Mirren to Join Freeman and Willis in Upcoming 'Red' Film

Stage and screen star Helen Mirren has joined the cast of the upcoming thriller "Red", Variety reports. Already announced for the cast are Morgan Freeman and Bruce Willis. Produced by Lorenzo di Bonaventura, Gregory Noveck, and Mark Vahradian, "Red" is written by Erich and Joe Hoeber and directed by Robert Schwentke. Shooting is set to begin January 2010 with an expected release date of November 19th, 2010.

"Red" is based off the comic book by WildStorm and DC Comics. It features a former CIA agent in retirement attempting to evade an assassin who has been sent to kill him. The three book series was published beginning in 2003.

Mirren's work for the NYT led to Mirren joining the Royal Shakespeare Company (RSC), playing Castiza in Trevor Nunn's 1966 staging of The Revenger's Tragedy, Diana in All's Well That Ends Well in 1967, Cressida in Troilus and Cressida and Phebe in As You Like It in 1968, Julia in The Two Gentlemen of Verona in 1970, and Tatiana in Gorky's Enemies at the Aldwych and the title role in Miss Julie at The Other Place in 1971.

In 1972-73, Mirren worked with Peter Brook's International Centre for Theatre Research, and joined the group's tour in North Africa and the US which created The Conference of the Birds. Returning to the RSC she played Lady Macbeth at Stratford in 1974 and at the Aldwych Theatre in 1975.

As reported by Sally Beauman in her 1982 history of the RSC, Mirren, while appearing in Nunn's Macbeth (1974) and in a highly publicised letter to The Guardian newspaper, attacked both the National Theatre and the RSC for their lavish production expenditure, declaring it "unnecessary and destructive to the art of the Theatre," and adding, "The realms of truth, emotion and imagination reached for in acting a great play have become more and more remote, often totally unreachable across an abyss of costume and technicalities..." There were no discernible repercussions for this rebuke of the RSC.

At the Royal Court in September 1975 she notably played rock star Maggie in Teeth 'n' Smiles, a musical play by David Hare, which was revived at Wyndham's Theatre in May 1976 winning her the Plays & Players Best Actress award, voted by the London critics.

From November 1975 Mirren played in West End repertory with the Lyric Theatre Company as Nina in The Seagull and Ella in Ben Travers' new farce The Bed Before Yesterday ("Mirren is stirringly voluptuous as the Harlowesque good-time girl": Michael Billington, The Guardian, 10 December 1975). At the RSC in Stratford in 1977, and at the Aldwych the following year, she played a steely Queen Margaret in Terry Hands' production of the three parts of Henry VI, while 1979 saw her 'bursting with grace' with an acclaimed performance as Isabella in Peter Gill's otherwise unexceptional production of Measure for Measure at Riverside Studios.

In 1981 she returned to the Royal Court for the London premiere of Brian Friel's Faith Healer. In the same year she also received acclaim for her performance in the title role of John Webster's The Duchess of Malfi, a production of Manchester's Royal Exchange Theatre which transferred to the The Roundhouse in Chalk Farm, London. Reviewing her portrayal for The Sunday Telegraph, Francis King wrote: "Miss Mirren never leaves it in doubt that even in her absences, this ardent, beautiful woman is the most important character of the story."

Her performance as Moll Cutpurse in The Roaring Girl at the Royal Shakespeare Theatre in January 1983, and at the Barbican Theatre April 1983), "swaggered through the action with radiant singularity of purpose, filling in areas of light and shade that even Thomas Middleton and Thomas Dekker omitted." - Michael Coveney, Financial Times, April 1983.

After a relatively barren sojourn in the Hollywood Hills, she returned to England at the beginning of 1989 to co-star with Bob Peck at the Young Vic in the London premiere of the Arthur Miller double-bill, Two Way Mirror, performances which prompTed Miller to remark: "What is so good about English actors is that they are not afraid of the open expression of large emotions" (interview by Sheridan Morley: The Times 11 January 1989). In Elegy for a Lady she played the svelte proprietress of a classy boutique, while as the blonde hooker in Some Kind of Love Story she was "clad in a Freudian slip and shifting easily from waif-like vulnerability to sexual aggression, giving the role a breathy Monroesque quality" (Michael Billington, The Guardian).

A stage career breakthrough came in 1994, in an Yvonne Arnaud Theatre production bound for the West End, when Bill Bryden cast her as Natalya Petrovna in Ivan Turgenev's A Month in the Country. Her co-stars were John Hurt as her aimless lover Rakitin and Joseph Fiennes in only his second professional stage appearance as the cocksure young tutor Belyaev. "Instead of a bored Natalya fretting the summer away in dull frocks, Mirren, dazzlingly gowned, is a woman almost wilfully allowing her heart's desire for her son's young tutor to rule her head and wreak domestic havoc....Creamy shoulders bared, she feels free to launch into a gloriously enchanted, dreamily comic self-confession of love." (John Thaxter, Richmond & Twickenham Times, 4 March 1994).

Mirren was twice nominated for Broadway's Tony Award as Best Actress (Play): in 1995 for A Month in the Country, now directed by Scott Ellis ("Miss Mirren's performance is bigger and more animated than the one she gave last year in an entirely different London production", Vincent Canby in the NY Times, 26 April 1995). Then again in 2002 for August Strindberg's Dance of Death, co-starring with Sir Ian McKellen, their fraught rehearsal period coinciding with the terrorist attacks on New York on September 11, 2001 (as recorded in her In the Frame autobiography, September 2007).

Mirren had an unhappy experience at the National Theatre in 1998 when she played Cleopatra to Alan Rickman's Antony. In 2000 Nicholas Hytner, who had worked with Mirren on the film version of The Madness of King George, cast her as Lady Torrance in his revival of Tennessee Williams' Orpheus Descending at the Donmar Warehouse in London. Michael Billington, reviewing for The Guardian, described her performance as "an exemplary study of an immigrant woman who has acquired a patina of resilient toughness but who slowly acknowledges her sensuality."

At the National Theatre in November 2003 she again won praise playing Christine Mannon ("defiantly cool, camp and skittish", Evening Standard; "glows with mature sexual allure", Daily Telegraph) in a revival of Eugene O'Neill's Mourning Becomes Electra directed by Howard Davies.

"This production was one of the best experiences of my professional life, The play was four and a half hours long, and I have never known that kind of response from an audience...It was the serendipity of a beautifully cast play, with great design and direction, It will be hard to be in anything better." (In the Frame, September 2007).

She played the tragic title role in Jean Racine's Phèdre at the National in 2009, in a production directed by Nicholas Hytner. The production was also staged at the amphitheater of Epidaurus on July 11 and 12, 2009.

To read the Variety article please visit: http://www.variety.com/article/VR1118010835.html?categoryid=13&cs=1&ref=vertfilm