Michelle Marie Pfeiffer (//; born April 29, 1958) is an American actress. Known for pursuing eclectic roles from a wide variety of film genres, she has frequently received acclaim for her versatile performances, and is recognized as one of the most prolific actresses of the 1980s and 1990s. Pfeiffer has received numerous accolades throughout her career, including a Golden Globe Award and a British Academy Film Award, in addition to nominations for three Academy Awards and one Primetime Emmy Award.
Michelle Marie Pfeiffer
April 29, 1958
Santa Ana, California, U.S.
|Relatives||Dedee Pfeiffer (sister)|
Pfeiffer began her career in 1978 with minor television appearances before attaining her first leading role in Grease 2 (1982). Disillusioned with being typecast in nondescript roles as attractive women, she actively sought more serious material until earning her breakout role as gangster moll Elvira Hancock in Scarface (1983). She achieved further success with roles in The Witches of Eastwick (1987) and Married to the Mob (1988), for which she was nominated for her first of six consecutive Golden Globe Awards. Her performances in Dangerous Liaisons (1988) and The Fabulous Baker Boys (1989) earned her two consecutive Academy Award nominations, for Best Supporting Actress and Best Actress respectively, winning the Golden Globe Award for Best Actress in a Motion Picture – Drama for the latter. Continuing to establish herself as a leading lady with high-profile roles in The Russia House (1990) and Frankie and Johnny (1991), Pfeiffer became one of the decade's highest-paid actresses.
In 1992, Pfeiffer starred in Batman Returns as Selina Kyle / Catwoman, one of the most admired portrayals of the comic book character, while receiving her third Academy Award nomination for Love Field. She continued to draw praise for performances in The Age of Innocence (1993), Wolf (1994), What Lies Beneath (2000) and White Oleander (2002), while producing and starring in several successful films under her production company Via Rosa Productions, including Dangerous Minds (1995) and One Fine Day (1996). In 2007, Pfeiffer returned from a five-year hiatus with acclaimed performances in the blockbusters Hairspray and Stardust. Following another hiatus, in 2017 she earned rave reviews for her performance in Where Is Kyra? before returning to prominence with supporting roles in Mother! and Murder on the Orient Express, while receiving a Primetime Emmy Award nomination for Outstanding Supporting Actress in a Limited Series or Movie for portraying Ruth Madoff in The Wizard of Lies. She also ventured into blockbuster franchises, debuting in the Marvel Cinematic Universe as Janet van Dyne / Wasp in Ant-Man and the Wasp (2018) before earning her eighth Golden Globe Award nomination for French Exit (2020).
Awarded a star on the Hollywood Walk of Fame, Pfeiffer has remained one of Hollywood's most bankable actresses for four decades. Labeled a sex symbol, she has been cited among the world's most beautiful women by several publications, with her physical appearance being scrutinized by the media since the beginning of her career. Notoriously private about her personal life, she has been married twice: to actor Peter Horton from 1981 to 1988, and television producer David E. Kelley since 1993.
Michelle Marie Pfeiffer was born on April 29, 1958, in Santa Ana, California, the second of four children of Richard Pfeiffer (1933–1998), an air-conditioning contractor, and Donna Jean (née Taverna; 1932–2018), a housewife. She has an older brother, Rick (born 1955), and two younger sisters, Dedee Pfeiffer (born 1964), a television and film actress, and Lori Pfeiffer (born 1965). Her parents were both originally from North Dakota. Her paternal grandfather was of German ancestry and her paternal grandmother was of English, Welsh, French, Irish, and Dutch descent, while her maternal grandfather was of Swiss-German descent and her maternal grandmother of Swedish ancestry. The family moved to Midway City, another Orange County community around seven miles (11km) away, where Pfeiffer spent her early years.
Pfeiffer attended Fountain Valley High School, graduating in 1976. She worked as a check-out girl at Vons supermarket, and attended Golden West College where she was a member of Alpha Delta Pi sorority. After a short stint training to be a court stenographer, she decided upon an acting career. She won the Miss Orange County beauty pageant in 1978, and participated in the Miss California contest the same year, finishing in sixth place. Following her participation in these pageants, she acquired an acting agent and began to audition for television and films.
Late 1970s & 1980s: Early work and breakthrough
Pfeiffer made her acting debut in 1978, in a one-episode appearance of Fantasy Island. Other roles on television series followed, including Delta House, CHiPs, Enos and B.A.D. Cats. Her TV movie debut was in "The Solitary Man" (1979) for CBS.  Pfeiffer transitioned to film with the comedy The Hollywood Knights (1980), with Tony Danza, appearing as high school sweethearts. She subsequently played supporting roles in Falling in Love Again (1980) with Susannah York and Charlie Chan and the Curse of the Dragon Queen (1981), none of which met with much critical or box office success. She appeared in a television commercial for Lux soap, and took acting lessons at the Beverly Hills Playhouse, before appearing in three 1981 television movies – Callie and Son, with Lindsay Wagner, The Children Nobody Wanted and Splendor in the Grass.
Pfeiffer obtained her first major film role as the female lead in Grease 2 (1982), the sequel to the smash-hit musical film Grease (1978). With only a few television roles and small film appearances, the 23-year-old Pfeiffer was an unknown actress when she attended the casting call audition for the role, but according to director Patricia Birch, she won the part because she "has a quirky quality you don't expect". The film was a critical and commercial failure, but The New York Times remarked: "[A]lthough she is a relative screen newcomer, Miss Pfeiffer manages to look much more insouciant and comfortable than anyone else in the cast." Despite escaping the critical mauling, her agent later admitted that her association with the film meant that "she couldn't get any jobs. Nobody wanted to hire her." On her early screen roles, she asserted: "I needed to learn how to act ... in the meantime, I was playing bimbos and cashing in on my looks."
Director Brian De Palma, having seen Grease 2, refused to audition Pfeiffer for Scarface (1983), but relented at the insistence of Martin Bregman, the film's producer. She was cast as cocaine-addicted trophy wife Elvira Hancock. The film was considered excessively violent by most critics, but became a commercial hit and gained a large cult following in subsequent years. Pfeiffer received positive reviews for her supporting turn; Richard Corliss of Time Magazine wrote, "most of the large cast is fine: Michelle Pfeiffer is better ..." while Dominick Dunne, in an article for Vanity Fair titled "Blonde Ambition", wrote, "[s]he is on the verge of stardom. In the parlance of the industry, she is hot."
Following Scarface, she played Diana in John Landis' comedy Into the Night (1985), with Jeff Goldblum; Isabeau d'Anjou in Richard Donner's fantasy film Ladyhawke (1985), with Rutger Hauer and Matthew Broderick; Faith Healy in Alan Alda's Sweet Liberty (1986), with Michael Caine; and Brenda Landers in a segment of the 1950s sci-fi parody Amazon Women on the Moon (1987), all of which, despite achieving only modest commercial success, helped to establish her as an actress. She finally scored a major box-office hit as Sukie Ridgemont in the 1987 adaptation of John Updike's novel The Witches of Eastwick, with Jack Nicholson, Cher, and Susan Sarandon. The film grossed over $63.7 million domestically, equivalent to $145 million in 2020 dollars, becoming one of her earliest critical and commercial successes. Pfeiffer received strong acclaim for her work. Praising their comedic timing, Roger Ebert wrote that Pfeiffer and her female co-stars each "have a delicious good time with their roles", while the Los Angeles Times film critic Sheila Benson said Pfeiffer makes her character "a warm, irresistible character."
Pfeiffer was cast against type, as a murdered gangster's widow, in Jonathan Demme's mafia comedy Married to the Mob (1988), with Matthew Modine, Dean Stockwell and Mercedes Ruehl. For the role of Angela de Marco, she donned a curly brunette wig and a Brooklyn accent, and received her first Golden Globe Award nomination as Best Actress in a Motion Picture Musical or Comedy, beginning a six-year streak of consecutive Best Actress nominations at the Golden Globes. Pfeiffer then appeared as chic restaurateuse Jo Ann Vallenari in Tequila Sunrise (1988) with Mel Gibson and Kurt Russell, but experienced creative and personal differences with director Robert Towne, who later described her as the "most difficult" actress he has ever worked with.
At Demme's personal recommendation, Pfeiffer joined the cast of Stephen Frears's Dangerous Liaisons (1988), with Glenn Close and John Malkovich, playing the virtuous victim of seduction, Madame Marie de Tourvel. Her performance won her widespread acclaim; Hal Hinson of The Washington Post saw Pfeiffer's role as "the least obvious and the most difficult. Nothing is harder to play than virtue, and Pfeiffer is smart enough not to try. Instead, she embodies it. Her porcelain-skinned beauty, in this regard, is a great asset, and the way it's used makes it seem an aspect of her spirituality." She won the BAFTA Award for Best Actress in a Supporting Role and received a nomination for the Academy Award for Best Supporting Actress.
Pfeiffer then accepted the role of Susie Diamond, a hard-edged former call girl turned lounge singer, in The Fabulous Baker Boys (1989), which co-starred Jeff Bridges and Beau Bridges as the eponymous Baker Boys. She underwent intense voice training for the role for four months, and performed all of her character's vocals. The film was a modest success, grossing $18.4 million in the US (equivalent to $38 million in 2020 dollars ). Her portrayal of Susie, however, drew unanimous acclaim from critics. Critic Roger Ebert compared her to Rita Hayworth in Gilda and to Marilyn Monroe in Some Like It Hot, adding that the film was "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". During the 1989–1990 awards season, Pfeiffer dominated the Best-actress category at every major awards ceremony, winning awards at the Golden Globes, the National Board of Review, the National Society of Film Critics, the New York Film Critics Circle, the Los Angeles Film Critics Association Award for Best Actress and the Chicago Film Critics Association. Pfeiffer's performance as Susie is considered to be the most critically acclaimed of her career. The film is best remembered for the scene in which Pfeiffer's character seductively performs "Makin' Whoopee" atop a grand piano, which itself is considered to be one of the sexiest and most memorable scenes in modern cinema.
1990s: Worldwide recognition and critical acclaim
By 1990, Pfeiffer began earning $1 million per film. Pfeiffer took the part of the Soviet book editor Katya Orlova in the 1990 film adaptation of John le Carré's The Russia House, with Sean Connery, a role that required her to adopt a Russian accent. For her efforts, she was rewarded with a Golden Globe nomination for Best Performance by an Actress in a Motion Picture – Drama. Pfeiffer then landed the role of damaged waitress Frankie in Garry Marshall's Frankie and Johnny (1991), a film adaptation of Terrence McNally's Broadway play Frankie and Johnny in the Clair de Lune, which reunited her with her Scarface co-star, Al Pacino. The casting was seen as controversial by many, as Pfeiffer was considered far too beautiful to play an "ordinary" waitress; Kathy Bates, the original Frankie on Broadway, also expressed disappointment over the producers' choice. Pfeiffer herself stated that she took the role because it "wasn't what people would expect of [her]". Pfeiffer was once again nominated for a Golden Globe Award for Best Actress – Motion Picture Drama for her performance.
In 1990, Pfeiffer formed her own boutique film production company, Via Rosa Productions, which ran for ten years. The company allowed her to produce and/or star in films tailored for strong women. She asked her best friend Kate Guinzburg to be her producing partner at the company. The two met on the set of the film Sweet Liberty (1986) and quickly became friends. Kate was the Production Coordinator on the film and became close with Pfeiffer over the course of the shoot. Via Rosa Productions was under a picture deal with Touchstone Pictures, a film label of The Walt Disney Studios. The first film the duo produced was the independent drama Love Field, which was released in late 1992. Reviewers embraced the film and The New York Times felt that Pfeiffer was "again demonstrating that she is as subtle and surprising as she is beautiful". For her portrayal of the eccentric Dallas Archived June 17, 2020, at the Wayback Machine housewife, she earned nominations for the Academy Award for Best Actress and the Golden Globe for Best Actress – Drama and won the Silver Bear for Best Actress at the 43rd Berlin International Film Festival.
Pfeiffer took on the role of Selina Kyle / Catwoman in Tim Burton's superhero film Batman Returns (1992), opposite Michael Keaton and Danny DeVito, after Annette Bening dropped out due to pregnancy. For the role, she trained in martial arts and kickboxing. Pfeiffer received universal critical acclaim for the role, and her performance is consistently referred to as the greatest portrayal of Catwoman of all time by critics and fans alike, and is also one of the best regarded performances of her career. Premiere retrospectively lauded her performance: "Arguably the outstanding villain of the Tim Burton era, Michelle Pfeiffer's deadly kitten with a whip brought sex to the normally neutered franchise. Her stitched-together, black patent leather costume, based on a sketch of Burton's, remains the character's most iconic look. And Michelle Pfeiffer overcomes Batman Returns' heavy-handed feminist dialogue to deliver a growling, fierce performance." Batman Returns was a big box office success, grossing over US$267 million worldwide.
In Martin Scorsese's period drama The Age of Innocence (1993), a film adaptation of Edith Wharton's 1920 novel, Pfeiffer starred with Daniel Day-Lewis and Winona Ryder, portraying a Countess in upper-class New York City in the 1870s. For her role, she received the Elvira Notari Prize at the Venice Film Festival, and a Golden Globe nomination for Best Actress – Motion Picture. Also in 1993, she was awarded the Women in Film Los Angeles' Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.
Following the formation of her producing company in 1990, Pfeiffer saw a growing professional expansion as a producer. While she continued to act steadily throughout the decade, she and her producing partner Guinzburg experienced a winning streak of producing back to back films next under their Via Rosa Productions header. In the 1994 horror film Wolf, she starred with Jack Nicholson, portraying the sardonic and willful interest of a writer who becomes a wolf-man at night after being bitten by a creature. The film was released to a mixed critical reception; The New York Times wrote: "Ms. Pfeiffer's role is underwritten, but her performance is expert enough to make even diffidence compelling." Wolf was a commercial success, grossing US$65 million (equivalent to $113 million in 2020) at the domestic box office and US$131 million worldwide (equivalent to $229 million).
Pfeiffer's next role was that of high school teacher and former United States Marine LouAnne Johnson in the drama Dangerous Minds (1995), which was co-produced under her company Via Rosa Productions. She appeared as her character in the music video for the soundtrack's lead single, "Gangsta's Paradise" by Coolio, featuring L.V.; the song won the 1996 Grammy Award for Best Rap Solo Performance, and the video won the MTV Video Music Award for Best Rap Video. While Dangerous Minds received negative reviews, it was a box office success, grossing US$179.5 million around the globe. Pfeiffer portrayed Sally Atwater in the romantic drama Up Close & Personal (1996), with Robert Redford.
Pfeiffer took the role of Gillian Lewis in To Gillian on Her 37th Birthday (1996), which was adapted by her husband David Kelley from Michael Brady's play of the same name. Under their Via Rosa Productions header, Pfeiffer and Guinzburg produced the films One Fine Day (1996), A Thousand Acres (1997) and The Deep End of the Ocean (1998). She voiced of Tzipporah for animated film The Prince of Egypt (1998). She served as an executive producer and starred as the divorced single mother architect Melanie Parker in the romantic comedy One Fine Day (1996) with George Clooney, Subsequent performances included Rose Cook Lewis in the film adaptation of Jane Smiley's Pulitzer Prize-winning novel A Thousand Acres (1997) with Jessica Lange and Jennifer Jason Leigh; Beth Cappadora in The Deep End of the Ocean (1998) about a married couple who found their son who was kidnapped nine years ago; Titania the Queen of the Fairies in A Midsummer Night's Dream (1999) with Kevin Kline, Rupert Everett and Stanley Tucci; and Katie Jordan in Rob Reiner's comedy-drama The Story of Us (1999) with Bruce Willis.
2000s: Established actress and career hiatus
Pfeiffer chose to begin the process of dissolving her film production company, Via Rosa Productions, in 1999, and moved into semi-retirement in order to spend more quality time with her children and family, meaning that she would continue to star in films sporadically into the 2000s and beyond. Pfeiffer handed her producing partner Guinzburg one final film to produce under the Via Rosa Productions header. The film was called Original Sin (2001). It was originally intended to star Pfeiffer, who later changed her mind as she was looking to work less for a while. The film was produced by her company, but instead starred Angelina Jolie and Antonio Banderas.
In the Hitchcockian thriller What Lies Beneath (2000), Pfeiffer and Harrison Ford starred as a well-to-do couple who experience a strange haunting that uncovers secrets about their past. While critical response towards the film was mixed, it opened atop at the box office in July 2000, and went on to gross US$291 million worldwide. She then accepted the role of Rita Harrison, a highly strung lawyer helping a father with a developmental disability, in the drama I Am Sam (2001), with Sean Penn. Despite grossing $97.8 million worldwide, the movie received unfavorable reviews; Seattle Post-Intelligencer wrote: "Pfeiffer, apparently stymied by the bland clichés that prop up her screechy role, delivers her flattest, phoniest performance ever." Meanwhile, SF Gate observed: "In one scene, she breaks down in tears as she unburdens herself to him about her miserable life. It's hard not to cringe, watching this emotionally ready actress fling herself headlong into false material."
Pfeiffer took on the role of a murderous artist, named Ingrid Magnussen, in the drama White Oleander (2002), with Alison Lohman (in her film début), Renée Zellweger and Robin Wright. The film was an arthouse success and Pfeiffer garnered a substantial amount of critical praise; Stephen Holden of The New York Times wrote that "Ms. Pfeiffer, giving the most complex screen performance of her career, makes her Olympian seductress at once irresistible and diabolical." Kenneth Turan of the Los Angeles Times described her as "incandescent", bringing "power and unshakable will to her role as mother-master manipulator" in a "riveting, impeccable performance". She earned Best Supporting Actress Awards from the San Diego Film Critics Society and the Kansas City Film Critics Circle, as well as a Screen Actors Guild Award nomination.
In 2003, Pfeiffer lent her voice for the character of goddess of chaos Eris in Sinbad: Legend of the Seven Seas (2003), an animated film featuring Brad Pitt as the voice of Sinbad the Sailor. She had struggles with finding the character's villainies. Initially the character was "too sexual", then she lacked fun. After the third rewrite, Pfeiffer called producer Jeffrey Katzenberg and told him "You know, you really can fire me," but he assured her that this was just part of the process. Following the release of the film, she took a four-year hiatus from acting, during which she remained largely out of the public eye to devote time to her husband and children. At the time, she turned down the role of the White Witch in the fantasy film The Chronicles of Narnia: The Lion, The Witch and The Wardrobe (2005), which went to Tilda Swinton.
Pfeiffer returned to cinemas in 2007 with villainous roles in two summer blockbusters, Hairspray and Stardust, which the media welcomed as a successful comeback for the actress. In the former, a film adaptation of the Broadway musical of the same name, she starred alongside John Travolta, Christopher Walken and Queen Latifah as Velma Von Tussle, the racist manager of a television station. Although a fan of Pfeiffer's work in the musicals Grease 2 and The Fabulous Baker Boys, director Adam Shankman cast Pfeiffer largely based on her performance in Batman Returns, claiming she was his first and only choice to play Velma. Although she had fun with the part, Pfeiffer described Velma as the most difficult role she had played at the time due to her character's racism, but was drawn to the film's important message anti-bigotry, accepting that "in order to do a movie about racism, somebody has got to be the racist and it's me!". Released to widely positive reviews, Hairspray grossed $202.5 million worldwide. Pfeiffer's performance was also critically acclaimed, with film critic David Edelstein of NPR calling her "sublime". The cast of Hairspray was nominated for the Screen Actors Guild Award for Best Cast in a Motion Picture, and won the Broadcast Film Critics Association Award for Best Cast, the Hollywood Film Festival Award for Ensemble of the Year, and the Palm Springs International Film Festival Award for Ensemble Cast. In the fantasy adventure Stardust, Pfeiffer plays Lamia, an ancient witch who hunts a fallen star (Claire Danes) in search of eternal youth. The film received largely positive reviews, earning $135.5 million globally. The New York Times film critic Stephen Holden described Pfeiffer as "as deliciously evil a witch as the movies have ever invented", writing that she "goes for broke with the relish of a star who figures she has nothing to lose."
Pfeiffer starred in Amy Heckerling's romantic comedy I Could Never Be Your Woman (2007), with Paul Rudd and Saoirse Ronan, portraying Rosie, a 40-year-old divorced mother working as a scriptwriter and producer for a television show who falls in love with a much younger man (Rudd). Her reported salary was US$1 million, with an advance on 15 percent of the gross. However, the film was only distributed on home video markets domestically. Reviews for I Could Never Be Your Woman were moderately positive, with critic James Berardinelli finding Pfeiffer and Rudd to "have adequate chemistry to pull off the romance," in what he described as an "enjoyable romantic comedy that has enough going for it to make it worth a recommendation." She next starred in Personal Effects (2009), with Ashton Kutcher, playing two grieving people coping with the pain and frustration of their loss whose bond spawns an unlikely romance. The drama premiered at Iowa City's Englert Theatre.
Pfeiffer's next film, an adaptation of Colette's Chéri (2009), reunited her with the director (Stephen Frears) and screenwriter (Christopher Hampton) of Dangerous Liaisons (1988). Pfeiffer played the role of aging retired courtesan Léa de Lonval, with Rupert Friend in the title role, with Kathy Bates as his mother. Chéri premiered at the 2009 Berlin International Film Festival, where it received a nomination for the Golden Bear award. The Times of London reviewed the film favorably, describing Hampton's screenplay as a "steady flow of dry quips and acerbic one-liners" and Pfeiffer's performance as "magnetic and subtle, her worldly nonchalance a mask for vulnerability and heartache". Roger Ebert in the Chicago Sun-Times wrote that it was "fascinating to observe how Pfeiffer controls her face and voice during times of painful hurt". Kenneth Turan in the Los Angeles Times praised the "wordless scenes that catch Léa unawares, with the camera alone seeing the despair and regret that she hides from the world. It's the kind of refined, delicate acting Pfeiffer does so well, and it's a further reminder of how much we've missed her since she's been away."
2010s: Resurgence and professional expansion
Following a two-year sabbatical from acting, Pfeiffer made part of a large ensemble cast in Garry Marshall's romantic comedy New Year's Eve (2011), her second collaboration with Marshall after Frankie and Johnny. The film, also starring Halle Berry, Jessica Biel, Robert De Niro, Josh Duhamel, Zac Efron, Sarah Jessica Parker, and Sofía Vergara, among many others, saw her take on the supporting role of Ingrid Withers, an overwhelmed secretary befriending a deliveryman (Efron). While the film was panned by critics, it made US$142 million worldwide. In 2012, she appeared with Chris Pine and Elizabeth Banks in the drama People Like Us, as the mother of a struggling New York City corporate trader (Pine). Rolling Stone found her to be "luminous" in the film, and The New York Times, positively pointing out Pfeiffer and Banks, noted that their performances "partly compensate for the holes in a story whose timing is hard to swallow". People Like Us debuted to US$4.26 million, described as "meager" by Box Office Mojo, and only made US$12 million in North America.
Pfieffer reunited with Tim Burton, her Batman Returns director, in Dark Shadows (2012), based on the gothic television soap opera of the same name. In the film, co-starring Johnny Depp, Eva Green, Helena Bonham Carter and Chloë Grace Moretz, she played Elizabeth Collins Stoddard, the matriarch of the Collins family. Critical response towards the film was mixed, but writers acclaimed the actors' performances—most notably Depp and Pfeiffer's. IGN found her to be "commanding" in her role and felt that the main characters were "played by one of Burton's best ensemble casts yet". While Dark Shadows grossed a modest US$79.7 million in North America, it ultimately made US$245.5 million globally. In Luc Besson's mob-comedy The Family (2013), co-starring Robert De Niro, Tommy Lee Jones, Dianna Agron and John D'Leo, she played the "tough mother" in a Mafia family wanting to change their lives under the witness protection program. Although reviews for the film were mixed, THV11 said on the cast's portrayals: "The core actors of The Family were really solid, and the whole film comes together to make a solid movie." Meanwhile, The Huffington Post felt that "De Niro, Pfieffer and Jones all brought 100% to their roles." The film grossed US$78.4 million worldwide.
"The only trepidation was I think I took for granted how nice it was to not be under the spotlight and just having a life. I remember thinking, 'Do I really want to step back into this?' And I just realized that I'm not done. I have a lot more to do, and a lot more to say. I'm never going to be one that retires."
— Pfeiffer on her comeback, 2017
Pfeiffer has stated that her lack of acting throughout the 2000s was due to her children, and now with both her children away at college, she intends to "work a lot". She has commented that she feels that her best performance is "still in her", and that she thinks that's what keeps her going. The slew of films that would follow in 2017 would prompt the media to dub her career resurgence a "Pfeiffer-sance". In the independent drama Where Is Kyra?, she starred as a sensitive and fragile woman who loses her mother and "faces a crisis in which she must find a means for survival, all the while hiding her struggles from her new lover". The film premiered at the Sundance Film Festival on January 23, 2017, and received a limited release on April 6, 2018, to critical acclaim; Her role as Kyra was dubbed the "performance of her life" by Village Voice's Bilge Ebiri, and "the performance of her career", by Rolling Stone.
Pfeiffer landed the role of Ruth Madoff for the HBO Films drama The Wizard of Lies, based on the book of the same name. The film, directed by Barry Levinson, reunites her with actor Robert De Niro, who played her husband, disgraced financier Bernard Madoff. The Wizard of Lies premiered on HBO on May 20, 2017, garnering favorable reviews from critics and an audience of 1.5 million viewers, HBO's largest premiere viewership for a film in four years. Tolucan Times remarked that Pfeiffer "steals the show as Madoff's wife, Ruth, and is a remarkable lookalike", while Los Angeles Times asserted: "As Ruth, Pfeiffer convincingly portrays a pampered woman left with utterly nothing —she's lost her homes, status and, most important, her relationship with her sons." Pfeiffer earned her first Emmy nomination for her performance in the category of Outstanding Supporting Actress in a Limited Series or Movie.
In Darren Aronofsky's psychological horror film Mother! (2017), with Jennifer Lawrence and Javier Bardem, Pfeiffer portrayed one of the mysterious guests disrupting the tranquil life of a couple. While Mother! polarized viewers and prompted mass walkouts, the film was better received by critics. Despite its divisiveness, critics unanimously praised Pfeiffer's contribution, some of whom felt that her performance was worthy of an Oscar nomination. Vulture remarked: "Out of the main actors, it's Pfeiffer who is able to root the character in meaning — she bracingly marries the exploration of Biblical creation, mythological overtones, and hellish domestic commentary. There's a gravity to Pfeiffer's performance that allows her to succeed where the other main actors fail, save for brief spurts — she straddles the boundaries between embodying a symbol and granting the character enough interiority to feel like a flesh and blood woman, too."
Pfeiffer had a supporting role in Kenneth Branagh's Murder on the Orient Express (2017), the fourth adaptation of Agatha Christie's 1934 novel of the same name. The mystery–drama ensemble film follows world-renowned detective Hercule Poirot, who seeks to solve a murder on the famous European train in the 1930s. Pfeiffer played an aging socialite with Johnny Depp, Penélope Cruz, and Judi Dench. Pfeiffer sang the song "Never Forget", which plays over the film's closing credits and appears on the film's official soundtrack. The film grossed US$351.7 million worldwide and received decent reviews from critics, with praise for the performances, but criticism for not adding anything new to previous adaptations. Although most critics agreed that the ensemble cast was underused, Pfeiffer's performance earned positive reviews, with Richard Roeper of the Chicago Sun-Times opining that the actress delivers the film's best performance. The New Yorker's Anthony Lane found Pfeiffer to be the only actor who appears to be enjoying their material. David Edelstein of Vulture described the actress as "a hoot and a half ... stealing every scene". Mick LaSalle, writing for the San Francisco Chronicle, identified Pfeiffer as the film's "most interesting bit of casting", crediting her performance with reminding audiences that she is one of today's best film actresses and "help[ing] Branagh make the case for his remake over the original".
Making her Marvel Cinematic Universe debut, Pfeiffer starred as Janet van Dyne, the original Wasp (Evangeline Lilly), in Ant-Man and the Wasp (2018), the sequel to 2015's Ant-Man. Playing Hank Pym's (Michael Douglas) wife, Ant-Man and the Wasp follows the original film's characters as they attempt to retrieve Janet from the Quantum Realm, where she has been lost for several decades. Ant-Man and the Wasp was touted as Pfeiffer's return to superhero films, being her first comic book role since Batman Returns' Catwoman 26 years prior. Critics felt Pfeiffer used her limited screen time well. Variety's Owen Gleiberman described her presence as "lovely" and "wistful", while Josh Spiegel of /Film believes the film suffers from a lack of the actress, describing her appearance as "cruelly brief". She briefly reprised the role the following year in Avengers: Endgame.
In 2019, Pfeiffer starred alongside Angelina Jolie and Elle Fanning in the dark fantasy sequel Maleficent: Mistress of Evil as the villainous Queen Ingrith, mother of Aurora's (Fanning) fiancée Prince Philip. Despite the film earning mixed reviews, critics mostly praised Pfeiffer and Jolie's performances. Describing Pfeiffer as a scene stealer, The Plain Dealer's Laura DeMarco wrote that both veteran actresses "clearly relish their roles."
2020s: Further success and upcoming projects
In October 2019, she began work on the dark comedy French Exit (2020), based on the acclaimed novel of the same name by Patrick deWitt, directed by Azazel Jacobs. In the film, which co-stars Lucas Hedges and Tracy Letts, Pfeiffer played a widow who moves to Paris, France, with her son (Hedges) and cat, who happens to be her reincarnated husband (Letts). The film premiered at the New York Film Festival. Pfeiffer's performance garnered critical acclaim, with many critics feeling it was deserving of an Academy Award nomination. Peter Debruge of Variety remarked that she gave a performance "for which she'll be remembered." Pfeiffer received a Golden Globe Award nomination for Best Actress – Motion Picture Comedy or Musical for her performance.
Pfeiffer maintains that she has never received formal acting training. Instead, she credits director Milton Katselas with teaching her the difference between how an actor thinks their character would behave during a particular scene, and how the actor themself would behave during the same scene. Vulture.com's Angelica Jade Bastién described Pfeiffer as "an actress of such depth, breadth, and tenacity" that "she obliterates the argument that an untrained actor has less capability than her trained counterparts." Pfeiffer said she sometimes feels fraudulent as an actress due to her lack of conventional training, explaining, "I've always had this feeling that one day they're going to find out that I'm really a fraud, that I really don't know what I'm doing." In 1992, Rolling Stone's Gerri Hirshey identified Pfeiffer as a character actress comfortable wearing unflattering costumes. Film critics have described the actress as "a character actress in a screen siren's body". Drawn towards playing "imperfect" women who are "a little bit broken," Pfeiffer claims she rarely accepts traditionally glamorous roles because she finds few of them interesting, opting to play characters who "move" her instead: "I know that if I can hear the character as I'm reading, it's made some connection [with me]." Often commended for masking her true feelings and emotions, Pfeiffer frequently uses this technique advantageously in period films, a genre that has become a trademark of hers. Pfeiffer herself has admitted to being particularly skilled in this area but also believes disguising one's feelings is not uncommon, speculating, "We may not be as mannered or as proper as people were in the 19th century, but very rarely are we talking about what we're really thinking." Pfeiffer has referred to acting as a "sadomasochistic" profession due to how "brutal" she finds the process at times.
In a 2021 profile on the actress, Lynn Hirschberg of W wrote that Pfeiffer's finest roles "seem to involve a woman at war with herself ... Pfeiffer has a way of pitting her characters' wit and self-awareness against their flaws and trauma." During the 1980s, Pfeiffer typically played smart, funny, sexually attractive and strong female characters, whereas AllMovie's Rebecca Flint Marx believes she pursued "a variety of roles that kept her from being pigeonholed and provided opportunities for her to showcase her versatility" during the 1990s. According to Rachel Syme of The New Yorker, such characters were often "both ditzy and wily, high-femme and high-maintenance, scrappy and ... armed with claws". Adam Platt of New Woman observed that Pfeiffer's characters tend to "play the world at a distance, mostly, and are often wise beyond their years. They get romanced, but are not overtly romantic. They may be trashy ... but they all retain an air of invulnerability, a certain classical poise." In a review for the Miami New Times, director and film critic Bilge Ebiri observed that Pfeiffer "often played women who were somewhat removed from the world", elaborating, "It wasn't so much unapproachability or aloofness that she conveyed, but a reserve that suggested ... melancholy, pain, dreams deferred". Pfeiffer has said she prefers dramatic over comedic roles, citing the latter as more challenging "because you have the added pressure to be funny as well as being real ... I’m only ever as funny as the writing is — and sometimes not even that funny." Observing parallels between Pfeiffer's roles and "concern with getting others to look beyond their own first impressions of her", Backstage contributor Manuel Betancourt wrote the actress "has long been perfecting the ability to embody women whose inner contradictions are both revealed and concealed by their very gestures."
Town & Country senior editor Adam Rathe believes Pfeiffer is unlike most of the characters she plays. Pfeiffer said she tends to become addicted to her characters once she commits to the role. Describing scripts as a "treasure map", Pfeiffer said searches new scripts "for clues about her characters while seeking parallels to her own emotional life." Describing herself as "choosy" about the roles she decides to play, Pfeiffer researches material that excites her; IndieWire contributor Kate Erbland believes that, in an effort to avoid typecasting, the actress has often chosen roles that confused others. The Baltimore Sun film critic Michael Sragow defended her unconventional acting choices, writing, "Pfeiffer creates her own emotional free world" in which "She liberates audiences from stereotypes and preconceptions. She takes acting roads less traveled by, and makes us happy collaborators in her journey. Her career so far is an arc of triumph and courage." Filmmakers and co-stars agree that Pfeiffer is extremely committed to her work, developing a reputation for competence and preparedness. Her acting ability continues to draw praise from directors with whom she has worked; Martin Scorsese described Pfeiffer as "an actress who could portray inner conflict with her eyes and face better than any other film star of her generation", while Jonathan Demme declared "It's hard for me to imagine anyone who, on a level of quality, would have an edge on her." Pfeiffer refuses to watch her own work, describing herself as "a perfectionist" who finds "nothing perfect in what I do". In addition to discarding old scripts, Pfeiffer does not retain film reviews, magazine clippings or covers about her performances.
Reception and legacy
Pfeiffer is widely considered to be among the most talented actresses in Hollywood, as well as one of the greatest actresses of her generation. Novelist Steve Erickson wrote that Pfeiffer had already threatened to become one of her generation's finest American actresses by her thirties. Despite observing that her filmography lacks the prestige of contemporaries Anjelica Huston and Meryl Streep, Bastién believes Pfeiffer's through line to be the most fascinating among her peers. In 2009, Maclean's film critic Brian D. Johnson argued that Pfeiffer had yet to demonstrate her true acting range, believing she could potentially be as respected as Streep if only allowed the same opportunities. Johnson claims Pfeiffer's performances are sometimes hindered by her own beauty and apparent "lack of ambition" in choosing "safe, undemanding roles", but simultaneously believes this same lack of ambition in turn "makes her such a good actor". Similarly, the San Francisco Chronicle's Mick LaSalle remarked that Pfeiffer's humility sometimes causes audiences to forget she is genuinely one of today's best actresses. In another review for Vulture, Bastién wrote that, apart from Pfeiffer, "No modern actress better evokes the rich tension between understanding the currency that comes with being a great beauty and the distaste with being seen at all", while Matt Mueller of Harrods Magazine believes no actor "plays beautiful suffering with more nervy and elegant flair than Pfeiffer". Pfeiffer is particularly renowned for her versatility, having accumulated a diverse performance repertoire spanning period, romance, fantasy, musical, comedy and drama films. By 2016, Salon's Charles Taylor declared that no actor of the past decade had rivaled the actress in terms of versatility. In 2021, Adreon Patterson of CinemaBlend branded Pfeiffer both "Hollywood royalty" and Hollywood's most versatile actress. Summarizing Pfeiffer's career as defined by eclecticism, IndieWire contributor Kate Erbland believes she has rarely repeated her acting choices. On this distinction, Pfeiffer explained she has always felt inclined to play a wide variety of characters, even early in her career when her options were limited.
Pfeiffer was one of the most popular and successful actresses of the 1980s and 1990s, having typically starred in at least one film per year since the 1970s. One of the highest-paid actresses of the 1990s, she typically earned $9-$10 million per film. According to UPI, Pfeiffer was one of the few actresses whose film salary corresponded with their box office revenue as of 1996. Apart from The Witches of Eastwick, few of the actress' films during this period had been major box office successes, an observation Pfeiffer never mentioned to studio executives in fear that they would stop casting her altogether. The New York Times journalist Bernard Weinraub said Pfeiffer belongs to a group of actresses who are respected "but not considered a big box- office draw". However, her performances consistently garnered acclaim despite lackluster ticket sales and some films critics found forgettable. By 1999, Variety named Pfeiffer "the female movie star most likely to improve a film's box-office appeal". Contributing to Encyclopedia.com, Robyn Karney wrote that among the several blonde, attractive actresses who debuted during the 1980s, "Pfeiffer seemed the most precisely cut from the cloth of a long Hollywood tradition—a sexy, beautiful, intelligent, modern answer to, say, Carole Lombard, blessed with a sophisticated gift for witty one-liners, an ability to cross class barriers, and to bring conviction to a range of contrasting characters across a spectrum". Often compared to actress Julia Roberts, critics generally conceded that Pfeiffer is "a more serious but less commercially branded actress than Roberts". However, Karney felt the declining quality of her films towards the end of the 1990s "emphasize that the course of Pfeiffer's career ... has been dictated by the era from which she sprang" and "unassailable truth that the great female movie star of the Golden Age is no more." Pfeiffer feels critics have not entirely understood her acting decisions, which Rathe attributes to the "wildcard image" she has maintained throughout her career. Pfeiffer elaborated, "Some of the performances I have felt the best about are ones for which I’ve gotten panned," whereas "The ones that make me cringe are typically when I got the best reviews."
Pfeiffer has been called one of the world's biggest film stars, establishing herself as a "major star" despite having yet to receive top-billing in a blockbuster film. In 2002, Amy Longsdorf of The Morning Call described Pfeiffer as "one of the most popular and critically acclaimed movie stars in the world." According to Carmenlucia Acosta of L'Officiel, "Few actresses have had the fortune of interpreting timeless roles that still remain popular today", calling Pfeiffer "one of Hollywood’s most acclaimed figures." Awarded a motion picture star on the Hollywood Walk of Fame in 2007, Pfeiffer has remained one of Hollywood's most sought-after actresses for over four decades. In 2020, the Kenosha News voted Pfeiffer America's 26th favorite actress. Despite her popularity, Krizanovich dubbed Pfeiffer Hollywood's most underrated actress. Similarly, Matthew Jacobs of HuffPost Canada believes Pfeiffer continues to be underappreciated despite her accolades, since her public persona has never quite rivaled her contemporaries. The Boston Globe's Mark Shanahan observed that, despite Pfeiffer's success and reputation, she is "sometimes forgotten" during discussions of Hollywood's greatest leading ladies due to her effortlessness and "insoucian[ce] on the screen. She’s also uncommonly lovely, which, alas, can obscure even serious acting chops." Describing Pfeiffer as an "Unheralded Comedy Maven", Jacobs hailed her as "one of the great comedic actors of our time, though she is rarely recognized as such". The author identified her subtlety as one of her strengths since her "magnetism never overwhelms the movies she's in. Even when she is the most talented person on-screen (and she usually is), she still allows room for the ensemble to shine."
Pfeiffer has long been described as one of Hollywood's most beautiful actresses, a designation The Daily Telegraph's Mick Brown considers to be both a defining characteristic and curse. After being cast in early roles largely based on her appearance, Pfeiffer initially struggled to convince directors to take her seriously as an actor because they doubted she was more than simply attractive. Her talent continued to be overshadowed by her appearance even several years after her breakthrough performance in Scarface, to which she responded by actively seeking challenging roles in which physical beauty was not an essential characteristic. Candice Russell of the Sun-Sentinel described Pfeiffer as "so awesomely constructed ... that her looks have a tendency to upstage her ability", questioning whether she would be able to subvert this by the time she was nominated for her second Academy Award in 1989. Rachel Syme of The New Yorker observed that, early in her career, critics struggled "to characterize her work without undermining it" by inevitably focusing on Pfeiffer's appearance, "as if her beauty and talent were opposing forces that needed to somehow be reconciled". The Daily Beast's Elizabeth Kaye recognized Pfeiffer as a rare Hollywood talent who understands that it is indeed possible to be both physically attractive and a serious performer, believing the actress achieves this by combining "the sensibility of a modern woman" with "the glamour of a '30s icon". Describing Pfeiffer as popular, beautiful, mercurial and memorable, Karen Krizanovich of The Daily Telegraph observed that, after initially being drawn to her beauty, critics and audiences remain captivated by her performances. Similarly, Town & Country's Adam Rathe wrote "Pfeiffer's undeniable beauty helped get her through Hollywood's door, but it was the intelligence and humor she brought to her carefully chosen roles ... that really made her a star."
Regularly regarded as one of the most beautiful women in the world, film critics and journalists have constantly discussed Pfeiffer's perceived beauty at length, earning her the nickname "The Face" in the media. Celebrity photographers Nigel Parry and Patrick McMullen cite her among the most beautiful women they have photographed. In 2020, Vogue Paris listed Pfeiffer among the 21 most beautiful American actresses of all time. Ranking her among history's most beautiful actresses, Glamour named Pfeiffer "the most perfect face on the silver screen". The same magazine recognized the actress as one of the greatest fashion icons of the 1980s, calling her the decade's "go-to girl" and "one of our all-time favourite movie goddesses". Similarly, Harper's Bazaar crowned Pfeiffer the fourth most glamorous "beauty icon" of the decade, while Complex ranked her the 49th "hottest woman of the '80s". As one of the most famous sex symbols of the 1980s and 1990s, her beauty and fashion choices attracted significant media attention throughout both decades. Men's Health ranked Pfeiffer 45th and 67th on their all-time hottest women and sex symbol rankings, respectively, describing her as "one of Hollywood's most enduring hotties".According to Alice Cary of British Vogue, several costumes worn by the actress "have become hallmarks of popular culture". In 1990, Pfeiffer appeared on the inaugural cover of People magazine's annual 50 Most Beautiful People in the World issue. She was again pictured on the cover in 1999 – the first celebrity to appear on the cover of the issue twice, and the only celebrity to grace the cover twice during the 1990s – having been featured in the "Most Beautiful" issue a record-breaking six times during the decade (1990, 1991, 1992, 1993, 1996 and 1999). AllMovie biographer Rebecca Flint Marx wrote Pfeiffer possesses "a rare beauty that has inspired countless platitudes and an almost-permanent place on People's Fifty Most Beautiful list".
Pfeiffer has been famously self-deprecating about her own appearance, insisting that she is only "conventionally pretty". At least two of her films, Stardust (2007) and Chéri (2009), explore beautiful, youth-obsessed women struggling to accept aging, themes with which Pfeiffer personally identified. Pfeiffer claims she has yet to undergo plastic surgery but admits she would "never say never" to minor cosmetic procedures. According to several plastic surgeons, Pfeiffer possesses some of the most sought-after and requested celebrity features among clients. In 2001, plastic surgeon Stephen R. Marquardt declared that Pfeiffer possesses the most beautiful face in Hollywood. Nicknamed the "golden ratio", Marquardt claims Pfeiffer's face adheres to a mathematical formula in which he determined a person's ideal mouth is 1.618 times as wide as their nose. Several media publications have described Pfeiffer as an "ageless beauty". Folha de S.Paulo described the actress as "an effusive demonstration that age, contrary to what the youth industry sustains, brings rewards, not just wrinkles." Famous for being "press-shy" and private like the characters she plays, Matthew Jacobs of HuffPost crowned Pfeiffer Hollywood's prime example of "a movie star who doesn't walk around feeling like a movie star", which benefits her ability to play authentic characters without allowing her fame to affect her talent. Pfeiffer is notorious for disliking press interviews, referring to herself as "the worst interviewee that ever was". The Baltimore Sun film critic Michael Sragow observed that the actress can at times appear "flustered or elusive" during interviews. Vikram Murthi of The Nation believes Pfeiffer's aversion to publicity "has lent her an air of gravitas, of someone who directs a spotlight rather than chases after it." Pfeiffer explained that promoting her own films used to agitate her, but she has always "mastered the art" of maintaining a composed, polite demeanor when performing such responsibilities. However, she maintains her belief that it is not an actors' responsibility to promote a film project.
Media commentators noted that Pfeiffer had unexpectedly become a "pop-music muse" in 2014; her name is mentioned in two of the year's most popular songs: "Uptown Funk" by Mark Ronson featuring Bruno Mars, and "Riptide" by Vance Joy. Joy was particularly inspired by Pfeiffer's transformation from Selina Kyle into Catwoman in Batman Returns, whereas Ronson cited The Fabulous Baker Boys as his favourite Pfeiffer film. Australian cricketers speak of "getting a Michelle" when they take five wickets in an innings. In cricketing parlance, this is referred to as a "five for", a near-homophone for "Pfeiffer", which resulted in the nickname "Michelle".
While taking acting classes in Los Angeles, Pfeiffer was taken in by a seemingly friendly couple who ran a metaphysics and vegetarian cult. They helped her to cease drinking, smoking, and doing drugs, and over time the couple took control of her entire life. Much of her money went to the group. "I was brainwashed ... I gave them an enormous amount of money."
At an acting class taught by Milton Katselas in Los Angeles, she met fellow budding actor Peter Horton, and they began dating. Pfeiffer and Horton married in Santa Monica in 1981, and it was on their honeymoon that she discovered she had won the lead role in Grease 2. Horton directed Pfeiffer in a 1985 ABC TV special, One Too Many, in which she played the high school girlfriend of an alcoholic student (Val Kilmer); and in 1987, the real-life couple played an on-screen couple in the 'Hospital' segment of John Landis's comedy skit compilation, Amazon Women on the Moon.
Pfeiffer and Horton decided to separate in 1988, and were divorced two years later; Horton later blamed the split on their devotion to their work rather than on their marriage. After her marriage to Horton, Pfeiffer had a three-year relationship with actor/producer Fisher Stevens. They met when Pfeiffer was starring in the New York Shakespeare Festival production of Twelfth Night, in which Stevens played the role of Sir Andrew Aguecheek.
In 1993, Pfeiffer married television writer and producer David E. Kelley. She made a brief uncredited cameo appearance in one episode of Kelley's television series Picket Fences and played the title character in To Gillian on Her 37th Birthday, for which Kelley wrote the screenplay. Pfeiffer had entered into private adoption proceedings before she met Kelley. In March 1993, she adopted a newborn daughter, Claudia Rose, who was christened on Pfeiffer and Kelley's wedding day. In 1994, Pfeiffer gave birth to a son, John Henry Kelley II, named for his grandfather – Pfeiffer's father-in-law – United States Hockey Hall of Fame coach John Henry "Jack" Kelley.
Product and endorsements
In 2005, Pfeiffer served as the face of Giorgio Armani's spring campaign; the designer has often dressed her for public appearances. In the March 2019 issue of InStyle, she announced her intention to launch a collection of fine fragrances called Henry Rose. The line launched in April 2019.
Having been a smoker for ten years, and having a niece who suffered from leukemia for ten years, Pfeiffer decided to support the American Cancer Society. Her charity work includes as well her support for the Humane Society. In 2016, she also attended the Healthy Child Healthy World's L.A. Gala for people who lead the organizations for children's environmental health and protect those most vulnerable. In December that same year, Pfeiffer, who is a vegan, joined the board of directors for Environmental Working Group, an advocacy group based in Washington. D.C.
|1978||Fantasy Island||Athena||Episode: "The Island of Lost Women/The Flight of Great Yellow Bird"|
|1979||Delta House||The Bombshell||12 episodes|
|The Solitary Man||Tricia||Television film|
|CHiPs||Jobina||Episode: "The Watch Commander"|
|1980||B.A.D. Cats||Samantha "Sunshine" Jensen||10 episodes|
|1981||Fantasy Island||Deborah Dare||Episode: "Elizabeth's Baby/The Artist and the Lady"|
|Callie & Son||Sue Lynn Bordeaux||Television film|
Credited as "Michele Pfeiffer"
|Splendor in the Grass||Ginny Stamper||Television film|
|The Children Nobody Wanted||Jennifer Williams||Television film|
|1985||One Too Many||Annie||Television special|
|1987||Great Performances||Natica Jackson||Episode: "Tales from the Hollywood Hills: Natica Jackson"|
|1993–1994||The Simpsons||Mindy Simmons||Voice|
Episodes: "The Last Temptation of Homer" and "Another Simpsons Clip Show" (archival recordings)
Episode: "Freezer Burn"
|1996||Muppets Tonight||Herself||Episode: "Michelle Pfeiffer"|
|2017||The Wizard of Lies||Ruth Madoff||Television film|
|2022||The First Lady||Betty Ford|||
During her career, Pfeiffer has won numerous awards including the Golden Globe Award for Best Actress - Motion Picture Drama, the BAFTA Award for Best Actress in a Supporting Role, and Best Actress awards from the National Board of Review, the National Society of Film Critics, the New York Film Critics Circle, the Chicago Film Critics Association and the Los Angeles Film Critics Association, as well as Best Supporting Actress awards from the Kansas City Film Critics Circle and the San Diego Film Critics Society.
In 2017, Pfeiffer received her first Emmy Award nomination for her performance in The Wizard of Lies (2017) portraying Ruth Madoff. On December 11, 2017, it was announced that she had received a 2018 Golden Globe Award for Best Supporting Actress – Series, Miniseries or Television Film nomination for the role.
- "The Unstoppable Michelle Pfeiffer". People. Time, Inc. May 10, 1999. Retrieved September 6, 2016.
- "DeDee Pfeiffer – Movie and Film Biography and Filmography". AllRovi. Rovi Corporation. Archived from the original on July 18, 2012. Retrieved June 11, 2011.
- "Michelle Pfeiffer biography". Yahoo Movies. Yahoo!. Retrieved April 27, 2011.
- Egan, Tim (August 6, 1995). "Michelle Pfeiffer, Sensuous to Sensible". The New York Times. Retrieved February 4, 2014.
- "Michelle Pfeiffer – Pfeiffer: 'I'm A Multi-Cultural Mutt'". Contact Music. February 1, 2008. Retrieved August 28, 2010.
- "Michelle Pfeiffer". IMDb. Retrieved August 20, 2016.
- Epting, Chris (2011). Orange County: Then & Now. Arcadia Publishing. ISBN 978-0-7385-8115-6. Retrieved April 25, 2011.
- Egan, Tim (August 6, 1995). "Michelle Pfeiffer, Sensuous to Sensible". The New York Times. Retrieved July 16, 2011.
- Tierney, Tom (2002). Glamorous Movie Stars of the Eighties Paper Dolls. Courier Dover Publications. ISBN 978-0-486-42191-9.
- "Michelle Pfeiffer biography". Hello! Magazine. HELLO Ltd. Retrieved May 5, 2011.
- "Burbank Gal is Chosen as State Titlist". Merced-Sun Star. The McClatchy Company. Associated Press. April 17, 1978. Retrieved July 18, 2011.[dead link]
- Erickson, Steve (November 2002). "Beauty and the Beast". Los Angeles Magazine. Vol. 47 no. 11. Emmis Communications. ISSN 1522-9149. Retrieved April 25, 2011.
- "Michelle Pfeiffer Live Events". TCM. Archived from the original on January 28, 2021. Retrieved January 20, 2021.
- "Weekly Review". Weekly Review. No. 1186. Weekly Review Ltd. 1983. p. 96.
- "Alumni videos: Beverly Hills Playhouse". Beverly Hills Playhouse. Retrieved July 10, 2011.
- Thompson, Douglas (1995). Pfeiffer: Beyond the Age of Innocence. Warner Futura. ISBN 978-0-7515-1030-0.
- Archived copy Archived January 18, 2010, at the Wayback Machine
- Maslin, Janet (June 11, 1982). "Grease 2 (1982): More Grease". The New York Times. Retrieved April 25, 2011.
- "Michelle Pfeiffer Biography". Talk Talk. Tiscali UK Limited trading. Archived from the original on September 26, 2008. Retrieved October 23, 2008.
Michelle, renowned as the most beautiful actress in the world ...
- Gottdiener, Mark (2000). New forms of consumption: consumers, culture, and commodification. Rowman & Littlefield. ISBN 978-0-8476-9570-6.
- Corlis, Richard (December 5, 1983). "Say Good Night to the Bad Guy". TIME. Archived from the original on October 22, 2007. Retrieved October 23, 2008.
- Dunne, Dominick (1984). "Blonde Ambition". Vanity Fair. 47 (3): 58.
- 1634 to 1699: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy ofthe United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700-1799: McCusker, J. J. (1992). How much is that in real money?: a historical price index for use as a deflator of money values in the economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved January 1, 2020.
- "The Witches of Eastwick". Box Office Mojo. Retrieved April 27, 2011..
- "All Michelle Pfeiffer Movies, Ranked By Tomatometer". Rotten Tomatoes. Retrieved February 18, 2012.
- Marx, Rebecca Flint. "Michelle Pfeiffer – Biography by Rebecca Flint Marx". AllMovie. Retrieved August 8, 2021.
- Ebert, Roger (June 12, 1987). "The Witches of Eastwick". RogerEbert.com. Retrieved November 19, 2020.
- Benson, Sheila (June 12, 1987). "Movie Review: 'Witches' Curse Goes to the Devil". Los Angeles Times. Retrieved November 19, 2020.
- "Michelle Pfeiffer – awards and nominations". MSN Movies. Microsoft Corporation. Archived from the original on September 23, 2012. Retrieved April 27, 2011.
- "Michelle Pfeiffer". Golden Globe Awards. Hollywood Foreign Press Association. Archived from the original on May 21, 2006. Retrieved July 11, 2011.
- "Tequila Sunrise: Michelle Pfeiffer". Pfeiffertheface.com. Archived from the original on November 1, 2008. Retrieved October 23, 2008.
- "Dangerous Liaisons". The Washington Post. January 13, 1989. Retrieved October 23, 2008.
- "Past winners and nominees – Film nominations 1989". British Academy of Film and Television Arts. Archived from the original on May 25, 2011. Retrieved April 28, 2011.
- "61st Academy Awards winners". Academy of Motion Picture Arts and Sciences. Retrieved April 28, 2011.
- "150 Greatest movie performances of all time". TotalFilm.com. Retrieved April 28, 2011.
- "The Fabulous Baker Boys (1989)". Box Office Mojo. Future Publishing Limited. Retrieved April 28, 2011.
- Ebert, Roger (October 13, 1989). "The Fabulous Baker Boys". Chicago Sun-Times. Retrieved October 23, 2008.
- Gorman, Allison; Gorman, Anna (February 2, 2015). "The Roles of a Lifetime: Michelle Pfeiffer". Paste. Retrieved May 17, 2018.
- Haskell, Robert (February 7, 2019). "Michelle Pfeiffer is Back (as if She Ever Left)". InStyle. Retrieved February 17, 2019.
The Fabulous Baker Boys — in which she gave her most widely lauded performance, as the lounge singer Susie Diamond
- Nathan, Ian (January 1, 2020). "The Fabulous Baker Boys Review". Empire. Retrieved June 2, 2021.
- West, Rachel (April 29, 2018). "Michelle Pfeiffer's 10 Best Roles". Entertainment Tonight Canada. Retrieved June 2, 2021.
- Graham, Jane (October 16, 2010). "The Fabulous Baker Boys: No 24 best romantic film of all time". The Guardian. Retrieved June 2, 2021.
this is Pfeiffer's movie, the one that made her the biggest female film star in the world
- "Michelle Pfeiffer: ageless beauty". The Sydney Morning Herald. June 29, 2009. Retrieved June 22, 2021.
When Michelle Pfeiffer purred the words to while sprawled across a grand piano in 1989's s, the scene went down in history as one of cinema's sexiest moments.
- "She sings! She dances! She acts! – The Fabulous Pfeiffer Girl". Empire. February 1, 2010. Archived from the original on August 25, 2017. Retrieved April 29, 2017 – via Gorgeous Pfeiffer.
- Smith, Richard. "The Russia House". Turner Classic Movies. Time Warner Company. Retrieved April 28, 2011.
- "Salon Brilliant Careers #124; The dazzling versatility of Michelle Pfeiffer". Salon.com. Archived from the original on February 8, 2007. Retrieved October 23, 2008.
- Denby, David (September 23, 1991). "Frankie and Johnny brings outrageous romance to a wounded city". New York magazine. Vol. 24 no. 37. New York Media, LLC. ISSN 0028-7369. Retrieved May 1, 2011.
- "Michelle Pfeiffer". Inside the Actors Studio. Season 13. Episode 16. August 5, 2007.
- Rich, Frank (July 10, 1989). "Review/Theater; Night of Stars, and Also Shakespeare". The New York Times.
- "Love Field – Awards". AllMovie. Rovi Company. Retrieved April 28, 2011.
- "Berlinale: 1993 Prize Winners". Berlinale.de. Retrieved June 1, 2011.
- Erbland, Kate (February 25, 2021). "'French Exit' Star Michelle Pfeiffer Explains the Secret to Her Eclectic Career". IndieWire. Retrieved March 5, 2021.
Pfeiffer's Catwoman — long considered the gold standard cinematic version of the Bat-verse baddie
- Cotter, Padraig (March 29, 2019). "Batman: Why Michelle Pfeiffer Is The Best Catwoman". ScreenRant. Retrieved June 18, 2019.
- Melrose, Kevin (June 19, 2017). "Michelle Pfeiffer's Catwoman Is Still Batman's Best Movie Villain". Comic Book Resources. Retrieved June 18, 2019.
it's Selina's story that imbues Batman Returns with a depth that lifts it above its predecessor, and establishes Pfeiffer's Catwoman as the Caped Crusader's most compelling movie villain of all time.
- Diaz, Eric (April 2, 2019). "Michelle Pfeiffer Shows Why She's Still The Best Catwoman". Nerdist. Retrieved June 8, 2019.
- Bastién, Angelica Jade (June 26, 2017). "25 Years Later, Michelle Pfeiffer's Catwoman Is Still the Best Superhero Movie Villain". Vulture. Retrieved June 8, 2019.
Pfeiffer's Catwoman is widely seen as the best cinematic take on the character
- "The Best and Worst Batman Villains". Premiere Magazine. Hachette Filipacchi Media U.S., Inc. Archived from the original on December 3, 2010. Retrieved May 1, 2011.
- "Batman Returns at Box Office Mojo". Box Office Mojo. IMDb Company. Retrieved February 19, 2021.
- Galbraith, Jane (June 14, 1993). "Pfeiffer spices up award show". Los Angeles Times. Retrieved April 28, 2011.
- Galbraith, Jane (June 14, 1993). "Pfeiffer spices up award show". Los Angeles Times. Retrieved July 3, 2011.
- "Wolf Movie Reviews, Pictures". Rotten Tomatoes. Archived from the original on May 22, 2010. Retrieved May 1, 2011.
- Maslin, Janet (June 17, 1994). "Wolf (1994) Review/Film; Wolf Bites Man; Man Sheds His Civilized Coat". The New York Times. Retrieved May 1, 2011.
- "Wolf at Box Office Mojo". Box Office Mojo. IMDb Company. February 10, 2009. Retrieved July 3, 2011.
- "Movies to See". Jet. Vol. 88 no. 15. Johnson Publishing Company. August 21, 1995. ISSN 0021-5996. Retrieved May 1, 2011.
- "Big Winners at 38th Grammy Awards Ceremony in Los Angeles". Jet. 89 (18). March 18, 1996. ISSN 0021-5996. Retrieved May 1, 2011.
- "Rap star Coolio, Fugees with win at MTV Awards". Jet. Vol. 90 no. 19. Johnson Publishing Company. September 23, 1996. ISSN 0021-5996. Retrieved May 1, 2011.
- "Dangerous Minds (1995) - Box Office Mojo". www.boxofficemojo.com.
- "Book Review: Monster, by Joan Didion, John Gregory Dunne". Entertainment Weekly. March 7, 1997.
- Maslin, Janet (October 18, 1996). "To Gillian on Her 37th Birthday (1996)". The New York Times. Retrieved July 17, 2011.
- "One Fine Day". AllMovie. Retrieved May 1, 2011.
- "A Thousand Acres Movie Reviews, Pictures". Rotten Tomatoes. Archived from the original on February 28, 2007. Retrieved May 1, 2011.
- Howe, Desson (March 12, 1999). "'The Deep End of the Ocean' (PG-13)". The Washington Post. Retrieved May 1, 2011.
- Maslin, Janet (May 14, 1999). "'A Midsummer Night's Dream': A 'Dream' of Foolish Mortals". The New York Times. Retrieved May 1, 2011.
- "The Story of Us (film)". AllMovie. Retrieved May 1, 2011.
- "What Lies Beneath". The Numbers.com. Nash Information Services, LLC. Retrieved October 24, 2008.
- "What Lies Beneath (2000)". Box Office Mojo. Retrieved November 13, 2017.
- "I Am Sam". AllMovie. Retrieved May 1, 2011.
- "I Am Sam (2001)". Box Office Mojo. Retrieved November 13, 2017.
- "I Am Sam". Metacritic. CBS Interactive Inc. Retrieved May 1, 2011.
- Axmaker, Sean (January 24, 2002). "'I am Sam' wallows in melodramatic mush". Seattle Post-Intelligencer. Hearst Communications Inc. Retrieved May 1, 2011.
- LaSalle, Mick (January 25, 2002). "Penn plays sad 'Sam' / He's full of integrity as retarded father". Seattle Post-Intelligencer.
- Holden, Stephen (October 11, 2002). "Slowly, A Princess Turns Into An Urchin". New York Times. Retrieved October 23, 2008.
- Turan, Kenneth (October 11, 2002). "Artful 'Oleander' needs more compelling voice". Los Angeles Times. Retrieved June 29, 2008.
- "Sinbad: Legend of the Seven Seas Preview". Entertainment Weekly. April 25, 2003. Retrieved January 18, 2014.
- "Michelle Pfeiffer's Eternal Beauty". CBS News. October 4, 2007. Retrieved March 26, 2021.
"Stardust" and her role this summer in the movie "Hairspray" mark a comeback for Pfeiffer after five years away from the big screen. She has proved she is still striking on camera and popular with audiences, putting her in a stronger position than ever as an actress.
- Swildon, Tilda (February 17, 2008). "White Witch shares her love potion with two men". The Sunday Times. Times Newspapers Ltd. Retrieved July 20, 2011.
- "Michelle Pfeiffer: The former beauty queen is back after a five-year break". Irish Independent. July 16, 2007. Retrieved March 25, 2021.
- "Michelle Pfeiffer Returns to Big Screen after 3-Year Hiatus". Extra. March 15, 2007. Retrieved March 25, 2021.
- Netburn, Deborah; Victorio, Lora (January 1, 2008). "Hits and misses along the comeback trail". Los Angeles Times. Retrieved March 25, 2021.
- "Hairspray". The Hollywood Reporter. July 19, 2007. Retrieved March 23, 2021.
- Scott, A. O. (July 19, 2007). "Review: In 'Hairspray,' a celebration of youth and a guileless era". The New York Times. Retrieved March 23, 2021.
- Sims, James (June 28, 2007). "Dishing with 'Hairspray' Film Cast: Michelle Pfeiffer". BroadwayWorld. Retrieved March 24, 2021.
- Moore, Roger (August 19, 2007). "Pfeiffer back on screen with vengeance". Deseret News. Retrieved March 24, 2021.
- "Hairspray (2007)". Box Office Mojo. Retrieved November 13, 2017.
- Moore, Roger (August 9, 2007). "Pfeiffer wins acclaim in return to films". The Post and Courier. Retrieved March 23, 2021.
- Smith, Liz (June 5, 2007). "Michelle Pfeiffer — What She Did for Love". Good Housekeeping. Retrieved March 25, 2021.
- Edelstein, David (July 20, 2007). "Hollywood's Musical 'Hairspray,' a Little Too Bouffant". NPR. Retrieved March 24, 2021.
- "Stardust". AllMovie. Archived from the original on July 7, 2012. Retrieved May 1, 2011.
- "Stardust Box Office Mojo". Box Office Mojo. August 20, 2007. Retrieved February 14, 2017.
Production Budget: $70 million
- Holden, Stephen (August 10, 2007). "When Stars (Celestial) Fall, and Stars (Hollywood) Fly". The New York Times. Retrieved August 24, 2021.
- Schwartz, Missy (February 8, 2008). "Would You Dump This Woman?". Entertainment Weekly. Retrieved May 1, 2011.
- "Would You Dump This Woman?". Entertainment Weekly. Retrieved November 13, 2017.
- "I Could Never Be Your Woman". Rotten Tomatoes. Retrieved November 13, 2017.
- "Review: I Could Never Be Your Woman". Reel Views.net. Retrieved November 13, 2017.
- Meredith, Luke (December 12, 2008). "2011 Movie preview: 'No strings attached'". USA Today. Gannett Company, Inc. Retrieved July 13, 2011.
- "Michelle Pfeiffer beweist in Chéru Mut zur Falte". Die Welt (in German). Axel Springer AG. February 10, 2009. Retrieved July 3, 2011.
- Dalton, Stephen (February 11, 2009). "Chéri review". The Times. London. Retrieved March 1, 2009.
- Ebert, Roger (June 24, 2009). "Chéri review". Chicago Sun-Times. Retrieved August 6, 2009.
- Turan, Kenneth (June 26, 2009). "Chéri review". Los Angeles Times. Archived from the original on June 28, 2009. Retrieved August 6, 2009.
- "New Year's Eve (2011)". Box Office Mojo. Retrieved November 13, 2017.
- "People Like Us". Rolling Stone. June 28, 2012. Retrieved November 13, 2017.
- Holden, Stephen (June 28, 2012). "'People Like Us,' With Chris Pine". New York Times. Retrieved November 13, 2017.
- "Weekend Report: 'Ted' Gets High, 'Mike' Scores". Box Office Mojo. Retrieved November 13, 2017.
- Vejvoda, Jim (May 9, 2012). "Dark Shadows Review". IGN. Retrieved May 26, 2012.
- "Dark Shadows (2012)". Box Office Mojo. Retrieved November 13, 2017.
- "Michelle Pfeiffer in Talks to Join Robert De Niro in 'Malavita'" Archived November 6, 2013, at the Wayback Machine Overallsite
- "The Family". IMDb. September 13, 2013. Retrieved August 20, 2016.
- "Today's Box Office: The Family". thv11.com. September 13, 2013. Archived from the original on October 18, 2013. Retrieved November 17, 2013.
- Kit, Zorianna (September 14, 2013). "Just Seen It: The Family Movie Review". Huffington Post. Retrieved November 17, 2013.
- "The Family (2013)". Box Office Mojo. Retrieved November 13, 2017.
- "Michelle Pfeiffer: 'I'm Always Afraid of Failing'". The New York Times. November 2, 2017. Retrieved November 5, 2017.
- "Live! with Kelly and Michael". Live with Kelly and Michael. September 11, 2013. ABC.
- "Michelle Pfeiffer 'Dreading' Her Soon-To-Be-Empty Nest". Access Hollywood. Archived from the original on September 26, 2013. Retrieved November 13, 2017.
- "Michelle Pfeiffer: 'My best performance is still in me'". zap2it.com. June 20, 2012. Archived from the original on July 20, 2013. Retrieved August 20, 2016.
- "Sundance Report: Gloomy 'Where Is Kyra?' Marks Michelle Pfeiffer's Latest Big Screen Comeback". Yahoo News!. January 25, 2017. Retrieved August 20, 2017.
- "Darren Aronofsky: mother! is close to Black Swan 'in spirit'". Entertainment Weekly. August 14, 2017. Retrieved August 20, 2017.
- Desta, Yohana (April 8, 2019). "Michelle Pfeiffer Opens Up, Kind of, about Passing on Pretty Woman, Thelma & Louise". Vanity Fair. Retrieved February 10, 2021.
- Stevens, Dana (January 7, 2019). "Green Book Has a Real Head Start on Awards-Season Backlash". Slate. Retrieved February 10, 2021.
- Patten, Dominic (December 5, 2016). "Sundance 2017: Robert Redford, New Rashida Jones Netflix Series, 'Rebel In The Rye' & More On Premiere, Docu, Midnight & Kids Slates". Deadline.com.
- Edelstein, David (April 6, 2018). "Michelle Pfeiffer Is Stunning in Where Is Kyra?". Vulture.
- Weitzman, Elizabeth (April 5, 2018). "'Where Is Kyra?' Film Review: Michelle Pfeiffer Shines in Dark Indie Drama". The Wrap.
- Kinane, Ruth (April 3, 2018). "Michelle Pfeiffer is brilliant in bleak drama Where Is Kyra?: EW review". Entertainment Weekly.
- Patten, Bilge (April 2, 2018). "Michelle Pfeiffer Gives the Performance of Her Life in "Where Is Kyra?"". The Village Voice.
- Fear, David (April 6, 2018). "'Where Is Kyra?' Review: Michelle Pfeiffer Gives the Performance of Her Career". The Village Voice.
- "HBO's 'Wizard Of Lies' Madoff Movie A Go With Michelle Pfeiffer, Alessandro Nivola Joining Robert De Niro; Barry Levinson To Direct" Deadline
- Andreeva, Nellie (May 23, 2017). "Madoff Movie 'Wizard Of Lies' Draws Largest Premiere Viewership For HBO Film In 4 Years". Deadline.com. Retrieved May 24, 2017.
- "The Wizard of Lies". tonymedley.com. Retrieved November 13, 2017.
- Ali, Lorraine. "Robert De Niro plays an oddly convincing Madoff in HBO's 'Wizard of Lies'". Los Angeles Times. Retrieved November 13, 2017.
- "She's Back, People: Michelle Pfeiffer Scores First Emmy Nomination For HBO's 'Wizard Of Lies'". Moviepilot.com. July 14, 2017. Archived from the original on September 4, 2017. Retrieved July 15, 2017.
- "Michelle Pfeiffer, Domhnall Gleeson Joining Jennifer Lawrence in Darren Aronofsky Drama". The Hollywood Reporter. April 15, 2016. Retrieved April 15, 2016.
- "mother! Buzz: Is Darren Aronofsky's Latest the Year's Most Controversial Movie?".
- "mother!" – via www.rottentomatoes.com.
- Munzenrieder, Kyle (December 27, 2017). "From Laura Dern to Michelle Pfeiffer, 2017 Was the Year of the Comeback". W. Retrieved May 16, 2018.
September's mother! may have been the most divisive movie of the year, but it seems the one thing we all could agree on was, 'You know, it's really nice to have Michelle Pfeiffer back.'
- Appelo, Tim (April 9, 2018). "Michelle Pfeiffer: 'I Don't Need to Look Younger'". AARP. Retrieved May 17, 2018.
[Pfeiffer] earned A-plus reviews in a baffling flick that got an F on Cinemascore.
- Donnelly, Matt (February 6, 2017). "Paramount Pulls Brad Pitt's 'World War Z 2,' 'Friday the 13th' Reboot From Schedule". TheWrap.
- Krizanovich, Karen (September 11, 2017). "Hollywood's most underrated actress makes a sensational return". The Daily Telegraph. Retrieved February 10, 2020.
Talk on the film circuit is that Pfeiffer's star-blasting turn in mother! is a stand-out – and could even get the 59 year-old an Oscar win.
- "Michelle Pfeiffer is the MVP of Mother!". September 18, 2017.
- Emery, Dawn (November 2, 2017). "'Murder on the Orient Express': Kenneth Branagh, Michelle Pfeiffer Dish on All-Star Remake at London Premiere". Variety. Retrieved May 22, 2019.
- Giles, Jeff (November 9, 2017). "Murder on the Orient Express Mostly Stays on Track". Rotten Tomatoes. Retrieved November 9, 2017.
- Roeper, Richard (November 8, 2018). "Others sent to back of train in Branagh's 'Murder on Orient Express'". Chicago Sun-Times. Retrieved August 6, 2018.
- Lane, Anthony (November 20, 2017). ""Murder on the Orient Express" and "Thelma"". The New Yorker. Retrieved August 4, 2018.
- Edelstein, David (November 10, 2017). "Murder on the Orient Express Is a Mild Ride". Vulture. Retrieved August 4, 2018.
- LaSalle, Mick (November 9, 2017). "A successful new stab at 'Murder on the Orient Express'". San Francisco Chronicle. Archived from the original on August 5, 2018. Retrieved August 4, 2018.
- "Ant-Man and the Wasp". Box Office Mojo. July 12, 2018. Retrieved July 12, 2018.
- Couch, Aaron (July 2, 2018). "'Ant-Man and the Wasp' Director on Wooing Michelle Pfeiffer and His Marvel Future". The Hollywood Reporter. Retrieved March 6, 2021.
- Gleiberman, Owen (June 27, 2018). "Film Review: 'Ant-Man and the Wasp'". Variety. Retrieved June 25, 2019.
- Spiegel, Josh (June 27, 2018). "'Ant-Man and the Wasp' Review: Marvel Delivers a Fun and Funny Palate Cleanser". /Film. Retrieved January 25, 2019.
- Allen, Ben (May 4, 2019). "All of the cameos in Avengers: Endgame". Radio Times. Retrieved February 18, 2021.
- "Michelle Pfeiffer in Talks to Join Angelina Jolie in 'Maleficent 2' (EXCLUSIVE)". Variety. April 27, 2018. Retrieved April 27, 2018.
- Levack, Chandler (October 17, 2019). "Disney's Meet the Fockers-esque Maleficent: Mistress of Evil casts the laziest kind of spell". The Globe and Mail. Retrieved February 18, 2021.
- Zoller Seitz, Matt (October 18, 2019). "Maleficent: Mistress of Evil". Roger Ebert. Retrieved February 18, 2021.
- Mendelson, Scott (October 15, 2019). "Review: 'Maleficent: Mistress Of Evil' Resembles The Offspring Of An Unholy Union Between 'Gargoyles,' 'Aquaman' And 'Avatar'". Forbes.com. Retrieved February 18, 2021.
- Travers, Peter (October 17, 2019). "'Maleficent: Mistress of Evil' Is a Melted, Wannabe 'Frozen'". Rolling Stone. Retrieved February 18, 2021.
- Laura, DeMarco (October 16, 2019). "Angelina Jolie and Michelle Pfeiffer magnificent in 'Maleficent: Mistress of Evil' (review)". The Plain Dealer. Retrieved February 18, 2021.
- "Michelle Pfeiffer to Star in Azazel Jacobs' Dark Comedy 'French Exit'". Variety. April 9, 2019. Retrieved April 9, 2019.
- "Sony Pictures Classics Acquires Azazel Jacobs' 'French Exit' Starring Michelle Pfeiffer & Lucas Hedges". Deadline. September 7, 2019. Retrieved September 7, 2019.
- "Michelle Pfeiffer, Lucas Hedges, Tracy Letts Join 'French Exit' Comedy". Deadline. May 3, 2019. Retrieved May 11, 2019.
- "Interview: Michelle Pfeiffer on 'French Exit,' her new business and what she hated about the Catwoman costume". The Morning Call. December 21, 2020. Retrieved March 16, 2021.
- Lang, Brent (August 11, 2020). "'French Exit' With Michelle Pfeiffer, Lucas Hedges to Close New York Film Festival". Variety. Retrieved February 21, 2021.
- Debruge, Peter (October 10, 2020). "'French Exit' Review: Michelle Pfeiffer Makes a Clean Break, Delivering a Role for Which She'll Be Remembered". Variety. Retrieved February 21, 2021.
- "Nominations for the 78th Golden Globe Awards (2021) Announced". www.goldenglobes.com. Retrieved February 4, 2021.
- "Annette Bening & Michelle Pfeiffer Team For Feature Adaptation Of Alice LaPlante's 'Turn Of Mind' – Cannes". Deadline. May 11, 2019. Retrieved May 11, 2019.
- "Michelle Pfeiffer To Star As Betty Ford In 'The First Lady', Susanne Bier To Direct Showtime Anthology Series". Deadline. January 21, 2021. Retrieved January 21, 2021.
- Baumgartner, Drew (August 24, 2021). "Showtime's Anthology Series 'The First Lady,' About Three Iconic White House Women, Will Premiere in 2022". Collider. Retrieved August 24, 2021.
- Miller, Julie (March 28, 2017). "Michelle Pfeiffer Reveals Why She 'Disappeared' from Hollywood". Vanity Fair. Retrieved April 22, 2017.
- Brown, Mick (April 20, 2009). "Michelle Pfeiffer: interview". The Daily Telegraph. Retrieved April 22, 2017.
[A]n actress who for so long has been regarded as the one of Hollywood's great beauties ...
- Bastién, Angelica Jade (June 26, 2017). "The 10 Essential Roles of Michelle Pfeiffer". Vulture.com. Archived from the original on September 29, 2017. Retrieved September 30, 2017.
- Hirshey, Gerri (September 3, 1992). "Michelle Pfeiffer: The Bat's Meow". Rolling Stone. Retrieved April 23, 2017.
- Hirschberg, Lynn (February 23, 2021). "When It Comes to Acting, Michelle Pfeiffer Would Prefer Not To". W. Retrieved February 25, 2021.
- Stone, Peter; Kelsey, Colleen (May 9, 2012). "New Again: Michelle Pfeiffer". Interview. Retrieved April 23, 2017.
- Kaye, Elizabeth (April 2, 2016). "The Stacks: Why It's So Hard to Be Michelle Pfeiffer". The Daily Beast. Retrieved April 22, 2017.
- Syme, Rachel (January 31, 2021). "Michelle Pfeiffer Chooses Carefully". The New Yorker. Retrieved January 31, 2021.
- Platt, Adam (May 1, 1997). "Pfeiffer and Clooney get close – The real life of Michelle Pfeiffer". New Woman. Retrieved April 29, 2017 – via Gorgeous Pfeiffer.
- Ebiri, Bilge (April 13, 2018). "Is Where Is Kyra? the Best Michelle Pfeiffer Has Ever Been?". Miami New Times. Archived from the original on May 17, 2018. Retrieved May 16, 2018.
- Mueller, Matt (April 2009). "Face Forward" (PDF). Harrods Magazine. Retrieved March 26, 2021 – via Matt Mueller.
- Betancourt, Manuel (January 13, 2021). "Michelle Pfeiffer Isn't Done Defying Our Expectations". Backstage. Retrieved February 3, 2021.
- Rathe, Adam (February 17, 2021). "Michelle Pfeiffer Is Playing the Long Game". Town & Country. Retrieved April 27, 2021.
- Sragow, Michael (August 5, 2007). "What Lies Beneath". The Baltimore Sun. Retrieved July 5, 2021.
- Haskell, Robert (February 7, 2019). "Michelle Pfeiffer is Back (as if She Ever Left)". InStyle. Retrieved February 7, 2019.
- Karasyov, Caroline Doyle (October 1, 2002). "Michelle Pfeiffer Tells All – Michelle Gets Personal". Harper's Bazaar – via Gorgeous Pfeiffer.
- Levine, Josh (1999). David E. Kelley: The Man Behind Ally McBeal. Toronto, Ontario, Canada: ECW Press. p. 2. ISBN 978-1-55022-372-9 – via Google Books.
- Longsdorf, Amy (January 19, 2002). "Legally Mean". The Morning Call. Retrieved May 17, 2018.
- Feinberg, Scott (March 4, 2021). "'Awards Chatter' Podcast — Michelle Pfeiffer ('French Exit')". The Hollywood Reporter. Retrieved March 5, 2021.
You were the biggest female movie star in the world at that time
- "Michelle Pfeiffer – Biography". Turner Classic Movies. Retrieved October 13, 2020.
- Dunne, John Gregory (2012). Monster: Living Off the Big Screen. New York City: Knopf Doubleday Publishing Group. ISBN 9780307817648 – via Google Books.
- Tapan, Barbaros (December 25, 2018). "Michelle Pfeiffer: A successful actress, mother and businesswoman". Daily Sabah. Retrieved June 18, 2019.
Considered to be among the most talented actresses of her generation
- Erickson, Steve (November 2002). "Beauty and the Beast". Los Angeles Magazine. pp. 130–132. Archived from the original on December 1, 2017 – via Google Books.
- Johnson, Brian D. (June 26, 2009). "Courtesans gone wild in 'Cheri' and 'The Girlfriend Experience'". Maclean's. Archived from the original on May 17, 2018. Retrieved May 17, 2018.
- Bastién, Angelica Jade (September 18, 2017). "Michelle Pfeiffer Is the MVP of Mother!". Vulture.com. Archived from the original on May 27, 2018. Retrieved May 16, 2018.
- Wittmer, Carrie (March 29, 2017). "Michelle Pfeiffer explains why she 'disappeared' from Hollywood". Business Insider. Retrieved April 22, 2017.
- Taylor, Charles (May 25, 1999). "The dazzling versatility of Michelle Pfeiffer". Salon. Archived from the original on October 28, 2016. Retrieved May 17, 2018.
- "Happy Birthday, Michelle Pfeiffer! Celebrates the Star's Milestone Birthday With Photos Through the Years". Parade. April 12, 2012. Retrieved May 17, 2018.
- Goldstein, Gary (February 19, 2010). "Michelle Pfeiffer". Los Angeles Times. Retrieved February 11, 2021.
She has proven as adept in comedies ("Married to the Mob") and musicals ("Hairspray") as she has in serious dramas ("White Oleander", "The Deep End of the Ocean") and period pieces ("The Age of Innocence").
- Acosta, Carmenlucia (April 28, 2021). "Looking Back at Michelle Pfeiffer's Most Iconic Movie Roles". L'Officiel. Retrieved June 3, 2021.
- Patterson, Adreon (February 4, 2021). "Michelle Pfeiffer On Why Getting Noticed For Your Looks Is 'No-Win' In Hollywood". CinemaBlend. Retrieved June 2, 2021.
- Ho, Vanessa (October 26, 2012). "Iconic '80s actresses". Seattle Post-Intelligencer. Retrieved May 18, 2018.
- Sanford, James (July 5, 2007). "Michelle Pfeiffer fans, rejoice: She's this year's comeback kid". MLive.com. Retrieved March 25, 2021.
- Dirks, Tim. "The History of Film The 1990s". Filmsite.org. Retrieved July 9, 2021.
- Weinraub, Bernard (September 18, 1995). "Skyrocketing Star Salaries". The New York Times. Retrieved June 2, 2021.
- "Michelle Pfeiffer, the Hollywood star of the eighties and nineties". World Today News. May 25, 2021. Retrieved June 3, 2021.
Between the late eighties and the mid-nineties, Michelle Pfeiffer was the most important and highest paid actress in the world.
- "Study: Film stars are overpaid". UPI. April 8, 1996. Retrieved June 2, 2021.
- Hacker, Andrew (1999). Money: Who Has How Much and Why. United States: Simon and Schuster. p. 74. ISBN 9780684864501. Citing a survey conducted by Entertainment Weekly, Hacker named Pfeiffer the fourth highest-paid actress of the time, after Demi Moore, Julia Roberts and Sandra Bullock. – via Google Books.
- Lindsey, Robert (January 13, 1989). "Hard Work Is Moving Michelle Pfeiffer Closer To Stardom". Chicago Tribune. Retrieved April 25, 2017.
- Longsdorf, Amy (March 7, 1999). "'Deep' Thoughts Chic Michelle Pfeiffer Explains Attraction Of Flawed Character". The Morning Call. Retrieved May 17, 2018.
- Karney, Robyn. "Pfeiffer, Michelle 1957(?)–". Encyclopedia.com. Retrieved February 6, 2021.
- Jacobs, Matthew (December 7, 2017). "What Lies Beneath The Comeback Of Michelle Pfeiffer And The Decline Of Julia Roberts". HuffPost Canada. Retrieved February 13, 2021.
- Posner, Alan (October 22, 1995). "Julia Roberts;The Almost-Peerless Michelle Pfeiffer". The New York Times. Retrieved February 13, 2021.
- Fonseca, Nicholas (February 20, 2021). "Michelle Pfeiffer on life outside movies before French Exit comeback". The Daily Telegraph. Retrieved March 26, 2021.
- Longsdorf, Amy (October 5, 2002). "Her evergreen expectation". The Morning Call. Retrieved February 6, 2019.
- "Michelle Pfeiffer". Hollywood Walk of Fame. August 6, 2007. Retrieved February 1, 2021.
She rose to prominence during the late 1980s and early 1990s, during which time she gave a series of critically-acclaimed performances
- McCarthy, Lauren (April 8, 2019). "Michelle Pfeiffer on the Radical Transparency of Her New Fragrance Brand". W. Archived from the original on June 28, 2020. Retrieved June 28, 2020.
- Shanahan, Mark (April 1, 2021). "Michelle Pfeiffer on making an entrance in 'French Exit'". The Boston Globe. Retrieved July 25, 2021.
- Jacques, Jaime (September 1, 2020). "America's 50 favorite actresses of all time". Kenosha News. Retrieved February 3, 2020.
- Jacobs, Matthew (February 9, 2021). "Michelle Pfeiffer, Unheralded Comedy Maven". HuffPost Canada. Retrieved February 11, 2021.
- "I'm all for Botox, admits Michelle". Independent Online. October 7, 2011. Retrieved October 27, 2017.
- Berk, Philip (August 9, 2018). "Michelle Pfeiffer makes a comeback after a 10-year hiatus". The Jakarta Post. Retrieved June 28, 2020.
Once considered the most beautiful actress in Hollywood
- Canby, Vincent (April 12, 1985). "FILM: 'LADYHAWKE,' A MEDIEVAL TALE". The New York Times. Archived from the original on June 25, 2018. Retrieved February 13, 2021.
Miss Pfeiffer ... may well be the most beautiful woman in movies today
- Russell, Candice (March 25, 1990). "Flirting with Oscar". Sun-Sentinel. Retrieved July 8, 2021.
- Aronofsky, Darren (March 28, 2017). "Michelle Pfeiffer". Interview. Retrieved April 22, 2017.
- "Michelle Pfeiffer: the actress for whom ageing holds no fear". The National. July 17, 2010. Retrieved May 16, 2018.
- Sieczkowski, Cavan (September 16, 2013). "Michelle Pfeiffer On Aging In Hollywood: 'It Can Wreak Havoc On Your Psyche'". HuffPost. Retrieved June 28, 2020.
- White, Donna (March 4, 2001). "Michelle's the perfect 1.618; Screen star measures up to doc's beauty test". Sunday Mail. Retrieved August 8, 2021 – via TheFreeLibrary.com.
Michelle Pfeiffer is officially the most beautiful woman in the world.
- Friedman, Emily (July 20, 2007). "Face It: What Makes Us Beautiful". ABC News. Retrieved March 26, 2021.
- Garrigues, Manon (July 3, 2020). "The most beautiful American actresses of all time". Vogue Paris. Retrieved April 1, 2021.
- McNamara, Natasha (April 20, 2017). "The 45 most beautiful, talented and famous actresses of all time". Glamour. Retrieved May 16, 2018.
- "The best 80s style icons to inspire your own retrospective (yet very modern!) wardrobe". Glamour. March 20, 2018. Retrieved May 18, 2018.
- Tunnel, Alexandra (August 19, 2015). "TheLIST: '80s Beauty Icons". Harper's Bazaar. Retrieved May 17, 2018.
- "The 80 Hottest Women of the '80s". Complex. October 3, 2011. Retrieved May 18, 2018.
- Moore, Roger (July 17, 2009). "Michelle Pfeiffer wears her years with pride in 'Cheri'". Orlando Sentinel. Retrieved February 15, 2021.
- Guinness, Rebecca; Flint, Jessica (June 17, 2009). "Michelle Pfeiffer Is Still Smoldering Hot". Vanity Fair. Retrieved February 15, 2021.
- Shatzman, Celia (July 5, 2021). "Clean Beauty Queen Michelle Pfeiffer,63, Spills 7 Beauty Secrets". Women's Health. Retrieved July 8, 2021.
- "The 100 Hottest Women of All Time". Men's Health. November 22, 2013. Archived from the original on April 24, 2017. Retrieved April 23, 2017.
- "The 100 Hottest Sex Symbols of All Time". Men's Health. July 1, 2020. Retrieved February 15, 2021.
- Cary, Alice (February 7, 2021). "18 Captivating Archive Images Of Michelle Pfeiffer". British Vogue. Retrieved July 25, 2021.
- "People's Annual 'Most Beautiful' List – 1990 - Michelle Pfeiffer". Entertainment Tonight Canada. April 18, 2017. Retrieved February 10, 2021.
- "The Unstoppable Michelle Pfeiffer – Most Beautiful, Michelle Pfeiffer". People. May 10, 1999. Retrieved October 23, 2008.
- Diu, Nisha Lilia (November 5, 2013). "Interview: Michelle Pfeiffer, 'I was in a cult'". The Daily Telegraph. Retrieved April 22, 2017.
- Todd, Stephen (August 20, 2018). "Perfection exhibition: how far we will go to look good in this Instagram age?". Australian Financial Review. Retrieved August 8, 2021.
- "Michelle Pfeiffer, scientifically, the most beautiful woman in the world". ABC (in Spanish). March 7, 2001. Retrieved August 8, 2021.
- Various sources describing Pfeiffer as "ageless":
- Finn, Jessica (January 14, 2021). "Michelle Pfeiffer shares ageless photo as she enjoys special reunion". Hello! Canada. Retrieved August 27, 2021.
- Tracy, Brianne (March 28, 2017). "Wow! Michelle Pfeiffer, 58, Proves She's An Ageless Beauty on Interview Magazine Cover". People. Retrieved August 27, 2021.
- Paris, Calin Van (September 17, 2017). "Michelle Pfeiffer Is Impossibly Ageless on the 2017 Emmys Red Carpet". Vogue. Retrieved August 27, 2021.
- "Time has brought rewards to Pfeiffer". Folha de S.Paulo (in Portuguese). October 7, 2007. Retrieved August 9, 2021.
- "Michelle Pfeiffer". Turner Classic Movies. Retrieved April 22, 2017.
- Murthi, Vikram (April 29, 2021). "The Caustic Grace of French Exit". The Nation. Retrieved August 27, 2021.
- Murthi, Vikram (April 29, 2021). "The Caustic Grace of French Exit". The Nation. Retrieved August 27, 2021.
- Mallenbaum, Carly (December 2, 2014). "Michelle Pfeiffer is the pop-music muse of the moment". USA Today.
- "Why Michelle Pfeiffer is Name-Dropped in Two Cool New Songs". WZOK. Retrieved July 8, 2021.
- Thompson, Clay (February 23, 2015). "How is Catwoman slinking her way into song lyrics?". The Arizona Republic.
- Smith, Katherine Snow (February 19, 2015). "How to look like Uptown Funk muse Michelle Pfeiffer for free". Tampa Bay Times. Retrieved July 8, 2021.
- "Q&A: Mark Ronson Talks 'Uptown Funk,' Old New York City and Michelle Pfeiffer". radio.com. December 4, 2014. Archived from the original on April 24, 2015. Retrieved December 1, 2018.
- "Cricket diary: The bowler who bats and keeps wicket". The Independent. September 12, 1998.
- Brown, Mick (April 20, 2009). "Michelle Pfeiffer: interview". The Daily Telegraph. London. Retrieved May 8, 2011.
- "Michelle Pfeiffer: interview". Turner Classic Movies. Turner Broadcasting System. Retrieved May 8, 2011.[dead link]
- Sastry, Keertana (March 30, 2012). "Scandals Onscreen: Celebrities Who Had Affairs Right In Front Of Our Eyes". Business Insider. Retrieved July 11, 2015.
- "Being John Malkovich". The Age. Melbourne. April 26, 2003. Retrieved July 11, 2015.
- Hind, John (December 5, 2009). "Did I say that?". The Guardian. Retrieved July 11, 2015.
- "Right for the part". The Daily Telegraph. London. June 1, 2003. Retrieved July 11, 2015.
- Akbar, Arifa (January 8, 2011). "John Malkovich: 'I don't need to be liked'". The Independent. London. Retrieved May 12, 2015.
- Barber, Lynn (July 9, 2006). "Life and taxes". The Guardian. Retrieved May 12, 2015.
- Lipton, Michael A. "The Two Lives of Catwoman – Couples, Batman Returns, Fisher Stevens, Michelle Pfeiffer". People. Retrieved October 23, 2008.
- Encyclopedia Britannica
- "Michelle Pfeiffer biography and filmography". Tribune.ca. Tribute Entertainment Media Group. Retrieved May 1, 2011.
- "HELLO!". Hello. Retrieved October 23, 2008.
- Pringle, Gill (July 13, 2007). "Michelle Pfeiffer: The former beauty queen is back after a five-year break". The Independent. London: Independent Print Limited. Retrieved July 3, 2011.
- "Michelle Pfeiffer Biography". Tiscali.co.uk. October 23, 2008. Archived from the original on September 26, 2008. Retrieved October 23, 2008.
- Woman's Day
- "Michelle Pfeiffer: Then and Now". InStyle. Retrieved March 23, 2019.
- "Henry Rose: 100% Transparent Fine Fragrances". Henry Rose. Retrieved March 22, 2019.
- "Star Portrait: Michelle Pfeiffer". GQ Magazine (in German). Nast Digital Network. Archived from the original on October 1, 2011. Retrieved July 14, 2011.
- "Michelle Pfeiffer, Bob Breech, David E. Kelley attend Healthy Child Healthy World's L.A. Gala". guestofaguest. November 4, 2016. Retrieved November 25, 2016.
- "Michelle Pfeiffer: Why I became a vegan". CNN. June 4, 2012. Retrieved June 16, 2012.
- Michelle Pfeiffer at AllMovie
- "The Filming of Maleficent 2 Has Already Begun!". Gobhy. May 4, 2018. Archived from the original on May 25, 2018. Retrieved May 24, 2018.
- "'Maleficent 2' Star Ed Skrein Talks 'High Caliber' Sequel With Michelle Pfeiffer & Angelina Jolie (Exclusive)". Entertainment Tonight. May 24, 2018. Retrieved May 24, 2018.
- Goldberg, Lesley; Porter, Rick (January 21, 2021). "Michelle Pfeiffer to Play Betty Ford in Showtime's 'First Lady'". The Hollywood Reporter. Retrieved January 22, 2021.
- "Here are the nominees for the 75th Golden Globe Awards". The Los Angeles Times. December 11, 2017. Retrieved December 12, 2017.
- Zach Harper, "'Schitt's Creek' and 'Kim's Convenience' win big at 2021 Canadian Screen Awards". Hello! Canada, May 21, 2021.
|Wikiquote has quotations related to: Michelle Pfeiffer|
|Wikimedia Commons has media related to Michelle Pfeiffer.|
- Michelle Pfeiffer at IMDb
- Michelle Pfeiffer at the TCM Movie Database
- Michelle Pfeiffer at AllMovie
- Michelle Pfeiffer at Rotten Tomatoes
- Michelle Pfeiffer in the Hollywood Walk of Fame Directory
- Michelle Pfeiffer on Instagram