Sharon Tate: A Life
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Sharon Tate: A Life traces Sharon's path from beauty queen to budding young actress: her early love affairs, her romance with and marriage to director Roman Polanski, and the excitement of the glamorous life she had always sought—all set against the background of the turbulent 1960s. This sympathetic account tells the powerful story of her determined rise through the ranks of Hollywood and to the brink of stardom before her name became forever linked with the shocking murder spree that took her life.
In 1969, the Polanski house was targeted by the followers of cultist Charles Manson. Why the Manson clan focused its gaze on Sharon remains unclear, but the world was soon shocked to its core as it learned of the brutal murders of a pregnant Sharon Tate and her friends at her idyllic home in Los Angeles. Sanders once again examines this horrific crime and its aftermath, expounding on what may have led the killers to that particular house on that particular evening.
Sharon Tate takes readers on a sometimes joyous yet inevitably heart-wrenching tour of the '60s as seen through the eyes of someone who lived it, survived it, and remembers it all too well. Brilliant illustrations by noted artist Rick Veitch lend character to this riveting narrative of the life and times of a beloved actress whose image and whose fate still haunt us to this day.
garlic, and twenty gallons of imitation blood made according to an undisclosed Polanski recipe. “It was at Ortisei that my relationship with Sharon progressed beyond the casual stage,” Polanski noted in his autobiography. “We hadn’t made love since that one first night in London, and there were butterflies in my stomach when she joined us on location. We dined together soon after shooting had begun. Then I walked her back to her hotel. When I asked, rather haltingly, if she wanted me to come
suitable MGM executives to watch it, as he later noted: “The company was in . . . a complicated proxy fight when I got there, and the energies of its top executives were directed elsewhere. . . . No one had time to see my film.” Finally a vice-president of MGM took a gander, though he received a sequence of phone calls during the screening, and excused himself for around ten minutes while the reel was rolling. Polanski called Martin Ransohoff in Los Angeles to get a release date for the film, but
June 4 RFK took a further nap (apparently in the bedroom) and then toward afternoon’s end, around 6 p.m., was eager to head for the Ambassador Hotel in downtown Los Angeles. At around 6:30 p.m. John Frankenheimer himself drove RFK in his Rolls Royce to victory headquarters. Apparently Ethel was not quite ready, and went to the hotel a bit later. The children were to be transported to a bungalow at the Beverly Hills Hotel. Problems of History: Figuring Out the Trip to the Ambassador 1. Evan
working for a secret agency called ICE. She was Martin’s sole support working to stop a team of gold hijackers. Tate of course was the romantic interest for Martin. As in the 1966 Don’t Make Waves, she performed her own stunts. In the early portions of the film, Tate is attired demurely, even unstylishly, in glasses, close-drawn hair; and a blue dress with orange sleeves, but toward the end of the film, as she helps to save Matt Helm/Martin’s life, there are romantic sparks between the two. That
Roman was—what I said that Sharon told me about Roman—about imposed sexual scenes on her.” 120 * Sharon Tate I asked him to explain what he meant. Hatami answered, “He was bringing other girls to have threesomes with Sharon, and Sharon didn’t like it that he was picking up girls on the Sunset and bringing them home to have sex with them.” This was prior, Hatami said, to early 1969. It was something I heard talked about among reporters covering the Manson trial back in 1970. Mr. Hatami, of