Kari and Maureen

Canadian actress. Matchett born in 1970, from Spalding in Saskatchewan, began her career in theatre when she relocated to Ontario. At the beginning of the nineties, she began her professional career on Canadian television. After that, she relocated to the United States and starred on The Secrets of Nero Wolfe Invasion Studio 60 on Sunset Strip Ambulance Earth. The Last Conflict. In 2001 she won an Gemini Award for her role in the Canadian television series The Department of Wet Cases. She played an ex-wife in several seasons Impact. In 2010 she played her role as Joan Campbell in the TV series Covert Operations. Cube 2 was a Canadian feature film that debuted in 2002. Hypercube. She also appeared as a character in Angel Eyes, Boys with Broomsticks and The Tree of Life . Divorced. The first child she had, a son named Jude Lyon Matchett was born in June 2013. Maureen O'hara..........................From her first appearances on the stage and screen Maureen O'Hara (b. Attracted the attention of audiences with her radiant red hair, striking beauty, and enthralling portrayals. Whether she was being taken from a gallows-bound Charles Laughton (The Hunchback of Notre Dame 1939) falling in the love of Walter Pidgeon against a coal-blackened sky (How Green Was My Valley, 1941) becoming a believer in the power of God through Natalie Wood (Miracle on 34th Street 1947) or sharing wits together with John Wayne (The Quiet Man 1952) the actress wowed audiences with her powerful presence and effortless confidence. Maureen O'Hara, the book-length biography of the famed screen actor who was dubbed by many as "the Queen of Technicolor" It is the first. Aubrey Malone uses new information taken from Irish Film Institute notes on productions and from historic film magazines, newspapers and fan magazines to trace the legend throughout her childhood in Dublin and then reaches the height of her popularity in Hollywood. Malone is also a bit more in-depth about her relationship with frequent co-star John Wayne and her relationship with director John Ford and he addresses the controversial issue of whether or not the screen diva could be considered a feminist, or an antifeminist persona. Although she was a symbol of film's golden era, her preference for privacy and her tendency to make public declarations that contradicted her personal choices make her an unpopular figure. This groundbreaking biography gives the first glimpse of who was behind her larger than life persona, delving into the myths in order to provide a fair assessment of one of the biggest stars of the silver screen.