Soon, she will play Sharon Tate, the actor and wife of notorious filmmaker, Roman Polanski, who, in 1969, was brutally murdered along with seven others by Charles Manson’s ‘Family’ during a three-day string of killings in Los Angeles. Directed by Polish, it will be the first film about Tate’s life made with the approval and input of Tate’s family. The film is an elegant blend of family drama and phantasmagoria, and Bosworth’s performance as the troubled boy’s foster mother is complex and emotionally nuanced.
In 2016, she starred in Before I Wake, a dark fantasy about a little boy whose dreams-and nightmares-bleed into reality. She was so mesmerized and repelled by the scene that she read it aloud to her husband, the director Michael Polish, and the two often revisit it in conversation.īosworth has found outlets for her dark aesthetic throughout the past decade, most recently in Netflix’s science-fiction mini-series I-Land (2019) and the postapocalyptic thriller The Domestics (2018). As an example, she offers a scene from Murakami’s The Wind-up Bird Chronicle that depicts, in gorgeously excruciating detail, a man being flayed alive. If I’m not reading, my creativity isn’t being stimulated the way it needs to be.” She is drawn to dark fiction (“The darker the better!”), stories filled with threat and otherworldliness, in which the line between beauty and horror blurs. “Literature informs my artistry almost more than cinema. “I’m more starstruck by great writers than anyone else,” she confesses. Most recently, Bosworth has been enamored with Ocean Vuong, whose debut novel On Earth We’re Briefly Gorgeous reminds her of the work of Haruki Murakami, one of her favorite writers. Our conversation returns again and again to the books that have shaped our sensibilities and worldviews. Bosworth is intensely curious about the world and an insatiable reader. The “strangeness” I sense in her is less a matter of the physical than of the intellectual and spiritual. When I meet her for lunch at Pasadena’s Magnolia House, I’m swept away by her warmth and enthusiasm. From her heterochromatic eyes to the fierceness and delicacy of her frame, she radiates dissonance, bursting at once with movie-star effulgence and an earthy groundedness.
“There is no excellent beauty that hath not some strangeness in the proportion.” Francis Bacon, whose insight has shaped reflections on the nature of beauty for more than four centuries, would no doubt find proof of his theory in Kate Bosworth.
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