Deborah Jane Kerr-Trimmer was born in Helensburg, a small town in Scotland on September 30, 1921. His father was a soldier who suffered from injuries caused during the First World War. Being a shy young man, discovered the interpretation as a means to express themselves. His aunt, who was a teacher of acting, he got some roles in plays while he was still a teenager.
During one of these interpretations Kerr was discovered by a British film producer, who contract for two films in 1941 (one of the classic Gabriel Pascal Mayor Barbara with Rex Harrison on the play by George Bernard Shaw). Kerr was successful and quickly became a budding star of British cinema in the hands of the Rank film company, speaking on titles of the caliber of Hatteras’s Castle (1942, Lance Comfort), adapted from a novel by A. J. Cronin, along with James Mason, Robert Newton and Emlyn Williams, the celebrated Colonel Blimp (1943, Michael Powell and Emeric Pressburger) with Anton Walbrook, considered by critics as one of the ten best films in the history of British cinema dangerous Separation (1945, Alexander Korda) next to Robert Donat, I see a dark stranger (1946, Frank Launder) coupled with the remarkable actor Trevor Howard or black Narciso (1947, Michael Powell), in a cast completed by Jean Simmons, Flora Robson and Sabu.
Shortly afterwards, the Metro-Goldwyn-Mayer hires and Kerr moved to Hollywood where he began a successful stage of unforgettable memories for all lovers of good cinema. Just to name a few titles, If winter comes out (1947, Victor Saville), interesting drama where Kerr was part of a cast to complement Walter Pidgeon, Angela Lansbury and Janet Leigh The hucksters (1947, Jack Conway), thriller where shared stage with Clark Gable, Ava Gardner and Adolphe Menjou, Edward, my son (1949, George Cukor) with Spencer Tracy, The mines of King Solomon (1950, Compton Bennett and Andrew Marton) sharing the bill with Stewart Granger and Richard Carlson, the superproduction held based on the novel by Henryk Sienkiewicz Quo Vadis’ (1951, Mervyn LeRoy) with Robert Taylor and the wonderful version of The Prisoner of Zenda Richard Thorpe shot again in 1952 with Stewart Granger and James Mason and Jane Greer.
Kerr felt, however, embedded in some kind of stereotypical female characters a bit, so I accept that in 1953 working for Columbia in From Here to Eternity, embodying a more free and independent character, despite being married to a Army and form a married couple, and a scene of passion and, for the time, quite erotica with Burt Lancaster, who Rozo and the scandal that broke with its image of virginal and naive heroine. The movie had great success for her screenplay (based on the novel by James Jones), artistic quality and distribution (Frank Sinatra, Montgomery Clift, Donna Reed, Ernest Borgnine ,…) and Kerr was nominated for an Oscar as best leading actress.
Since then, she began to demonstrate his enormous talent for drama in rich hues and evocative emotional implications and / or psychological, by applying the experience gained in strength as the basis for a theatrical method that is breaking through in the way to interpret the film. Alterno all kinds of roles in prominent films such as Julius Caesar (1953, Joseph L. Mankiewicz) sharing the bill with Marlon Brando, James Mason, Greer Carson and Louis Calhern, a Living Love (1954, Edward Dmytryk) alongside Van Johnson in a story on an autobiographical novel by Graham Greene, 1999 version by Neil Jordan with still greater fortune in “The End of the Affair” The King and I (1956, Walter Lang) with Yul Brynner and Rita Moreno also repeatedly carried the screen (the most recognized in 1946 with Rex Harrison and Linda Darnell, and the last in 1999 with Jodie Foster), and Te simpatia (1957, Vincente Minnelli), with John Kerr and Leif Ericson in a comedy of high society removed a successful play, only God knows (1957, John Huston), in one of his best performances alongside Robert Mitchum and the unforgettable You and I (1957, Leo McCarey) in the company of a huge Cary Grant, with which formed one of the best couples film that is remembered, and the successful drama home theater separate tables (1958, Delbert Mann) with Burt Lancaster, David Niven, Rita Hayworth, and Wendy Hiller made an oscar Morning, Sadness (1958, Otto Preminger), on the famous novel by Francoise Sagan, and the excellent dead Dias (1959, Henry King), where she performed her last great performance in 50 years as wife of the writer Francis Scott Fitzgerald (Gregory Peck).
Most film buffs were also in the smaller films, but where she saved her roles with grace, as Tempest in the East (1951, Charles Vidor) with Charles Boyer and Alan Ladd dream wife (1953, Sidney Sheldon) next to Cary Grant and Walter Pidgeon, The Virgin Queen (1953, George Sidney) and Charles Laughton, Jean Simmons and Stewart Granger, The heroes also cry (1956, George Seaton), a complete breakdown that William Holden and Thelma Ritter, or Red Sunset (1959, Anatole Litvak amid Anouk Aim e and Yul Brynner.
The 60s show that, despite their quality and commercial success of films in which, critics and the academy of cinema does not seem to be aware.
The Academy Award-winning filmmaker will direct Sinatra, the first feature film about Ol ‘Blue Eyes’ life, Universal Pictures and Mandalay Pictures said Wednesday. The film will be “an unconventional biopic,” said Mandalay Pictures President Cathy Shulman.
The House I Live In (1945)-to oppose anti-Semitism and prejudice at the end of World War II. It received a special Academy Award in 1946 (DVD)