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My whole point is that I don't know how she got a chance to be one of those aging stars in the first place. That's right, for all she doesn't bring to those movies, she's a part of them.
Seeming like a nice person should not have been enough. And with movies you love, you love them warts and all. Would I have preferred it if Linda Fiorentino had played Phil Conners' kind-hearted but sarcastic producer, or if Madeleine Stowe had played Charles' free-spirited American love interest?
In fact, I've associated these movies in my mind over the years, for one specific reason: They would both be even better without Andie Mac Dowell. She is, after all, a model-turned-actress, and she's only doing her best.
Over the years, I've made the argument to whoever would listen that literally any other actress of similar stature could have played these roles better. In fact, in my travels, I've discovered that most people have at least a mild dislike for Ms. Plus, she seems like a genuinely nice person, the kind of old-fashioned Southerner who might believe in old-fashioned Southern hospitality. She seems to be trying very hard, and not succeeding.
Graffiti from her childhood visits are preserved in an upstairs bedroom closet.
Her mother was an alcoholic and her parents divorced when she was six years old.
She also had roles in a number of less successful movies, including The End of Violence (1997), The Muse (1999) and Town & Country (2001).
Mac Dowell starred in several notable films, including Golden Globe Award-nominated performances in Green Card (1990) and Four Weddings and a Funeral (1994), as well as Groundhog Day (1993), Short Cuts (1993), Michael (1996) and Multiplicity (1996).
It seems hard to avoid noting that this drop in prominence coincided with her 40th birthday.
I'd instead like to think Mac Dowell was just long overdue to be put out to pasture.
In 1985, she had a supporting part as a doctor in St. Mac Dowell studied method acting with teachers from the Actors Studio, in addition to working privately with the renowned coach Harold Guskin.
Four years later, director Steven Soderbergh cast her in the independent film Sex, Lies, and Videotape (1989).