Eighties movie star unrecognizable 39 years after hit film as she walks the red carpet – can you guess who?
HOLLYWOOD BEAUTY Eighties movie star unrecognizable 39 years after hit film as she walks the red carpet – can you guess who?
THIS film star shot to fame in a VERY famous 80s teen movie, that is still beloved by fans 39 years on.
Now 57, during her heyday, this actress was known for being a sex symbol - but can you guess who it is?
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Can you guess who this 80s sex symbol is?
Credit: Shutterstock Editorial
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This actress, now 57, starred in a very famous film 39 years ago
Credit: AFP
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The star looked fabulous at the premiere of The Life of Chuck
Credit: Getty
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The actress in question is Mia Sara, who played Sloane in Ferris Bueller's Day Off
Credit: Alamy
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Mia also starred in Legend as Princess Lili in 1985
Credit: Alamy
The actress is Mia Sara who shot to fame in the mid-80s.
The movie star made her debut as Princess Lili in the 1985 fantasy film Legend.
However, she is best known for her breakthrough role in teen movie, Ferris Bueller's Day Off in 1986.
In the film - which she starred alongside lead actor Matthew Broderick - she played Sloane Peterson, who was known for being the sex symbol of the movie.
Away from Ferris Bueller, Mia who hails from New York, also portrayed Melissa Walker in the science fiction film Timecop back in 1994.
Although Mia looks very different from her acting heyday, she still looks incredible and oozes glamor.
Showing off her age-defying good looks, the star stepped out for a rare appearance at a showbiz event.
Mia was spotted on the red carpet at The Life of Chuck premiere in Los Angeles.
She looked stunning in her black top and matching skirt.
MARRIAGE AND KIDS
During her time in the spotlight, Mia has been married twice.
Classic parking garage scene from Ferris Bueller's Day Off
Her first husband was Jason Connery, who is the son of the late James Bond actor, Sean Connery.
They met in 1995, on the set of Bullet to Beijing, and wed the following year.
During their time together they welcomed their son Dashiell, in 1997.
Mia Sara's Best-Known Starring Roles
Some of Mia's best-known roles in movie and TV are...
Princess Lili in Legend
Sloane Peterson in Ferris Bueller's Day Off
Alice Spangler in Apprentice to Murder
Melissa Walker in Timecop
Princess Langwidere in Dorothy and the Witches of Oz
Sarah Krantz in The Life of Chuck
Natasha in Bullet to Beijing
Harley Quinn in Birds of Prey
However, after seven years together, Mia and Jason divorced in 2002.
During a previous interview with The Times, Jason spoke out about how the divorce was a shock and how he found it hard.
"I suddenly saw all the parallels between my dad, my mum, and me, because they were both actors — like my ex and I," he said at the time.
Sara then moved on with Brian Henson, with the couple welcoming a daughter in 2005, before getting married five years later.
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Mia shot to fame in Ferris Bueller's Day Off, which served as her breakthrough role
Credit: Alamy
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Scottish Sun
8 hours ago
- Scottish Sun
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Scotsman
17 hours ago
- Scotsman
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Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... The day started with Auschwitz and ended with toxic lesbian vampires and on the way took in racism on at least two continents, Spinoza, the mythical Hindu Saraswati river and an experimental novel that gave a very gentle kicking to Virginia Woolf. Say what you like about the Edinburgh book festival - and its middle Saturday wasn't particularly star-studded - but if you spend a day there, you don't half come out knowing a lot more than when you went in. Advertisement Hide Ad Advertisement Hide Ad One of the less well known faces in the Celebrity Traitors Castle will be David Olusoga. The British-Nigerian historian is Professor of Public History at the University of Manchester and a BAFTA winning film-maker. He's a 12/1 longshot for the Celebrity Traitors title. | AFP via Getty Images Anne Sabba's book The Women's Orchestra of Auschwitz lifted only a small corner on the horrors of that place, but even that was enough. Anti-semitism ran even within the orchestra itself, its Polish prisoners (for whom the camp was originally built) refusing to share the food parcels their relatives sent them with their Jewish fellow-musicians. Jewish music was banned, but so too was Beethoven, too gloriously German to be sullied by inferior races. The music they did play - cheery marches, mainly - was, as Sabba pointed out, a form of torture. It didn't help the prisoners, who were kicked (or worse) if they fell out of step, didn't soften the hearts of the guards, and the 50 or so musicians it helped keep alive were either shunned by survivors or consumed by guilt. Real music is different. Mahler's niece Alma Rosé, who died in Auschwitz, was lead violinist in the women's orchestra and died there. She only seems to have made one recording, of the Bach Double Violin concerto in D Minor, with her virtuoso father, in 1928. Sabba played an excerpt. It's on YouTube: a bit scratchy, but beautiful and, when you think of everything that Alma's future was to hold, heartbreaking. All the time she was writing the book, Sabba said, she was thinking what she'd have done facing such a cataclysm. That's exactly what I found myself thinking listening to acclaimed African-American cultural commentator Ta-Nehisi Coates, for whom the cataclysm is racism. America was built on it, he said: worse, it still is. Advertisement Hide Ad Advertisement Hide Ad So is there no hope? asked a woman in the audience. No, he replied. 'There IS a whole African-American tradition of hope and I respect that, but whatever I am, I am the descendant of people who have been enslaved for 250 years... I have debts to pay and that motivates me more than anything.' To Coates, America's racism is systemic and its dominant narratives fundamentally flawed, and he sees echoes of both in Israel's treatment of Palestinians. 'Everyone always told me this is such a complex historical problem, that you'd need a PhD to understand what's happening in Ramallah. No, you don't. Sometimes we hide behind our intellect. If we see someone beating their child, the reasons don't matter, it's nothing to do with right or wrong, you just want them to stop.' Advertisement Hide Ad Advertisement Hide Ad That might sound obvious, even banal, but Coates was brought up in the Black Power/vindicationalist tradition, and in The Message he acknowledges how much of this is echoed in Zionism. So now, charting what he calls the latest genocidal atrocity in Gaza - the 'deliberate' killing of the al-Jazeera journalists - he sees the danger of such dreams. Although he didn't take that thought as far as he does in the book, this was a fascinating event, with a far younger audience than usual and so many hands raised for questions that if they'd all been answered, we'd all still be there. Coates was chaired by David Olusoga, Britain's best TV historian (though he himself would say that the honour belongs to Simon Schama) and who signed off his own event with the news that not only will his excellent BBC Two series A House In Time soon be back on our screens but it will be set in Edinburgh. Olusoga's fascination with history began, he said, when his mother told him that Yoruba soldiers from Nigeria (where he was born but left aged five) had fought in the Second World War. Advertisement Hide Ad Advertisement Hide Ad 'At first I almost didn't believe her because I'd never heard anything about that. But I became fascinated with history because I felt there was a story being withheld from me.' It was. Take Captain Yavar Abbas, the 104-year-old who made Queen Camilla (and 'my brave king') cry at the service for the 80th anniversary of VJ Day last week. He was one of 2.5 million Indian soldiers to sign up. We don't hear too much about them. If the teaching of black history faces the kind of limits already being drawn up in America, he said, we might hear a lot less. The attacks on the National Trust 'which have been going on for the last five years by so-called patriots' may be a sign of things to come. Australian writer Michelle de Kretser has won all of her country's most glittering literary prizes, yet has a neat line in self-deprecation. Unlike her friend, novelist Deborah Levy, whose mind leaps like a chess knight, she said her own is predictable and purposeful, like a pawn. 'So here, I tried to do the leap.' 'Here' is her latest novel, Theory and Practice, 'my attempt to write a novel that reads like non-fiction', starting off like a conventional novel and morphing into an intriguing-sounding story of a mashup of memoir, essay, and a meditation on Virginia Woolf (and her casual racism to a Sri Lankan guest). Advertisement Hide Ad Advertisement Hide Ad Canadian writer Madeleine Thien's The Book of Records, set in a fantastical, crumbling and placeless palace where 17th century Dutch Jewish philosopher Spinoza, eighth century Chinese poet Du Fu and American political theorist Hannah Arendt all help her young girl migrant protagonist. She did try introducing Virginia Woolf to the proceedings, she said, but it didn't work 'because she was double-booked in my friend Michelle's book'. British Indian writer Gurnaik Johal's debut novel Saraswati, which mixes myth, the politics of water and ecological collapse, is similarly ambitious. In it, the Indian government decides to bring a mythic river to life. For that, they to abrogate the Indus Waters Treaty with Pakistan – which is exactly what happened earlier this year. Prescient or what? Finally, as promised, to toxic lesbian vampires. The genre is new to me but VE Schwab is clearly its queen. Like Thien, she picks her three supernatural stars from across the centuries, but the baddest of them all is the oldest (500 years). Sabine is 'a mix of Lestat [from Anne Rice's The Vampire Chronicles] Villanelle [from Killing Eve] and Florence Welch from Florence and the Machine'. She dominates every space she enters, is unapologetic about her urges, 'and fulfils all my queer desire for villainy'. Advertisement Hide Ad Advertisement Hide Ad For too long, Schwab said, lesbian fiction has concerned itself with likeability - in itself a form of self-censorship. She'd done that in her own life, when she started off as a young fantasy writer: 'I was a coward for such a long time, downplaying my sexuality because I wanted to succeed.' After 25 books, she's had enough of that: 'I'm in my Sabine era is what I'm saying.' Cue cheers from the audience - mainly female, mainly young, and clearly fans - as they charged off en masse to the signing tent and the mercifully vampire-free Edinburgh night. David Robinson
