I first saw Renee Zellweger pushing a rack of luggage uphill on a West Side sidewalk--no entourage, no aides. Like most stars, she instinctively stops traffic. We ogled (discretely) as she strained against stacks and stacks of suitcases, her skinny body forming a wide triangle with her luggage and the pavement.
Renee Zellweger
A week later, she ran past me in Central Park. Before I recognized her, I'd mused: look at that girl's movie star ankles--defined but narrow calves exquisitely tapering (like a Matisse line drawing). She glanced back, and bingo, the girlish, innocent wonder of Renee Zellweger's plump,wind-reddened cheeks and sweet almond-shaped eyes..I bet when Zellweger turns eighty, she'll be girlish, sweet-- and running.I've been holding a Renee Zellweger film retrospective in my bedroom. In the teen film "Empire Records" she's a scenery-chewing, rambunctious kid with a flash of perfect butt. She steals scenes wearing a backless slip of a red slip dress and dancing like she's got wings--while brandishing two feather dusters that she transforms into the best props since the invention of puppets.
The very same physical exuberance powered the film Chicago. (Her co-star Catherine Zeta-Jones feels as shivery cold as Zellweger feels warm and kind.)
In her early Texas masterpiece "The Whole Wide World, she plays a spunky compassionate schoolteacher who writes for herself and can't accept the crazyness of the famous writer she loves.This wondrous performance led to "Jerry McGuire"--where she beams such superhuman, but real, goodness that she lifts Tom Cruise up too.
source: Internet
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