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Carroll Baker (born May 28, 1931) is an American actress who has enjoyed popularity as both a serious dramatic actress and, particularly in the 1960s, a movie sex symbol.
Despite being cast in a wide range of roles during her heyday, Baker's beautiful features, blonde hair, and distinctive drawl made her particularly memorable in roles as a brash, flamboyant woman.
Baker began her film career in 1953, with a small part in Easy to Love.
After appearing in television commercials and training at New York's Actors Studio, she took a role in the Broadway production of All Summer Long.
That appearance brought her to the attention of director Elia Kazan, who cast Baker as the title character in his controversial Baby Doll.
Her Tennessee Williams-scripted role as a Mississippi teenage bride to a failed middle-aged cotton gin owner brought Baker instant fame as well as a certain level of notoriety.
Baby Doll would remain the film for which she is best remembered; she was nominated for the Academy Award for Best Actress for her role.
Two months prior to Baby Doll's release, she appeared in the supporting role of Luz Benedict II in Giant, opposite Elizabeth Taylor, Rock Hudson and James Dean.
She would go on to work steadily in films throughout the late fifties and early sixties, appearing in a variety of genres: romances, such as The Miracle co-starring a young Roger Moore and But Not for Me (both 1959); westerns, including The Big Country (1958) and How the West Was Won (1962); and steamy melodramas, including Something Wild (1961), directed by her then-husband Jack Garfein, and Station Six-Sahara (1962).
While Baker was on location in Africa for the 1965 movie Mister Moses, an apocryphal story has it that a Maasai chief offered 150 cows, 200 goats, sheep, and $750 for her hand in marriage.
In addition to her film acting, she also found time to appear again on Broadway, starring in the 1962 production of Garson Kanin's Come on Strong.
Baker's portrayal of a Jean Harlow-like movie star in the 1964 hit The Carpetbaggers brought her a second wave of notoriety.
The film was the top moneymaker of that year, with domestic rentals of $13,000,000 and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine.
Based on her Carpetbaggers performance, Levine began to develop Baker as a movie sex symbol, casting her in the title roles of two 1965 potboilers, Sylvia and Harlow.
Despite much pre-publicity, the latter film was not a success, and relations between Baker and Levine soured.
Following a protracted legal battle with Paramount Pictures and divorce from her second husband, Jack Garfein, Baker moved to Europe.
Eventually settling in Italy, she would spend the next several years starring in hard-edged giallo thrillers, including The Sweet Body of Deborah (1968), Paranoia (1970), and Baba Yaga (1973).
During those years, film locations would take her all around the world, including Spain, Germany, the United Kingdom, and Mexico.
A lead role in Andy Warhol's Bad (1977) brought her back to American shores.
The seventies also saw a return to the stage, where she appeared in productions of Lucy Crown and Motive.
By the eighties, Baker moved into character work, playing the mother of Dorothy Stratten in Star 80 (1983) and Jack Nicholson's wife in Ironweed (1987).