The 75-year-old Richard Gere and his 41-year-old wife Alejandra Silva recently wowed onlookers with their passionate gesture on the Zurich Film Festival red carpet as they attended the film’s premiere of “Wisdom of Happiness.” On October 8, 2024, Silva dazzled in a gorgeous cream and silver gown, while Gere looked smart in a classic black tuxedo. As they posed together, the couple, who looked to be totally in love, enjoyed intimate moments that highlighted their strong bond.
Gere wore a black bow tie and a spotless white shirt to go with his elegant tuxedo for their romantic evening at Corso in Zurich. Silva wore a sleeveless dress with a unique layered design that accentuated her toned arms. The silver heels perfectly complemented her manicure.
Supporters were eager to show their appreciation for the couple, complimenting their appearance and chemistry in numerous remarks. “How sweet,” one fan wrote, while another said, “She is a very attractive lady.” What he sees in her, I see as well. They are a compatible pair. “Beautiful couple,” and “Love Richard Gere,” were posted by other admirers.
Although the majority of responses were encouraging, one person expressed dissent, saying, “She’s much younger, but hey, it’s their life.” I dislike her outfit at this place. Furthermore, a few fans pointed to a similarity between Silva and Julia Roberts, the actress who costarred with Gere in the cherished movie “Pretty Woman.”
One of the movie’s most iconic scenes had Gere’s character, Edward, playing the piano as Roberts’ character, Vivian, walked in. Years later, Gere made a sarcastic quip about their electric chemistry, adding, “I mean, no chemistry.” It was clear that there was no chemistry between this actor and this actress. That’s not anything I’ve seen in a while. It’s a seductive scene.
The real bond between Gere and Silva was evident during their appearance, as they remained close, in sharp contrast to the dynamics on screen. Before, Silva told Richard how happy she was, saying, “I never thought I’d find a man so perfect for me.” There are no words to express how happy I am. She has also stated that it was intended for them to be apart in terms of age. Silva remarked, “He has promised me at least 20 good years!” and said that Gere’s intensity frequently made it difficult for her to keep up with him.
Silva also brought attention to the fact that friends frequently make assumptions about what Gere gains from her and remark on how much he loves her. She feels that her steadfast dedication to serving others has given him stability. Above all, the fact that I wasn’t a model or an actor helped. That has never piqued my attention. Our shared commitment to Buddhism and the Tibetan people, as well as our desire to assist those in need, are what have most brought us together, she said.
Silva’s resolve to stick with Gere is reinforced by her description of their love as the most romantic and delightful dream she has ever had. Gere has stated that, as a result of being married to a lady who is so stunning, wise, and compassionate, he feels like the happiest guy alive. He is impressed by her commitment to humanitarian causes, her easygoing demeanor, her patience, and her extraordinary culinary abilities—especially her renowned salads.
Every time they go to important occasions together, their devotion for one another is obvious. On September 1, 2024, Gere made a noteworthy appearance at the Venice Film Festival in Italy. He was accompanied not only by his spouse, but also by his attractive son, Homer Gere.
The duo was the talk of the red carpet at the amfAR Gala Venezia. Gere looked dapper in his tuxedo, and Silva complemented him with an equally elegant dark blue gown by Silvia Tcherassi that included gorgeous lace floral appliqués. The dress had a daring low-cut back and a flowing skirt with a high neckline.
Videos from the occasion showed the pair exchanging passionate looks and striking poses for the cameras. Homer even made an appearance, flaunting his tuxedo and spending quality time with his father. Many people made comments about their appearances as the crowd saw the family connection, with one saying, “His son looks a lot like him! fortunate man
Gere was spotted joyfully greeting spectators as they arrived by boat at the Venice Film Festival, prior to their glitzy event. During their boat ride, they were also observed conversing, underscoring the close relationship between father and son.
about stage during the festival, Gere reflected about his 1978 debut picture, “Days of Heaven,” in a moving moment. “This is so emotional for me to see— this is my first film and [..] I don’t think I’ve seen this probably in 30/40 years,” he said after seeing a moment from the film. Noting that he was only a few years older than his son at the time he made the movie, he took great satisfaction in Homer’s emerging acting career and acknowledged his artistic ability.
Gary Burghoff AKA Radar from ‘M*A*S*H’ Always Kept His Left Hand Out of View – Five Times We Could See It
The hit 1972 sitcom “M*A*S*H” introduced the world to a number of memorable and beloved characters, from the smart-mouthed yet compassionate Captain Benjamin Franklin “Hawkeye” Pierce to his endearing friend, Captain B.J. Hunnicutt. Almost every character had stuck in the minds of the fans.
One of the characters that often featured but was easily overlooked by his military counterparts due to his nervous nature was the 4077 MASH unit’s company clerk, Corporal Walter Eugene “Radar” O’Reilly. Although many of the staff on the base tended to take Radar’s effort for granted, the fans sure noticed him.
Radar was portrayed by the acclaimed actor Gary Burghoff from the start of the TV show in 1972 until the seventh season, which aired in 1979. Although fans clamored for more of the unassuming clerk, Burghoff revealed that he needed to step away from the show to rekindle his personal relationships and fight burnout.
“M*A*S*H’s” Influence and Burghoff’s Personal Identity
Although Burghoff enjoyed playing Radar, the role became increasingly demanding. The actor commented that it became difficult to separate himself from his character in the eyes of the public, which soon became tedious. He also noted that he despised being fawned over by the crowds:
“Aw, I know I’m cute. Cute, cute, CUTE! I was always cute because I was always the smallest kid on the block. I hate cute.”
Everyone saw Burghoff as an adorable, short, timid character as they’d known him on-screen and on the stage for many years. However, after years of being looked down upon, both metaphorically and physically speaking, Burghoff grew tired of the persona so easily attributed to him by scores of people he had never even met.
The actor lashed out against this view of him as a cute little fellow by defending his height. As he so rightly pointed out, 5 feet 6 inches isn’t irregularly short, and he would have seen the tops of Arte Johnson or Mickey Rooney’s heads had they ever met. Nonetheless, the persona stuck.
Luckily for all his fans, Burghoff didn’t let his disability stand in his way, and he pursued his dream of becoming an actor.
Despite his misgivings about how others perceived him, Burghoff’s fellow cast members adored him. The director Charles Dubin recalled working with Burghoff before he left “M*A*S*H,” noting how caring and pleasant Burghoff was to everyone on set. However, Burghoff had another aspect of himself that drove down his self-esteem.
Burghoff had been born with a congenital disability called Brachydactyly, a form of Poland Syndrome. The condition left the actor with three fingers on his left hand that were noticeably smaller than the rest of his digits, and the abnormality had plagued him since he was a small child. The actor commented:
“Of course, this defect affected me while I was growing up. I suppose when I was very young, I knew my disability would set me apart and make me special.”
Luckily for all his fans, Burghoff didn’t let his disability stand in his way, and he pursued his dream of becoming an actor. Yet, becoming a fan-favorite on one of the most iconic TV shows America had ever produced never managed to quell his insecurities about his stout fingers and stocky frame.
Throughout his run on “M*A*S*H,” Burghoff tried to hide his left hand from the camera. He would often position himself so that the camera could only see one side of his body and usually gestured with his right if the scene required it, although the actor would be obligated to use both hands now and again.
In one of the earliest episodes, viewers were introduced to Radar as he stood in an open area, wearing a greyish shirt and his trademark cap. As the actor turned around and looked at the sky — once again hearing approaching helicopters before everyone else — the camera briefly panned over both his hands holding a football.
When Colonel Sherman T. Potter first made his appearance on the show, taking over from the beloved Lieutenant Colonel Henry Blake, Radar and the new commander shared a scene where they first met. As Colonel Potter exited the room to find the latrines, the camera centered on Burghoff’s upper body as he opened a box with both hands.
Another infamous scene caught Burghoff with both hands on camera. During a regular morning salute, with the loathsome Major Frank Burns leading the ceremony, Radar does his usual morning salute with a bugle. In a hilarious twist, one of the men fires off the ceremonial canon at Burns’s behest.
Naturally, Radar gets the short end of the stick as the cannonball flies directly at him, knocking his instrument clean out of his hands. In the next few seconds, Burghoff turns toward the camera in a pantomime of rage, balling his fists and stomping in outrage. Here, both his hands can be seen for a brief second.
In one of the later episodes, the writers showed off Radar’s softer side when he cuddled his pet guinea pig, Babette. Naturally, Radar stood with his left hand beneath his right, but just as he started to sing, Father John Mulcahy called for him. Burghoff’s hands were visible again as he put the Babette away.
One of the scenes where Burghoff openly showed his left hand came as part of another gag the show pulled. At the start of the scene, Radar could be seen walking across a dirt road while two other military personnel walked away from the camera. The man on Radar’s right first lifted his hand in salute, followed shortly by one on the left.
Radar, the pleasant character he was, lifted his right hand in response to the first salute, as military etiquette dictates. Caught off guard by the quick second salute, Radar lifted his left hand as well, essentially performing a double salute. Feeling sheepish, he frowned and lowered his hands slowly in one of Burghoff’s classic displays of confusion.
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