CRITICAL ACCLAIM
BE YOUR AGE – 1953 (STAGE)
“Lee Remick brought an attractively fresh directness to the part.” –
“Lee Remick is alternately
wide-eyed and saucy as a slangy sister.” –
JENNY KISSED ME – 1954 (STAGE)
“Lee Remick is a delightful Jennie.” – The News
“Lee Remick…is attractive and winsome without being sugar sweet.” – Variety
A FACE IN THE CROWD – 1957
“A Face in the Crowd was released to enthusiastic reviews. Remick shared in the glare of praise. Having made such an auspicious film debut with less than ten minutes of screen time, Remick had the industry's attention." --Rivadue
“Remick contributes a performance that is sharply and deftly drawn.” – Saturday Review
“Lee Remick, making her film debut, is an amazingly sexy young baton twirler.” – Pauline Kael
LONG HOT SUMMER –
1958
“Lee
Remick fills the bill precisely as a beautiful but dumb young wife.” – The New
York Times
THESE THOUSAND HILLS – 1959
“Remick's feisty contempt at being rejected as a
"starched wife in a starched home" for
“Remick gets considerable pathos out of her role as the good-hearted hostess.” – Variety
ANATOMY OF A MURDER
– 1959
“Lee
Remick treads beautifully a fine line between never resolved uncertainties.” –
The New York Times
“The
complex roles are handled with great skill, particularly by Gazzara
as the callous, haughty accused, by Remick as his sexpot
wife, and by Stewart and Scott as the lawyers.” – CineBooks
Motion Picture Guide Review
“Montgomery Clift was so impressed with Remick that he phoned his sister 'to extol Lee Remick's virtues,' such as 'balance and maturity.'” – Rivadue
“Lee Remick's performance is extraordinarily good; the scene where she implores her lover to marry her is painfully embarrassing as, in real life, honest and violent emotions often are.” – Films and Filming
"List as a finely shaded, genuinely emotional portrayal that of Lee Remick.” – The New York Times
"Remick's chemistry with Clift makes their scenes fully moving and believable." – Rivadue
THE
TEMPEST – 1960 (TV)
“Most
of the performers spoke their lines without achieving a rapport either with
Shakespeare’s poetry or the make-believe of a fairy tale. Miss Remick, at least, seemed at home in her
part.” – Variety
“A youthful Lee Remick as
Miranda is absolutely stunning.” – Shakespeare
On Screen
SANCTUARY – 1961
“Lee
Remick carries off her passages of childish, ignorant self-confidence very
well.” –
“Remick
is one of our finest young actresses in films.”
–
“The picture is
a melodrama of the most mechanical and meretricious sort. Don’t blame Lee Remick…. This excellent actress tries desperately and
well to make an audacious Southern doxy out of a
EXPERIMENT IN
TERROR – 1962
“For
Miss Remick, it is a handsome role played with nicely modulated control and a
natural feeling.” – Variety
“Realistic, unsentimental, with convincing performances by Remick
and Martin.” - Maltin
“Miss Remick is
appealing as the victim. She’s a girl
you want to protect.” – The New York Times
THE DAYS OF WINE AND ROSES – 1962
"Her transformation from sweet and virginal Kirsten to the never ending drunk is an absolute masterpiece of characterization development. Director Edwards stands back and lets it all happen as Lemmon and Remick ignite the screen with their amazing performances."
“Remick's poignant decline and inability to find the strength to stop was a perfect match for Lemmon's brutally memorable alcoholic frenzies. Her climatic insistence to be accepted despite her addiction and Lemmon's tough stand against her unless she helps herself first, is one of the most palpably painfully scenes either actor ever performed. The long shot of Remick leaving down a bleak, dark street is unspeakably sad.” – Rivadue
"Jack Lemmon and Lee Remick...give complex performances that are forceful, controlled, and even waywardly charming." – The Christian Science Monitor
"Remick maintains a core of integrity at the base of her being, even in
scenes of poignant despair and degradation." – The
"Miss Remick, in a much less clearly written part, and with the nuisance of her extreme good looks, is first rate." – The New Yorker
"Miss Remick managed to fill the role with alarming effectiveness.” – Courier Journal and Times
THE RUNNING MAN –
1963
“Miss
Remick is also admirable as the young, pretty wife, adoring
“Let
us be thankful for Miss Remick’s bedroom aplomb.” –
THE WHEELER DEALERS – 1963
"Hilarious dialogue and good direction...it will establish Lee Remick as
a Doris Day." –
"Norman
Norell designed Miss Remick's
wardrobe, but God gave her those astonishingly blue eyes." – The New
Yorker
ANYONE CAN WHISTLE – 1964 (STAGE)
“Miss Remick is a highly resplendent new addition to the world of song and dance, moving well and singing with conviction and style.” – New York Journal - America
“Miss Remick is astonishing. Not only can she sing, dance and act as if the theater was invented for her, but she becomes the total embodiment of sexuality in a seduction scene that melts steel.” – New York World-Telegram
“It came to life only in the person of Lee Remick. She is clearly a fine young actress, with a warm, real and appealing sense of character…a gift for deft and skillful light comedy.” – New York Post
BABY, THE RAIN MUST FALL – 1965
"Baby, the Rain Must Fall contains one of Remick's most appealing performances as a mother of a young girl who devotes herself to her ex-con husband. Remick makes the most lasting impression in the film. It's a hauntingly sad performance." – Rivadue
"Remick has a lovely ability to express inner calm." – Washington Post
"Remick is vividly alive in spontaneously appearing scenes with her daughter." – Variety
"Remick is so pretty and so loving." – The New Yorker
THE WONDERFUL WORLD
OF BURLESSQUE – 1965 (TV)
“The cast
treated the bits lovingly, reproducing every nuance that brought laughter to an
entire generation.” – Variety
THE HALLELUJAH
TRAIL – 1965
“Remick,
almost too youthful for a torch-bearing temperance leader, contributes a
refreshing, light comedy portrayal.” – Boxoffice
ANNIE GET YOUR GUN – 1965 (STAGE)
It’s the best show to come to Long Island in quite a spell. Lee Remick is as fresh and beguiling as a summer breeze. She had no trouble at all displaying a fine sense of comic timing and movement.” – Newsday
WAIT UNTIL DARK - 1966 (STAGE)
"Lee Remick has a marathon role as the blind wife, and she plays it wonderfully well." – New York Journal
"Played with spirit and humor by the delightful Lee Remick. Miss Remick, who is notable for skill as an actress in addition to her charm and good looks, makes the heroine a believably valiant and appealing young woman of distinction." – New York Post
"Miss Remick simulates blindness very well." – The New York Times
"The play brings the beautiful Lee Remick her first genuine Broadway success. She plays the blind girl, and she turns in a masterful job in what must be a most difficult role. Wait Until dark is a dandy shocker." – UPI
"Miss
Remick brings natural intelligence to the role--in a word, she's great." –
WCBS Radio
NO WAY TO TREAT A
LADY – 1968
“Miss
Remick brings vigor and charm to the role, which is genuinely feminine and not
merely female.” – Catholic Film Newsletter
“Grossly
overacted…and so full of holes and improbabilities. The sights of the city and Miss Remick are
the nicest thing in the whole movie.” – New York Morning Telegraph
THE DETECTIVE - 1968
"Lee Remick is very good indeed." – New York
"Repeated plot digression--made bearable by the fact that it involves top-featured Lee Remick." – Variety
"Remick's performance, full of ambivalent self-questioning, creates the same kind of sympathy she engendered in The Days of Wine and Roses.” – Rivadue
HARD CONTRACT - 1968
"Lee Remick is excellent as a restless jet-set butterfly." – Cue
A SEVERED HEAD –
1971
“Lee
Remick is reduced to a cultured British accent and a kind of flighty vacuity
that may be one of the few characters, fortunately, out of her range.” – The
New York Times
LOOT – 1971
“Lee
Remick is a pure creature of farce, giving the best performance in the film.” –
The New York Times
SOMETIMES
A GREAT NOTION – 1972
“Sometimes A
Great Notion had the
distinction of Paul Newman acting and directing, but it was one of Remick’s lesser appearances, with her role truncated during
editing.” – Rivadue
SUMMER AND SMOKE –
1972 (TV)
“Lee
Remick was magnificent…she held us spellbound.
As the moment demanded, she was always exactly right…like the elegant
creature herself. It was a performance
of stature.” – The London Times
AND
NO ONE COULD SAVE HER – 1973 (TV)
“Dreary,
uninspired melodrama…not all of Remick’s charm could
make us care one way or another.” – The Los Angeles Times
THE
BLUE KNIGHT – 1973 (TV)
“Remick movingly
portrayed his girlfriend who patiently (and vainly) awaited his upcoming day of
retirement from the street.” – Rivadue
A
DELICATE BALANCE – 1973
“Lee
Remick plays the disgusted daughter with a wry, flickering hostility that we’ve
rarely seen from her before.” – The New York Times
QBVII – 1974 (TV)
“Juliet
Mills, Lee Remick and Lana Wood as the women in the writer’s life had little
opportunity to register with impact.” – Variety
JENNIE – 1974 (TV)
"Lee Remick as Jennie is all fire and light, an enchanting actress if I ever saw one." – Stage and TV Today
"Remick is not only beautiful, she is truly one of the great actresses of our times." – The London Evening News
"Jennie is who Lee Remick was born to portray. She is an ideal choice
not only for her charm and beauty but for her
dramatic skills." – Variety
"Remick
as Jennie has so much spirit to her, such sexy dash and spirit...most of the
other women in the cast have been little more than ciphers." – The Los
Angeles Times
HUSTLING – 1975 (TV)
“Remick
is very good, also, and Clayburgh’s dominance is no
reflection of Remick’s job.” – The Hollywood Reporter
A
GIRL NAMED SOONER – 1975 (TV)
“It
is oversimplified and redundant. Remick
plays her role stiffly, even when she supposedly loosens up.” – Variety
BUS
STOP – 1976 (STAGE)
“Miss
Remick’s performance of That Old Black Magic
is the high point of the evening. It is
magic, and worth going far to see.” – Plays and Players
THE OMEN – 1976
“Miss
Remick continues to be the loveliest woman on earth.” – New York Post.
“Remick’s best post-‘60s feature-film performance. Remick gets a chance to do some
no-holds-barred, melodramatic acting.” – Dennis Hunt
TELEFON – 1977
“Lee
Remick is the only remotely redeemable thing about Telefon.”
– Los Angeles
“Remick
is pretty and game and very cherry company, even with the screenplay’s failed
attempts at breezy dialogue.” – The New York Times
BREAKING UP - 1978 (TV)
"It is definitely Miss Remick's show." – The New York Daily News
"Miss
Remick, once again transcending her fragile good looks, manages a remarkably
forceful performance." – The New York Times
THE MEDUSA TOUCH –
1978
“Lee
Remick is gradually reduced to blank meaningful stares while Richard Burton
overacts unforgivably.” – BFI Film
Bulletin
WHEELS – 1978 (TV)
“What
wonderful rubbish, the kind of stupid and trashy stuff that’s fun to watch if
you don’t expect too much or take it all that seriously. Lee Remick is properly pathetic as Erica.” –
Los Angeles Times
TORN
BETWEEN TWO LOVERS – 1979 (TV)
“Its distinction
comes from Lee Remick’s presence and her re-teaming
with director Delbert Mann with whom she worked a similar magic on Breaking
Up as well as A Girl Named Sooner” – Alvin H. Marrill
“Remick was
quite persuasive ... she transmitted her character's conflicts very adroitly
with a nicely understated simplicity.” – The Hollywood Reporter
IKE
– 1979 (TV)
“Lee
Remick manages to create a proud, pert beauty.” – Variety
“In Ike
Duvall and Lee Remick gave accomplished performances depicting a powerful
mutual attraction held in check because the script stayed on the tactful side
of the touchy subject of wartime romance.” – Judith Slawson
“… But it was
Remick you remembered – the very essence of British womanhood in WWII, staunch
and pretty and defiant.” – The Los Angels Times
THE EUROPEANS –
1979
“This
is a film of great distinction and of remarkable performances all around.” –
The London Observer
“As an
adventuress worthier than she seems, Remick may never have been so radiant and
gallant.” – Kevin Thomas
HAYWIRE – 1980 (TV)
“Remick
isn’t impersonating, she’s creating a character – and successfully.” – Variety
“Sullavan was enacted by Remick with riveting skill, earning
another Emmy nomination.” – Rivadue
THE
WOMEN’S ROOM – 1980 (TV)
“Remick
is lovely as usual, and manages to avoid most of the self-pity that creeps into
her role.” – The Hollywood Reporter
THE COMPETITION –
1980
“Lee
Remick is in control of the screen whenever she’s on it.” – After Dark
“In
the midst of this teapot temptuousness one comes to
admire Lee Remick. It falls to Remick to
deliver most of the movie’s truly impossible lines. It is a little triumph of professional grace
for Remick…who must be one of the busiest—and best—actresses around.” – Time.
TRIBUTE – 1980
“Lee
Remick is flawless.” – London Sunday Times
“Only
Lee Remick shines.” – Time
THE LETTER – 1982 (TV)
“Remick
gives a persuasive performance as the restless, lustful lady in distress.” –
Los Angeles Herald-Examiner
“Lee Remick is exquisite….a
significant entertainment.” – Judith Crist
“The Letter is quite remarkable…literate,
sumptuously produced, beautifully acted.”
– The Los Angeles Times
A GIFT OF
LOVE: A CHRISTMAS STORY – 1983 (TV)
“But lovely
performances by Remick and Angela Lansbury ... and
the luminous presence of Polly Holliday... help make this a special that merits
repeating in seasons to come.” – The Los Angeles Times
“Lee Remick
effectively underplays her role as a depressed woman who recovers her will to
live by recollecting the love that surrounded her childhood.” – People Magazine
A GOOD SPORT – 1984
(TV)
“The
two are a mismatch, and Remick was a good sport to accept the script.” – The
New York Daily News
I DO! I DO! – 1984 (STAGE)
“Remick
puts real feeling into My Cup Runneth Over With
Love.” – Womens Wear Daily
MISTRAL’S DAUGHTER
– 1984 (TV)
“Kate
is portrayed to fresh-faced clawing perfection by Lee Remick, who seems to have
a monopoly these days on the roles that once would have gone to Eva Marie Saint
or Dina Merrill.” – The New York Times
REARVIEW MIRROR –
1984 (TV)
“The
telefilm boasts surefire acting by Remick and Beck.”
– Variety
“Remick
is fine, but there are times when she seems too together, considering what
she’s going through.” – The New York Daily News
THE SNOW QUEEN –
1985 (TV)
“As
the Snow Queen, Remick is ideally cast, every bit “mysterious, beautiful and
cold, like a snowflake,” as she is described by one character. Remick’s cool blue
eyes are emphasized throughout. – Rivadue
FOLLIES
IN CONCERT – 1985 (STAGE)
“The
exquisite Remick disclosed sexy, swinging talents that the Broadway musical
theater should have made use of years ago.” – The New York Daily News
“Miss
Remick was as dazzling to watch as to hear during her tongue twisting Story
of Lucy and Jessie.” – The New York Times
“Remick,
though vocally just competent, nailed the complexities of a dual personality in
Story of Lucy and Jesse.” – Variety
TOUGHLOVE – 1985 (TV)
“Blessed
with a terrific cast, which makes the film seem more profound than it is. Both Dern and
Remick bring a dynamic realism to their roles.” – The Chicago Sun-Times
“Remick
and Dern are emotionally forceful.” – New York Post
OF PURE BLOOD –
1986 (TV)
“If
it weren’t for Remick’s first-rate performance, the
project would fall flat. Her fine acting
in her character’s quest for the truth keeps you wanting to watch for the
resolution.” – The New York Post
“Remick’s trustworthy persona and her gift for
understatement go a long way towards redeeming a film that clanks with assorted
stick figures.” – The New York Times
“It
is a complex and enthralling story.
Remick is as credible in her performance as she is lovely to watch.” –
TV Guide
“Remick
turns in one of her finer jobs.” – Variety
EMMA’S WAR – 1986
“Remick
invites a lot of sympathy as a woman who has a lot to cope with.” – Variety
ELEANOR IN HER OWN WORDS – 1987 (TV)
‘A charming, funny and warm tribute…a touching performance.” – The Chicago Sun-Times
NUTCRACKER: MONEY, MADNESS, MURDER - 1987 (TV)
"In 1987, one of Remick's finest telefilm roles, steeped in psychotic grandeur... was the ABC miniseries Nutcracker: Money, Madness, Murder. Remick's red-blooded portrayal of real life social hellion and murder conspirator Frances Schreuder was among her best." – Rivadue
"In Nutcracker, Remick astonished. It is a relentless performance. Not for a minute does she connive at our sympathies." – New York
"Remick, cobalt eyes flashing throughout, convinces utterly." – The Los Angeles Herald-Examiner
"The performance of Nutcracker star, Lee Remick, is so powerfully persuasive, that its virtually impossible to envision anyone else in the role of Frances Bradshaw Schreuder." – Corel All-Movie Guide
"A powerful characterization of a woman trapped within a warped and steadily deteriorating mind--incapable of love and distant from reality." – Chicago Sun-Times
"More than anything else, it is Ms. Remick who holds things together, confidently and with unflagging flair. For a performer who made her Broadway stage debut in 1953, Remick is demonstrating the years have been kind and generous in more ways than one." – The New York Times
"If (Remick) had been born with Bette Davis eyes or Katharine Hepburn cheekbones, she might long ago have been recognized as one of this country's most outstanding dramatic actresses. But Remick happens to be all-American pretty...one result is that she is frequently underestimated. (This) miniseries...should correct matters." – The New York Times
JESSE – 1988 (TV)
“Remick
is radiant as always…so fresh and vital; too bad we can’t say the same about
the movie itself.” – Los Angeles Times
“A
disappointment…Remick’s big courtroom speech, long
and torturous, would defeat any actress.” – Los Angeles Herald-Examiner
BRIDGE
TO SILENCE – 1989 (TV)
“A
terrific turn…Remick is the essence of icy WASP denial, and her dramatic scenes
with Matlin range from the brittle to the hysteric.”
– Los Angeles Herald-Examiner
“Remick,
in a very harsh role, avoids the stereotypes.” – New York Post
AROUND
THE WORLD – 1989 (TV)
“Lee
Remick is wonderfully wicked as Sarah Bernhardt.” – New York
DARK
HOLIDAY – 1989 (TV)
“For
Remick it’s practically a solo performance, and she comes through beautifully.”
– The New York Daily News
“Lee
Remick, as usual, makes up for any deficiencies as she builds her character
into a woman of determination and courage that’s worth watching.” – Variety
LOVE LETTERS – 1990 (STAGE)
“As she had begun her career on stage, it would now, unknowingly, conclude with a stage role in the play, Love Letters." – Rivadue