Sharon Tate is divine, a real find. Just wait and see what happens when the critics and public see her in Valley of the Dolls. Sharon has everything Marilyn Monroe had - and more. She has the fascinating, yet wholly feminine strength of a Dietrich or a Garbo, a classically beautiful face, an exciting figure, the kind of sex appeal and personality appeal to become as glittering a star as Bette Davis, Joan Crawford, Rita Hayworth, Lana Turner, Elizabeth Taylor.
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Costume designer William Travilla, in Screen Stories magazine (1967)Sharon Tate
Meryl Streep, in her Protestant way, is stuck on words; she flashes clever accents as a mask for her deeper failures. (And she cannot deliver a Jewish line; she destroyed Nora Ephron’s snappy dialogue in Hearburn.) Streep’s work doesn’t travel. Try dubbing her for movie houses in India: there’d be nothing left, just that bony, earnest horse face moving its lips. Imagine, on the other hand, lesser technicians like Hedy Lammarr, Rita Hayworth, Lana Turner: these women have an international and universal appeal, crossing the centuries. They would have been beautiful in Egypt, Greece, Rome, medieval Burgundy, or eighteenth-century Paris. Susan Hayward played Bathsheba. Try to picture Streep in a Bible epic! Streep is incapable of playing the great legendary or mythological roles. She has no elemental power, no smouldering sensuality. ?
Camille Paglia
I used to stay up very late at night, much later than I probably should have for such a youngster, and I used to watch very old black-and-white movies with, you know, Bette Davis and Joan Crawford, but I remember watching them thinking 'I could do that'... Even though I wasn't inclined at all to actually become an actress. I mean, that wasn't something that was... in the stars for me, no pun intended.
Michelle Pfeiffer
This is one of the movies they will use as a document, years from now, when they begin to trace the steps by which Pfeiffer became a great star. I cannot claim that I spotted her unique screen presence in her first movie, which, I think, was Grease 2, but certainly by the time she made Ladyhawke and Tequila Sunrise and Dangerous Liaisons and Married to the Mob, something was going on. This is the movie of her flowering — not just as a beautiful woman, but as an actress with the ability to make you care about her, to make you feel what she feels. All of those qualities are here in this movie, and so is the "Makin' Whoopee" number, which I can only praise by adding it to a short list: whatever she's doing while she performs that song isn't merely singing; it's whatever Rita Hayworth did in Gilda and Marilyn Monroe did in Some Like It Hot, and I didn't want her to stop.
Michelle Pfeiffer
My friends used to tease me. 'How can you wake up in the morning and look at that face of hers?' It was a good question. Sharon was so over whelmingly, so incredibly beautiful that anyone not knowing her might think it took a lot to live with such a beauty. But you see that was another thing about Sharon. With all her beauty, everyone loved her. I never heard anyone say a bad word about her, not even another actress. And in this town that's not only a rarity, it's an impossibility!
Sharon Tate
In just the last few months Sharon was beginning to come into her own. She never cared about being beautiful. She never even really cared about acting. She just wanted to love and be loved. And have her baby. I know that if she'd lived and had the baby everything would have been different for her. Because that is what Sharon really wanted. She was just a little girl from Texas who was so incredibly beautiful that she got swept up in all of the Hollywood nonsense. But all she ever wanted was what every woman wants — a man to love and a baby of her own. I can't believe that the murderers knew her. To know Sharon, to really know her, was to love her. There is just no way that anyone who knew her could have hurt her so.
Sharon Tate
Tate, Sharon
Tatchell, Peter
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