Francesca Annis appearing. Based on Pushkin's epic verse-novel this would see Fiennes as a 19th Century Russian aristocrat who wins the heart of Liv Tyler but prefers to dally with his friend's wife Lena Headey. After duels, death and exile, he realises he's made a boo-boo on the Tyler front but, as is the case in most Russian literature, it's just too late. Everyone suffers. It was worthy stuff, slow and involving, but it lacked edge.
This could not be said of Fiennes' next effort, The End Of The Affair. His brilliant way with complex and flawed characters made it inevitable that he would eventually be drawn to Graham Greene, and the combination did not disappoint. Directed by Neil Jordan, the movie would move between periods before, during and after WW2 to gradually reveal the whole truth of an affair between Fiennes and Julianne Moore, wife of his friend Stephen Rea. Examining love and loyalty, passion and jealousy it was a really excellent drama with fine performances by all concerned - though Moore would be the only one Oscar nominated.
Returning to the stage in 2000 in Jonathan Kent's productions of Richard II and Coriolanus, first in Shoreditch then on Broadway, he'd also play Proust in a TV drama-documentary and lend his voice to Jesus in the claymation biography The Miracle Maker (Ian Holm and Miranda Richardson would also contribute). Fiennes would then disappear for a full two years. When he returned to our screens, in 2002, it would be with a bang. First would come David Cronenberg's extraordinary Spider, a psychological drama based on Patrick McGrath's novel. Here he'd play the title role of a man just released from a mental institution and moving in to Lynn Redgrave's boarding house. Wasted, mumbling and chain-smoking, we see him wandering through blasted industrial landscapes, revisiting the scenes of his childhood, in his memories and hallucinations picturing beatings, traumas and murders, perhaps or perhaps not making sense of his tragic past. Miranda Richardson would be there again, playing his mother, stepmother and a dream-version of Redgrave as he falls into his memories, unable to change a thing. It was tough, freaky, fantastic stuff.
Next there'd be a brief cameo for his friend Neil Jordan in The Good Thief, more or less a remake of Bob Le Flambeur. Here Nick Nolte would play a career criminal, a good guy who simply can't help breaking the law, who plots to steal paintings from a casino on the day of the Monte Carlo Grand Prix. Fiennes would appear in just two scenes, but would stand out as a kinky art dealer and fence who's cheated by Nolte and utters the classic line "If I don't get my money back by Monday what I'll do to your faces will definitely be cubist".
His other two movies of 2002 would be almost diametric opposites. Red Dragon, a remake of Michael Mann's Manhunter, would see him as Francis Dolarhyde, AKA the Tooth Fairy, a serial killer so revolted by his own appearance he sticks shards of glass in his victims eyes so they cannot even appear to look at him. Desperately damaged, he seeks to fit in to society, even attempting to build a relationship with a blind Emily Watson, but he also knows he'll be forever undermined by psychotic tendencies he can't help but indulge. Dolarhyde could have been vile but Fiennes, who knows the dark, somehow made him sympathetic, plausible, a human being, not a monster. Yet he was still tremendously dangerous, a serious threat to Ed Norton, an agent using Anthony Hopkins' Hannibal Lecter to solve the case.
Maid In Mahattan could not have been more different. Here Jennifer Lopez would play an ambitious hotel worker who Fiennes, a Republican senatorial candidate, mistakes for a rich guest. Smitten, he tries to woo her and so, with the help of veteran butler Bob Hoskins, she tries to keep up the charade. Sounds ridiculous but it was surprisingly charming and a big hit to boot, along with Red Dragon marking Fiennes triumphant return to the Hollywood fold.
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Once again there'd now be a seeming hiatus in his career, but it was, once again, simply a case of the timing of his releases. Though he'd not be seen onscreen again till 2005 he was actually extremely prolific. December 2002 saw him play Carl Jung in the world premiere of Christopher Hampton's The Talking Cure at the Cottesloe. In the spring of the next year he'd rejoin the RSC to take the lead as the fiercely moralistic Lutheran pastor in Adrian Noble's adaptation of Ibsen's Brand, first at the Swan in Stratford, then at London's Haymarket. There was also a big let-down when he failed to win the part of Captain Hook in PJ Hogan's magical screen version of Peter Pan. This was especially galling as it was the only part Fiennes had ever actively pursued.
And there had been filming, lots of it. 2005 would bring no fewer than five new Fiennes releases. First would come The Chumscrubber, a tale of suburban American nuttiness reminscent of American Beauty and Donnie Darko. Here Jamie Bell's drug-dealing best mate dies and people are after his stash. They attempt to kidnap Bell's brother to make him talk but instead nab the son of his neighbour, Rita Wilson, who doesn't even notice as she engrossed in planning her wedding to mayor Fiennes. Next would come Chromophobia, again directed by his sister Martha, a challenging oddity where people from the different strata of London society come to betray themselves and others. Fiennes' English Patient co-star Kristin Scott Thomas would play a shopaholic, neurotic art dealer with Fiennes as her gay art historian friend, undone by his desire for young male flesh.
The following three releases would be far grander in scale. Taken from the John Le Carre novel and directed by Fernando "City Of God" Meirelles, The Constant Gardener would see Fiennes as a diplomat in Africa who engages in a passionate affair with political activist Rachel Weisz. They marry, she's murdered and his investigations point to an appalling conspiracy concerning drug company activity in the Third World. It would be another great role for Fiennes. An indecisive character, he'd endure both ecstasy and grief before being forced into action, and his efforts would see the film lauded as one of the best of the year.
Now would come another challenge as he entered the realm of fantasy with Harry Potter And The Goblet Of Fire, the fourth instalment in the franchise (Miranda Richardson would also be making her Potter debut). Potter is now older and engaging in wizardry contests with other schools, as well as noticing girls. Enter Fiennes as Lord Voldemort, a former Hogwarts pupil and heir to Slytherin House, who leads the evil Death Eaters and has murdered Potter's parents in his quest for eternal power. In short, he's the embodiment of pure evil. The Francis Dolarhyde experience would come in useful.
A world away from Potter would be Fiennes' last release of 2005, The White Countess, the final movie from the Merchant/Ivory team. Based, as was their classic The Remains Of The Day, on a novel by Kazuo Ishigura, this saw Fiennes as a blind former diplomat in 1930s Shanghai, burnt out but dreaming of opening a bar that will be the last word in decadence. Meeting taxi driver and hooker Natasha Richardson (who'd earlier appeared in Maid In Manhattan) he believes she'd make a perfect hostess and tries to prise her away from her fallen Russian aristocrat family, all the while ignoring the impending threat of a Japanese invasion.
2005 had also seen Fiennes back onstage, this time reuniting with Deborah Warner and playing Mark Antony in Julius Caesar, first at the Barbican then on a European tour. The work would help take his mind off the recent death of his father Mark. He'd also tread the boards the next year, directed once more by Jonathan Kent in Brian Friel's Faith Healer, playing the travelling faith healer of the title, with Tony-winner Cherry Jones as his wife and Ian McDiarmid his loyal manager. Fiennes would deliver two of the play's four monologues, first at Dublin's Gate Theatre then at the Booth Theatre on Broadway.
Onscreen the same year would see him in Land Of The Blind where he'd play a guard at a jail holding political prisoner Donald Sutherland, leader of a violent uprising against a Macbeth-style despot. Fiennes is gradually won over by Sutherland, and helps him, but then suffers as the new regime proves worse than the last. Less violent, but still intense, would be Bernard And Doris where he'd play the gay butler of Susan Sarandon's tobacco billionairess Doris Duke. When she dies and leaves him everything questions are naturally asked as to whether he manipulated her.
As an eighth cousin to Prince Charles and a closer relative of explorer Ranulph Fiennes, Ralph Fiennes might've been expected to make a success of himself. Never relying on his looks he has worked hard to become one of the finest British screen actors of modern times. That he has only two Oscar nominations to his name is absurd. Academy members - pull yourselves together.
p.s.
Есть еще здоровая идея разбить эту простыню на отдельные части и передать образовавшиеся куски героическим добровольцам. А я потом все склею, откорректирую и, если понадобится, приведу к единому стилистическому решению.
В "переводчике" же укажем несколько имен героев.
edit:
1 кусок переведен  heline, за что ей спасибо огромное :)
2 кусок находится в работе
3 кусок находится в работе
4 кусок переведен ![]()
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