Demi Moore (Demetria Gene Guynes)
b. Boswell, New Mexico, 1962

In the January-February 1993 Movieline, asked to assess her "position in the business right this second," Demi Moore said
"That's tough. I'm probaly in a better position than I've ever been thus far, okay? I think people in the business are certainly interested in doing business with me."

Gone are the days of longing to be alone, of cute answers and wistful smiles. Today a hot young actress can sound as if she's in plastics (and Moore's voice is as harsh as unfinished polymer). And Demi Moore is a very keen purveyor of her own image. Despite some good movie work, it is likely that the public's most immediate sense of Demi Moore is still vested in two images—the covers she did for Vanity Fair, one nude and pregnant, the other nude and painted. Further, these covers were not simply Tina Brown's wit and wisdom. Demi Moore consented to them, and kept as much control as she could contrive. In hindsight, the exposure was too much and could be seen as a turning point of the public losing interest in her.

After working on TV's General Hospital, she got into movies in the early 1980s, married Bruce Willis, had two children, and generally hustled herself to the forefront: Choices (81, Silvio Narizzano); Parasite (82, Charles Band); Young Doctors in Love (82, Garry Marshall); Blame It On Rio (84, Stanley Donen): as a singer in No Small Affair (84, Jerry Schatzberg); St. Elmo's Fire (85, Joel Schumacher); About Last Night (86, Edward Zwick); One Crazy Summer (86, Savage Steve Holland); Wisdom (86, Emilio Estevez, whom she was once engaged to); pregnant and threatened in The Seventh Sign (88, Carl Schultz); We're No Angels (89, Neil Jordan); riding the hit of Ghost (90, Jerry Zucker); excellent and touching in Mortal Thoughts (91, Alan Rudolph); blonde in The Butcher's Wife (91, Terry Hughes); Nothing But Trouble (91, Dan Akroyd); wasted in A Few Good Men (92, Rob Reiner)

She was the wife open to Indecent Proposal (93, Adrian Lyne), a movie that drew upon the ghost of a computer behind her fully sexed but tough stare. The film was so listless and underdone, at $1 million the actress seemed overpriced.

She was a far more flagrant sexual aggressor against MichaeI Douglas in Disclosure (94, Barry Levinson). She helped produce Now and Then (95, Lesli Linka Clatter), and then went out for big acting in the risible The Scarlet Letter (95, Roland Joffe). She was at a perilous point. The Juror (96, Brian Gibson) was routine, but for Striptease (96, Andrew Bergman) she offered her body for a record $12 million, and showed that the bod was still awesome. It was more than the public wanted, though, and G.I. Jane (97, Ridley Scott) was a more hysterical assertion of physical splendour. She was then in Deconstructing Harry (97, Woody Allen).

The marriage to Willis broke up. And she did Passion of Mind (00, Alain Berliner) as if to prove that she had her sixth, and seventh, senses, too. But no dramatic sense. At present it is not quite clear if she is active, resting or just out of it. For today, when she makes the papers it is invariably for the lastest cosmetic surgery she may or may not have had and her private life.

Her career comes a distant third in newspaper and magazine columns.