Michelle Pfeiffer: The Life Story Behind Hollywood's Catwoman
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Orange County: A Supermarket Clerk with a Crown
Michelle Marie Pfeiffer was born on 29 April 1958 in Santa Ana, California, and she was raised in Midway City, a small community in Orange County, by her father, Richard Pfeiffer, an air-conditioning contractor, and her mother, Donna Pfeiffer, a housewife, and she grew up with an older brother, Rick, and two younger sisters, Dedee and Lori, in a household that was, by her own account, ordinary, suburban and loving, with a father who worked hard and a mother who kept the house, and with a childhood that was spent playing outside, going to school and dreaming, although not, at first, of acting. She attended Fountain Valley High School, where she was a good student but not a standout, and she worked as a checkout girl at a Vons supermarket, a job that she has described as humbling, and that taught her about work, about people, and about the value of a paycheque, lessons that stayed with her even after she became famous, and that gave her a groundedness that many Hollywood stars lack, a sense that fame is a job, not a identity, and that the work, not the glamour, is what matters.
She won the Miss Orange County beauty pageant in 1978, a contest that she entered on a whim, and that gave her the confidence to try acting, and she began taking classes, studying with the acting teacher Milton Katselas, and auditioning for roles, with a determination that was quiet but firm, and she has described herself as a shy person, one who found in acting a way to be someone else, to express feelings that she could not express as herself, and that discovery, which came in her late teens, changed the direction of her life, from a supermarket clerk in Orange County to a Hollywood star, a journey that took less than five years, and that is, by any measure, remarkable. She also worked as a court stenographer, a job that required precision, attention and patience, and that taught her about language, about listening, and about the law, lessons that would later help her as an actor, when she played lawyers, when she played women in courtrooms, and when she needed to understand a script’s subtext.
Orange County in the 1960s and 1970s was a place of suburbs, of shopping malls, of surf culture, and Michelle grew up inside it, with a childhood that was, in her words, normal, and that normality, which she has described as a gift, gave her a perspective that many child stars lack, a sense of what ordinary life looks like, and that perspective, which is audible in her performances, in the way she plays women who are real, not glamorous, is part of why her work resonates, because she understands the audience, because she was the audience, a girl from the suburbs who went to the movies and dreamed of being on screen, and who, against the odds, made it.
Grease 2, Scarface and the Breakthrough Years
Her first film roles were small, in films like The Hollywood Knights in 1980 and Charlie Chan and the Curse of the Dragon Queen in 1981, and she learned the mechanics of a film set, how to hit a mark, how to work with a camera, how to take direction, and those lessons, which she learned while still a teenager, made her a professional, and they gave her the skills to take on a leading role when it came. Grease 2, released in 1982, was her first starring role, playing Stephanie Zinone, the leader of the Pink Ladies, in a sequel to the hit musical Grease, and although the film was a commercial disappointment, and was criticised by reviewers, her performance, which was confident, charismatic and musical, caught the attention of directors, who saw in her a leading lady, with a beauty, a presence and a talent that were rare, and the film, which is now regarded as a cult classic, was a stepping stone, not a dead end, a role that taught her about leading a film, about carrying a story, and about the pressures of stardom.
Scarface, released in 1983, was the film that made her a star, with a role that was small but unforgettable: Elvira Hancock, the cocaine-addicted wife of the drug lord Tony Montana, played by Al Pacino, a woman who is glamorous, cold, funny and tragic, and who, in Pfeiffer’s performance, is both a victim and a survivor, a woman who knows the world she is in, and who is trying to get out of it, and the film, which was directed by Brian De Palma and written by Oliver Stone, was a commercial success, although it was controversial for its violence, and it established Pfeiffer as a serious actor, not just a beauty, with a screen presence that was both alluring and dangerous, and a talent that could hold its own against Pacino, one of the greatest actors of his generation. She has spoken about the role as a lesson in film acting, about learning to be still, to let the camera come to her, and about the support she received from De Palma, who understood her talent and who gave her the space to find the character.
The Scarface years were also the years when she learned about Hollywood, about the kinds of roles that were available to a beautiful young woman, about the expectations that came with being a leading lady, and about the need to choose roles carefully, a lesson that she would apply throughout her career, choosing films that let her be funny, dramatic and, above all, herself, and that choice, which was deliberate, is the reason her filmography is so varied, so interesting, and so respected, because she did not take the easy roles, she took the hard ones, the ones that challenged her, and that is a sign of an actor who cares about the work, not just about the fame.
The Witches of Eastwick and the Leading Lady
The Witches of Eastwick, released in 1987, was a hit, with Pfeiffer playing Sukie Ridgemont, a journalist who, with two other women, played by Cher and Susan Sarandon, conjures up the devil, played by Jack Nicholson, a role that was funny, sexy and smart, and that showed a different side of her, a comic side, and the film, which was a commercial success, established her as a leading lady who could do comedy as well as drama, and it gave her a new kind of role, one that was ensemble, not solo, and that required her to work with other strong actresses, a skill that she has used throughout her career, in films like The Fabulous Baker Boys and Dangerous Liaisons, where the ensemble is as important as the star. Married to the Mob, released in 1988, was another hit, with Pfeiffer playing Angela de Marco, a mob wife who leaves her husband’s world, a role that earned her a Golden Globe nomination, and that showed a comic timing, a warmth and a vulnerability that made her a favourite with audiences, and the film, which was directed by Jonathan Demme, was a critical success, and it established her as a versatile actor, one who could do comedy, drama and romance, all at once.
Dangerous Liaisons, released in 1988, was a different kind of film, a period drama based on the novel by Choderlos de Laclos, in which Pfeiffer played Madame de Tourvel, a virtuous woman who is seduced and destroyed by the Vicomte de Valmont, played by John Malkovich, and the Marquise de Merteuil, played by Glenn Close, and her performance, which was quiet, dignified and heartbreaking, earned her an Academy Award nomination for Best Supporting Actress, her first, and a BAFTA Award, and the film, which was a critical success, winning Academy Awards for its screenplay, its costumes and its art direction, established her as a dramatic actor of serious ability, not just a beautiful leading lady, and the role, which required her to be still, to be vulnerable, to be destroyed by love, showed a depth that her earlier roles had only hinted at, and that is the reason it is still regarded as one of her best performances.
The late 1980s were the peak of her early career, with three very different roles in two years, a witch, a mob wife and a virtuous aristocrat, each of which showed a different facet of her talent, and each of which was a commercial and critical success, and the range, which was remarkable, made her one of the most sought-after actresses in Hollywood, with directors competing to cast her, and with a reputation for professionalism, for intelligence and for a screen presence that was both beautiful and substantial, a combination that is rare, and that is the reason her career has lasted for more than forty years.
The Fabulous Baker Boys and the First Oscar Nomination
The Fabulous Baker Boys, released in 1989, was the film that earned Michelle Pfeiffer her second Oscar nomination, this time for Best Actress, and her first Golden Globe win, and it is widely regarded as her finest performance: she played Susie Diamond, a former escort who becomes the singer for a piano duo, played by Jeff Bridges and Beau Bridges, a woman who is tough, funny, vulnerable and sexy, and who, in Pfeiffer’s performance, is completely real, a person, not a type, and the film’s most famous scene, in which she sings Makin’ Whoopee on top of a piano, in a red dress, became one of the most iconic images of 1980s cinema, a moment that is still referenced, still parodied, still celebrated, and that showed a performer who could sing, who could act, and who could command a screen with a single look. The film, which was directed by Steve Kloves, was a critical success, and Pfeiffer’s performance, which won her the Golden Globe, the BAFTA and the National Society of Film Critics Award, was praised as a masterclass in screen acting, in how to play a complex woman, with a past, with a present, with a future, and to make the audience care about her, even when she is difficult, even when she is flawed, and that is the mark of a great actor.
The role required her to sing, to learn songs, to perform them live, and she did so with a voice that was smoky, soulful and completely believable, a voice that surprised critics who had not known she could sing, and that added a new dimension to her talent, a musicality that she would use again in later films, including Hairspray, in which she played Velma Von Tussle, a villainous television producer, and in which she sang and danced, and the singing, which she has described as a joy, is a part of her career that is often overlooked, but that is central to her best performances, because it shows a performer who is not afraid to use her whole instrument, her voice, her body, her face, to tell a story. The Fabulous Baker Boys also established her as a leading lady who could carry a film, who could be the centre, not just a supporting player, and that status, which she earned with the role, stayed with her throughout the 1990s, when she was one of the biggest stars in Hollywood.
Love Field, released in 1992, earned her a third Oscar nomination, for Best Actress, for her role as Lurene Hallett, a Dallas housewife who travels to Washington for President Kennedy’s funeral, a performance that was quiet, observant and moving, and that showed a different kind of strength, a woman who is ordinary, who is naive, and who learns about the world, and the film, which was a critical success, although it was less commercially successful, was a reminder of her range, which goes from a singer on a piano to a housewife on a bus, without missing a beat, and the three Oscar nominations, in five years, from 1988 to 1992, established her as one of the finest actresses of her generation, with a reputation that was built on talent, not on beauty, although the beauty, which is undeniable, was always part of the package.
Batman Returns: Catwoman and the Iconic Role
Batman Returns, released in 1992, was the film that made Michelle Pfeiffer an icon, with a role that is still discussed, still celebrated, still imitated: Selina Kyle, also known as Catwoman, a shy secretary who is murdered by her boss, who is resurrected by cats, and who becomes a villain, a thief, a femme fatale, with a catsuit that is stitched together, with a whip, with a performance that is sexy, funny, dangerous and tragic, all at once, and Pfeiffer, who trained for months to learn the whip, to learn the movements, to become Catwoman, gave a performance that is widely regarded as the definitive portrayal of the character, one that has never been matched, and the film, which was directed by Tim Burton, was a commercial success, and her Catwoman, which is still the standard against which all later Catwomen are measured, became a cultural icon, a Halloween costume, a poster, a symbol, and a role that she has spoken about with affection, saying that it was fun, that it was challenging, and that it taught her about physical acting, about using her body to tell a story.
The Age of Innocence, released in 1993, was a different kind of film, a period drama directed by Martin Scorsese, based on Edith Wharton’s novel, in which Pfeiffer played Countess Ellen Olenska, a woman who returns to New York society after a failed marriage, and who falls in love with a lawyer, played by Daniel Day-Lewis, a role that required a performance of great restraint, great dignity and great passion, and that earned her a Golden Globe nomination, and the film, which was a critical success, winning the Academy Award for Best Costume Design, established her as a Scorsese actress, one who could work with a great director, and who could hold her own in a film that was about manners, about society, about the unspoken, and the role, which is quiet, observant and moving, showed a maturity that her earlier roles had only hinted at, and that is the reason it is still regarded as one of her best performances.
Wolf, released in 1994, was a horror film in which she played Laura Alden, the daughter of a publishing magnate, opposite Jack Nicholson as a man who becomes a werewolf, a role that was romantic, dramatic and, in places, funny, and Dangerous Minds, released in 1995, was a drama in which she played LouAnne Johnson, a former Marine who becomes a teacher in a tough inner-city school, a role that was inspiring, that became a hit, with the song Gangsta’s Paradise by Coolio becoming a number-one single, and that showed a different kind of strength, a woman who is tough, who is caring, and who changes lives, and the 1990s, which included these very different roles, a cat burglar, a countess, a werewolf’s lover and a teacher, showed a versatility that few actresses possess, a ability to move between genres, between periods, between tones, and to be convincing in each, and that versatility is the hallmark of her career.
The Age of Innocence, Wolf and the 1990s Peak
She married the actor Peter Horton in 1981, and the marriage ended in divorce in 1988, and she married the television producer David E. Kelley, the creator of Ally McBeal, The Practice and Big Little Lies, in November 1993, a marriage that has lasted for more than thirty years, and the couple have two children, Claudia Rose, whom Pfeiffer adopted as a baby in 1993, shortly before the wedding, and John Henry, born in 1994, and she has spoken about motherhood as a transformative experience, one that changed her priorities, her career and her view of the world, and that led her to slow down, to take fewer roles, to choose projects that allowed her to be present for her children, a decision that she has described as deliberate, and that she does not regret, even though it meant that her film career, which had been at its peak in the early 1990s, became less central in the late 1990s and 2000s, as she focused on family.
She continued to work, in films like What Lies Beneath in 2000, a thriller directed by Robert Zemeckis, in which she played a woman who discovers a ghost in her house, a role that was a commercial success, and Hairspray in 2007, a musical in which she played Velma Von Tussle, a role that showed her comic timing, her singing and her dancing, and Stardust in 2007, a fantasy film in which she played Lamia, a witch, a role that was villainous, funny and glamorous, and the films, which were less frequent than in the 1990s, were still praised, and they showed a performer who had not lost any of her talent, only her desire to work constantly, a choice that she made for her family, and that she has defended, saying that a career is long, and that a family is more important, a sentiment that is rare in Hollywood, and that is a measure of her character.
The later comeback began in 2017, with roles in mother!, Darren Aronofsky’s horror film, in which she played a supporting role, and in Murder on the Orient Express, Kenneth Branagh’s adaptation of Agatha Christie’s novel, in which she played Mrs Hubbard, a role that was comic, dramatic and memorable, and in 2018 she joined the Marvel Cinematic Universe as Janet van Dyne, the original Wasp, in Ant-Man and the Wasp, a role that introduced her to a new, younger audience, and that she has reprised in Ant-Man and the Wasp: Quantumania in 2023, and French Exit, released in 2020, in which she played Frances Price, a wealthy widow who moves to Paris with her son and her cat, a role that earned her a Golden Globe nomination for Best Actress, and that was praised by critics as a return to form, a performance that was witty, sad and completely her own, and that showed, at sixty-two, that she had lost none of her power, none of her intelligence, and none of her screen presence.
She launched Henry Rose in 2019, a clean fragrance brand built around transparency, with a commitment to listing every ingredient, and with scents that are, in her words, personal, and the brand, which she founded after becoming frustrated by the lack of transparency in the fragrance industry, has been praised for its honesty, its quality, and its vision, and it showed a side of Michelle that her films had only hinted at, a businesswoman, a founder, and a person who understands that beauty is not just about appearance, but about health, and the brand’s success, which was both commercial and critical, is a testament to her taste, her vision, and her ability to build something beyond film, a business that is, in every sense, hers, and that is a legacy that goes beyond any single role, and that is as important as any award she has won. She was also cast as the lead in The Madison, Taylor Sheridan’s Yellowstone follow-up series, announced in 2024, playing Stacy Clyburn, a matriarch who moves her family to Montana, a role that places her at the centre of one of television’s biggest franchises, and that shows, at sixty-six, that she is still, in every sense, a leading lady, one who can carry a series, and that is a rare achievement, and a testament to her talent, her work ethic, and her audience, which is loyal, global, and, above all, patient.
My Take:
When I think about Michelle Pfeiffer, the first thing that comes to mind is the face, because her performances are built on a look, a gaze, a expression that can be warm, cold, funny, sad, often in the same scene, and that face, which is beautiful, is also expressive, intelligent and, above all, honest, and the camera loves a face that can tell a story without words, and Pfeiffer’s face does exactly that. The Fabulous Baker Boys is the best example, a film in which she sings Makin’ Whoopee on top of a piano, in a red dress, and the scene works, not because of the dress, but because of the face, the look, the way she sings, the way she moves, and that performance, which won her the Golden Globe and the BAFTA, is a masterclass in screen acting, in how to command a screen with a single image, and I think it will be remembered as one of the great performances of its era, even without an Oscar, because the work is what matters, and the work is extraordinary.
Catwoman is the role that made her an icon, and I think it is worth asking why, because the character, Selina Kyle, is a secretary who becomes a villain, a thief, a femme fatale, and Pfeiffer’s performance, which is sexy, funny, dangerous and tragic, all at once, is the definitive portrayal, one that has never been matched, by any actress who has played the role since, and the reason is that Pfeiffer understood the character, understood that Selina is not a villain but a victim, a woman who was murdered, who was resurrected, and who is angry, and that anger, which is justified, is what makes the performance work, because it is not a cartoon, it is a person, and the audience, which is used to seeing Catwoman as a sex symbol, sees, in Pfeiffer’s hands, a woman, and that is a revelation, and the reason the performance is still discussed, still celebrated, still imitated, more than thirty years later.
The Fabulous Baker Boys is the film I would show to anyone who wants to understand Michelle Pfeiffer as an actor, because Susie Diamond is a role that requires everything, singing, acting, comedy, drama, and Pfeiffer gives it all, with a performance that is tough, funny, vulnerable and sexy, and that is completely real, a person, not a type, and the film’s most famous scene, the piano scene, is a moment that is still referenced, still parodied, still celebrated, and that showed a performer who could sing, who could act, and who could command a screen, and the awards she won for it, the Golden Globe, the BAFTA, the National Society of Film Critics Award, were deserved, and the Oscar nomination, her second, was also deserved, although she did not win, a fact that is less important than the performance, which is there, on film, for anyone to see.
Scarface is the film that made her a star, and I think it is worth remembering, because Elvira Hancock is a small role, with few scenes, but it is unforgettable, a woman who is glamorous, cold, funny and tragic, and who, in Pfeiffer’s performance, is both a victim and a survivor, and the film, which was directed by Brian De Palma, was a commercial success, although it was controversial, and it established her as a serious actor, not just a beauty, with a screen presence that could hold its own against Al Pacino, one of the greatest actors of his generation, and that is a remarkable achievement for a twenty-five-year-old, in her first major film, and the role, which she has spoken about as a lesson in film acting, about learning to be still, to let the camera come to her, is the foundation of her career, and the reason she has lasted.
The Age of Innocence is the performance I find most quietly impressive, because Countess Ellen Olenska is a role that requires restraint, dignity and passion, and Pfeiffer plays it with a stillness that is the opposite of Catwoman, and that stillness is the mark of a great actor, one who understands that power on screen does not always mean noise, and the film, which was directed by Martin Scorsese, is a perfect vehicle for her, because it is about manners, about society, about the unspoken, and Pfeiffer, who learned her craft in the theatre of Hollywood, understands the unspoken, understands how to convey a feeling with a look, with a gesture, and the performance, which earned her a Golden Globe nomination, is a reminder that she is as good in a period drama as she is in a comic book film, and that versatility is the hallmark of her career.
French Exit is the film that makes me most hopeful about her future, because it is a performance, as Frances Price, a wealthy widow who moves to Paris with her son and her cat, that is witty, sad and completely her own, and that earned her a Golden Globe nomination, and that was praised by critics as a return to form, a performance that showed, at sixty-two, that she had lost none of her power, none of her intelligence, and none of her screen presence, and the film, which is a comedy-drama about a woman who is losing her money, her status and her mind, is a perfect role for Pfeiffer, because it is about a woman who is difficult, who is funny, who is sad, and who is, above all, real, and that reality, which is the opposite of a glamorous leading lady, is the reason the performance works, and the reason I hope she does more roles like it.
Her decision to slow down for her family is the choice I respect most, because it is a decision that cost her commercially, that meant fewer films, fewer awards, less fame, in the late 1990s and 2000s, and that she made deliberately, because she wanted to be present for her children, Claudia and John Henry, and that choice, which she has described as one she does not regret, is a reminder that a career is long, and that a family is more important, and that an actor who understands that, who is willing to step back, is an actor who understands what matters, and the comeback, which began in 2017, with mother!, Murder on the Orient Express and French Exit, proves that the decision was right, because she returned, not as a faded star, but as a vital, powerful performer, with a new audience, and with the same talent she had in the 1980s.
If a new viewer asked me where to start with Michelle Pfeiffer, I would begin with The Fabulous Baker Boys, to see the singer on the piano, and then I would go to Batman Returns, to see Catwoman, and then to Dangerous Liaisons, to see the dramatic actor, and then to The Age of Innocence, to see the Scorsese actress, and those four works, taken together, show the breadth, the drama, the comedy, the music, in a way that no single film can. After that I would watch French Exit, to see the mature actor, and the journey through those works is the journey of an actress who has done everything, and who has done it on her own terms, and that is a journey worth following.
What Michelle Pfeiffer has given acting, beyond the performances, is a model of how to be a beautiful woman in Hollywood without letting Hollywood define you, and that model matters, because the industry has a long history of limiting beautiful women to a narrow set of roles, and Pfeiffer, from the beginning, refused those limits, playing a mob wife, a witch, a singer, a countess, a cat burglar, a teacher, and each of those roles was a choice, a refusal to be put in a box, and I think young actresses will look at her career and see a permission slip, a proof that you can be beautiful and talented, that you can be a star and a character actor, and that you do not have to choose, and that is a legacy that goes beyond any single award.
The Orange County thread runs through everything she does, and I think it is the most important part of her story, because it is not a marketing detail but a real influence. She grew up in a suburb, she worked as a checkout girl at a supermarket, she won a beauty pageant, she took acting classes, and those experiences, of being ordinary, of being working-class, of being a girl from the suburbs who dreamed of being on screen, are in every performance she has given, from Elvira to Susie to Catwoman, because she understands what it is to be an outsider, to be a woman who does not fit the mould, and the audience can tell the difference, because the details are specific, the feeling is real, and that is why her work resonates, with people who have never been to Orange County as well as with people who grew up there.
Looking at the whole arc, from a supermarket in Orange County to Scarface to Catwoman to French Exit, I see a career that was built on talent, on hard work and on a refusal to be limited, and I think that refusal is its strength. Michelle Pfeiffer has been a beauty queen, a film star, a singer, a mother, a Marvel actor and a Golden Globe nominee, and each of those roles has left something in the work, a lesson, a skill, a perspective, and the result is an artist who is harder to categorise than almost anyone of her generation. That is not a failure of branding, it is a sign of a person who kept growing, and the audience that has grown with her, from Grease 2 to the present, has been rewarded with a career that is honest, varied and unmistakably hers, and I expect the next chapter to be as surprising as the last.
Henry Rose is the business I admire most, because it is a clean fragrance brand built around transparency, with a commitment to listing every ingredient, and with scents that are personal, and Michelle founded it in 2019 after becoming frustrated by the lack of transparency in the fragrance industry, and the brand, which has been praised for its honesty, its quality, and its vision, showed a side of her that her films had only hinted at, a businesswoman, a founder, and a person who understands that beauty is not just about appearance, but about health, and the brand’s success, which was both commercial and critical, is a testament to her taste, her vision, and her ability to build something beyond film, a business that is, in every sense, hers, and that is a legacy that goes beyond any single role, and that is as important as any award she has won, because it is about honesty, and honesty, in business, is the rarest quality of all.
The Madison is the television project I am most looking forward to, because it is Taylor Sheridan’s Yellowstone follow-up, with Michelle cast as Stacy Clyburn, a matriarch who moves her family to Montana, a role that places her at the centre of one of television’s biggest franchises, and that shows, at sixty-six, that she is still, in every sense, a leading lady, one who can carry a series, and that is a rare achievement, and a testament to her talent, her work ethic, and her audience, which is loyal, global, and, above all, patient, and the role, which is a dramatic one, with a family, with a landscape, with a story that is, in Sheridan’s hands, epic, is a perfect fit for Michelle, because it is about a woman who is strong, who is complex, and who is, above all, real, and that is a character she has played, again and again, from Elvira to Susie to Catwoman, and that is why I expect The Madison to be a success, and why I expect Michelle’s performance in it to be remembered, as one of her best.
What Lies Beneath is the thriller I return to most, because it is a film directed by Robert Zemeckis, in which Michelle plays Claire Spencer, a woman who discovers a ghost in her house, a role that required a performance that was scared, strong, and, above all, real, and the film, which was a commercial success, proved that she could carry a thriller, that she could be a leading lady in a genre that is, by any measure, difficult, and that is a testament to her talent, her work ethic, and her audience, which is loyal, global, and, above all, patient, and the film’s success, which was driven by its suspense, its scares, and its star, is a reminder that Michelle Pfeiffer is not just a beautiful face, but an actor, one who can do horror, comedy, drama, and, above all, be herself, on screen, and that is a legacy that will last, long after the last note has faded, because a career built on work, on talent, and on range, is a career that lasts.
Frequently Asked Questions
When and where was Michelle Pfeiffer born?
Michelle Pfeiffer was born on 29 April 1958 in Santa Ana, California, and she was raised in Midway City, Orange County, where she worked as a supermarket checkout girl before acting.
What was Michelle Pfeiffer’s first starring role?
Her first starring role was Stephanie Zinone in Grease 2 in 1982, and her breakthrough came the next year as Elvira Hancock in Scarface opposite Al Pacino.
Which Michelle Pfeiffer role earned her a Golden Globe?
She won the Golden Globe for Best Actress for playing Susie Diamond in The Fabulous Baker Boys in 1989, a role that also earned her an Oscar nomination.
Who did Michelle Pfeiffer play in Batman Returns?
She played Selina Kyle, also known as Catwoman, in Batman Returns in 1992, a performance widely regarded as the definitive portrayal of the character.
How many Academy Award nominations does Michelle Pfeiffer have?
She has been nominated for three Academy Awards, for Dangerous Liaisons, The Fabulous Baker Boys and Love Field, between 1988 and 1992.
Is Michelle Pfeiffer in the Marvel films?
Yes, she plays Janet van Dyne, the original Wasp, in the Marvel Cinematic Universe, first appearing in Ant-Man and the Wasp in 2018.
