Kari and Maureen

Canadian actress. Matchett born in 1970, born in Spalding located in Saskatchewan started her career in theatre when she moved to Ontario. In mid-1990s she had a profession on Canadian television. Then she went back to United States, where she was a star on The Secrets of Nero Wolfe Invasion 24-Hour Studio 60 On The Sunset Strip Ambulance Earth. In the series, she played Last Conflict . She was awarded the Gemini Award in 2001 for her character in the Canadian TV series The Department of Wet Cases. In several seasons, she played the former wife of one of the main characters. In the TV program Covert Operations, she plays the role of Joan Campbell. In the film industry, she was in the 2002 Canadian production Cube 2. Additionally, she was on screen in Angel Eyes Boys with Broomsticks The Tree of Life as and Hypercube. Divorced. In June 2013 her baby was born. the daughter of Jude Lyon Matchett. Maureen O'hara..........................From her first appearances on the stage and screen Maureen O'Hara (b. 1920) was a star because of her gorgeous beauty with stunning red-hair and captivating portrayals. She was an imposing actress and an ebullient woman. Whether it was her being rescued by Charles Laughton in The Hunchback Of Notre Dame (1939), falling in love in the dark coal skies with Walter Pidgeon in How Green Was My Valley (How Green Was My Valley, 1941) and learning about miraculous happenings from Natalie Wood in Miracle on 34th Street (Miracle on 34th Street, 1947) or battling wits with John Wayne in The Quiet Man (The Quiet Man 1952) Maureen O'Hara is the first novel-length account of the screen icon dubbed the queen of Technicolor. Aubrey Malone traces the life of the screen icon from Dublin the city where she was raised as a child, up to the heights of Hollywood. The author draws on the Irish Film Institute production notes for films along with historic newspapers and magazines. Malone analyzes the actress's friendship with frequent co-star John Wayne and her relationship with director John Ford and he addresses the controversial issue of whether or not the screen diva is a woman or an an antifeminist character. While she was an iconic figure of cinema's golden age O'Hara's preference for privacy and her habit of making public statements in opposition to her personal values has made her a mystery. This new biography gives us the chance to see the person who created her iconic image of the past.