

Wood's mother Maria was born in Barnaul, southern Siberia. Wood was born Natalie Zacharenko in San Francisco, California, to Maria Zudilova (1908–1998), known variously as Mary, Marie and Musia, and her second husband, carpenter Nicholas Zacharenko (1912–1980).

Wood's films represented a "coming of age" for her and for Hollywood films in general. She acted in only two feature films throughout the decade, but appeared slightly more often in television productions, including a remake of From Here to Eternity (1979) for which she won a Golden Globe Award. Her career continued with films such as Sex and the Single Girl (1964), Inside Daisy Clover (1964), and Bob & Carol & Ted & Alice (1969).ĭuring the 1970s, Wood began a hiatus from film and had two daughters by different men one with her second husband Richard Gregson, and one with Robert Wagner, her first husband whom she married again after divorcing Gregson. Wood starred in the musical films West Side Story (1961) and Gypsy (1962), and received nominations for an Academy Award for Best Actress for her performances in Splendor in the Grass (1961) and Love with the Proper Stranger (1963). As a teenager, she was nominated for an Academy Award for Best Supporting Actress for her performance in Rebel Without a Cause (1955), followed by a role in John Ford's The Searchers (1956). She was the recipient of four Golden Globes and three Academy Award nominations.īorn in San Francisco to Russian immigrant parents, Wood started acting at age four and was given a co-starring role at age 8 in Miracle on 34th Street (1947). Natalia Nikolaevna Zakharenko J– November 29, 1981) was an American actress who began her career in film as a child and successfully transitioned to young adult roles. These two sequences are probably the movie's most graphic scenes of sexual violence.Natalie Wood (born Natalie Zacharenko, Russian: Наталья Николаевна Захаренко, tr.

The scene ends with the woman bleeding from her mouth and the suggestion that she has been stabbed and continually stabbed after the rape is offscreen. Sexually aggressive language is used during this scene which lasts for nearly or over two minutes in screen time. Once again, the nudity is not masked, and focus is made upon the woman's body and bloodied face. In the second rape scene, a woman is seen tied or chained up to an exercise/weight lifting bench and raped from behind. Blood is seen on the woman's face as she lays there. The killer then punches the woman in the face knocking her out while still raping her. The nudity is not masked and the rape is shown in full with exception to genital regions and explicit sexual elements (e.g., there is no hardcore elements which one would find in a pornographic film). In the first scene, a woman is raped from behind on top of a bed. The rape in particular is focused upon during the two scenes in which it occurs. The film contains various scenes of rape and violence towards women.
