Pfeiffer plays it dead straight and gives it an enjoyable gloss. Lupine Jack, sprouting hair and fangs all over the place, has a fascinatingly dangerous sexual allure for the playfully sensual Laura as the secret of Will’s other life becomes clear. It is at this moment that the unhappy, rage-filled Will is bitten by a black wolf in the woods and turns into a werewolf. Pfeiffer plays Laura, the pert daughter of the wealthy mogul who takes over a publishing house and fires Will (Nicholson), the growlingly saturnine editor-in-chief, and replaces him an obnoxious smoothie who is having an affair with Will’s wife. Both in their 90s superstarry pomp, they find themselves in a ripe high-concept fantasy: a rare, perhaps unique, example of “romantic horror” that can claim to be an ancestor of the Twilight series. Pfeiffer’s second pairing with Nicholson on this list. It is a bizarre notion, but Pfeiffer is engagingly like a mix of Marlon Brando and Susannah York playing Superman’s parents in the 1978 film. Janet has to be rescued after miniaturising herself to a subatomic size to fly into a rogue nuclear missile to disable it, then finds herself unable to get back out. Why on earth shouldn’t Pfeiffer find her career third act in superhero films (along with Michael Douglas, Ian McKellen, Patrick Stewart etc)? In Ant-Man and the Wasp, with Paul Rudd as Ant-Man and Evangeline Lilly as the Wasp, Pfeiffer plays Janet, the mysterious mother of Lilly’s character, Hope. If there had not been a strict British thesps rule for the Harry Potter movies, she could easily have found a berth there.
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She relished the panto nastiness and absurdity of the role, but stayed Pfeiffer-classy at the same time. Despite being a bit overwrought, it gave Pfeiffer a perfectly decent showcase in the witchy role of Lamia, a British-voiced sorceress who is on a fanatical mission to find the source of eternal youth. This ornate Gilliam-esque fantasy, taken from Neil Gaiman’s novel, was the other film that brought Pfeiffer back to the screen in 2007. In a way, the women and Nicholson are in danger of cancelling each other out, but it is a strong performance from Pfeiffer. Pfeiffer plays one of three single and discontented women (with Cher and Susan Sarandon) in Eastwick, Rhode Island, who have their own little coven and whose intimate conversations supernaturally summon a certain diabolic man they want to meet, played with much eyebrow work by Jack Nicholson. It is a wackily OTT fantasy comedy based on John Updike’s novel, which perhaps reveals much about how Updike saw himself. One of Pfeiffer’s “witchy” roles, but atypical in that it is from her starry heyday. Hair raising … Pfeiffer (far right) with Cher and Susan Sarandon in The Witches of Eastwick. Pfeiffer gets a sexy moment, reprising the song Big, Blonde and Beautiful, attempting to seduce Tracy’s dad (Christopher Walken). Velma is icily opposed to a suggestion from the wide-eyed dance contestant Tracy Turnblad to bring white and black people together on the show.
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Here, in a remake of John Waters’s Hairspray of 1988, she plays the ruthless dragon-lady and former beauty queen Velma Von Tussle, the gimlet-eyed TV station chief in charge of a 60s pop music TV programme called The Corny Collins Show this has a segregationist attitude to black music, permitting it appear once a month on something it calls “Negro Day”.
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Pfeiffer returned to Hollywood after a five-year family break with this film (and Stardust, below) and it signalled a new career phase of character parts, comedy roles and wicked-witch turns. She nicely plays off the pouting petulance of Rupert Everett’s Oberon and there is something sweetly romantic in her magical infatuation with Bottom, played rather self-effacingly by Kevin Kline. She is queenly and self-possessed, with a British accent that puts the brakes on her line readings. At any rate, she is a gentle and serenely charming Titania in Michael Hoffman’s version of A Midsummer Night’s Dream, which updates the action to 19th-century Tuscany. The sole Shakespeare on the Pfeiffer CV (it is a shame that she hasn’t done more, maybe Gertrude or Volumnia).
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William Shakespeare’s A Midsummer Night’s Dream (1999)
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Pfeiffer sang the melancholy Never Forget over the end credits, with lyrics by Branagh.ġ9. The film has Pfeiffer in one of her late-career grande dame roles: the manhunting American widow Mrs Hubbard, which she plays a little softer than Lauren Bacall, who had had the role in the 1974 version. Kenneth Branagh’s all-star revival of the classic Agatha Christie murder mystery gives us a traditional exotic cross-section of high society (with picturesque servants and bits of rough) on board the snowed-in Orient Express, on which someone has been whacked.