Gregory peck audrey hepburn dating

Peck himself was nominated five times for an Oscar, for his roles in The Keys of the Kingdom (1944), The Yearling (1946), Gentleman's Agreement (1947), Twelve O'Clock High (1949) and To Kill a Mockingbird (1962).

Only on the last occasion did he carry off the prize.

The plot of the film turned on a battle for land - a subject dear to Peck, who acquired no fewer than seven cattle ranches.

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The fee of $1,000 a week helped him to forget his devotion to the theatre.

Peck put in a serviceable performance, but made far more of an impression as Father Chisholm in The Keys of the Kingdom (1944), from A J Cronin's novel which traces the life of a Roman Catholic missionary in China.

Twelve O'Clock High (1949) presented him dithering traumatically as the commander of an American bomber unit who is obliged to send his crews to their deaths over Nazi Germany.

In The Gunfighter (1950) he was superb as Johnny Ringo, at once weary of shooting upstarts less quick on the draw and haunted by the eventual certainty of death at the hands of a younger man. In Yellow Sky (1948) Peck was the leader of a gang of robbers - albeit one that reformed by the end of the film - who are chased into a salt flat after holding up a bank.

Yet the quintessential Peck invariably gave the impression of being under moral stress.

He excelled at portraying a conscience at work, and the audience were never surprised when he finally came to the righteous conclusion.

Under President Nixon he received the supreme accolade of being listed by the White House as an enemy, though President Johnson, awarding him the Medal of Freedom in 1969, had called him "a humanitarian to whom Americans are deeply indebted". In Duel in the Sun (1946) he was the leering and sardonic seducer of Jennifer Jones; in The Great Sinner (1949), a film inspired at some remove by Dostoevsky, he appeared as a young writer who becomes a compulsive gambler.

He made a respectable stab at Captain Ahab in Moby Dick (1956), and in The Boys from Brazil (1978) even attempted an out-and-out villain - a Nazi in hiding from Jewish revenge but still harbouring schemes of world domination.

Audrey Hepburn was relatively unknown when they made the film, but Peck was so impressed by her performance that he insisted that she should receive equal billing.

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