Aurelia Butler

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    Rudy Franchi, Who Put Movies at the Center of a Technicolor Life, Dies at 85

    He brought French classics to New York, published a film magazine, worked as a Hollywood publicist and (as seen on “Antiques Roadshow”) thrived selling vintage posters and kitsch.Rudy Franchi, who during a kaleidoscopic life brought French films to New York City, indulged in trysts with Hollywood stars as a publicist, operated one of the country’s largest vintage movie poster businesses and appraised ephemera — most memorably, a lunch menu from the Titanic — on PBS’s “Antiques Roadshow,” died on Aug. 6 in Santa Monica, Calif. He was 85.The cause of his death, at a nursing home, was lung cancer that had metastasized, his family said.Mr. Franchi’s life was highbrow, lowbrow and sometimes surreal.Along with movie posters, his store, the Nostalgia Factory, dealt in kitsch — Mickey Mouse watches, British cookie tins, StarKist “Charlie the Tuna” piggy banks. His career included a stint at a tabloid newspaper fabricating stories, like one that claimed that President John F. Kennedy was living secretly (though comatose) on an island after his assassination.“Rudy was definitely a character,” Grey Smith, a longtime vintage poster appraiser and dealer, said in an interview. “He was fascinating to be around because he had all of these crazy stories, and he could really talk about anything.”Mr. Franchi was not a gadfly, per se, but he was the sort of person whose name was familiar in the letters-to-the-editor departments of newspapers, especially The New York Times. It published six of the many missives he sent in on topics like the foreign exchange rates of American Express traveler’s checks, a critique of Playbill magazine and a brief history of neon signs.In a 2010 episode of “Antiques Roadshow,” Mr. Franchi appraised a grizzly bear skin that its owner said had once belonged to Bette Davis. The Washington Post, via Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Sean Combs Fights Lawsuit by Music Producer Alleging Sexual Misconduct

    The hip-hop mogul’s lawyers are seeking the dismissal of a suit from Rodney Jones Jr., arguing it is baseless and “replete with far-fetched tales of misconduct.”Lawyers for Sean Combs filed court papers on Monday seeking the dismissal of a civil suit by a music producer who accused Mr. Combs of making unwanted sexual contact, arguing that the lawsuit was baseless and “replete with far-fetched tales of misconduct.”The filing, in Federal District Court in Manhattan, is the latest effort by the hip-hop impresario’s legal team to dismiss a series of recent lawsuits that accuse him of sexual assault and misconduct. The suit by Rodney Jones Jr., a music producer who worked on Mr. Combs’s most recent album, accuses Mr. Combs of groping him and forcing him to solicit prostitutes; he also alleges that Mr. Combs threatened him with violence.In their response, lawyers for Mr. Combs wrote that Mr. Jones’s claims lack basic details, including where and when the alleged groping occurred, along with how, exactly, Mr. Combs pressured him into hiring prostitutes.“Such vague allegations fall well short of federal pleading standards,” wrote one of the lawyers, Erica A. Wolff, who argued that the real purpose of the lawsuit is to “generate media hype and exploit it to extract a settlement.”One threat of violence that the lawsuit alleges was that Mr. Combs once threatened to “eat Mr. Jones’s face,” but the exact context for the comment was unclear in Mr. Jones’s suit, a 98-page document that details a litany of allegations from his time as a part of Mr. Combs’s entourage.Mr. Jones’s lawyer, Tyrone A. Blackburn, called the filing a “desperate Hail Mary attempt.”“Nothing in this complaint is far-fetched,” he said. “Nothing in this complaint is too vague.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Post Malone Returns to No. 1 With His Country Debut, ‘F-1 Trillion’

    The shape-shifting pop songwriter’s new album debuts atop the Billboard 200, and Chappell Roan’s “Midwest Princess” holds at No. 2.Post Malone, the face-tattooed singer and songwriter who emerged a decade ago with a rock-meets-folk-meets-rap style that caught fire on streaming services, opens at No. 1 on the latest Billboard album chart with “F-1 Trillion,” which repositions the star in a country context.“F-1 Trillion,” featuring guest spots by a bevy of Nashville stars like Dolly Parton, Tim McGraw, Morgan Wallen, Lainey Wilson and Jelly Roll, was released on Aug. 16 — two days after Post Malone’s debut at the Grand Ole Opry — and garnered the equivalent of 250,000 sales in the United States. That total includes 213 million streams and 80,000 copies sold as a complete unit, according to the tracking service Luminate. The full “deluxe” version of the album has 27 tracks.The success of “F-1 Trillion” is the latest swerve in the story of Post Malone — real name Austin Post — who in the late 2010s became one of the flagship stars of the streaming era with emotive earworms like “Rockstar,” “Better Now” and “Sunflower.” His albums “Beerbongs & Bentleys” (2018) and “Hollywood’s Bleeding” (2019) were mainstays in the top ranks of the chart. But he stumbled with two follow-up LPs, “Twelve Carat Toothache” (2022) and “Austin” (2023), which leaned deeper into pop and rock but had considerably weaker sales.Recently, Post Malone returned as an unexpected guest star on two of this year’s biggest albums: Beyoncé’s “Cowboy Carter” and Taylor Swift’s “The Tortured Poets Department,” where he duetted with Swift on the album’s lead single, “Fortnight.” In May, he revealed his country direction with “I Had Some Help,” featuring Wallen, the first single from “F-1 Trillion”; it became his first solo No. 1 on the Hot 100 chart since “Circles” in 2019. (“Fortnight,” naturally, went straight to the top.)Also this week on the Billboard 200 album chart, Chappell Roan’s “The Rise and Fall of a Midwest Princess” holds at No. 2, while Swift’s “Tortured Poets” falls to No. 3 after logging its 15th week at No 1. Wallen’s “One Thing at a Time” is No. 4 and Billie Eilish’s “Hit Me Hard and Soft” is in fifth place. More

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    Sabrina Carpenter Is Sly and Merciless on ‘Short n’ Sweet’

    The pop singer and songwriter’s new album, “Short n’ Sweet,” lives up to her ubiquitous summer hits.In Sabrina Carpenter’s songs, young romance is all sexy fun and games — until it’s not. “Short n’ Sweet,” her sixth full-length album, is a smart, funny, cheerfully merciless catalog of bad boyfriend behavior and the deceptions and rationalizations that enable it. Carpenter mostly smiles and winks her way through songs that recognize the irrational power of lust, but deftly twist the knife on cheaters and hypocrites. “No one’s more amazing at turning loving into hatred,” she warns in “Good Graces.”Carpenter, 25, has triumphed in a career path that doesn’t always work out: spending her teens in show business. A contest entry for “The Next Miley Cyrus Project,” in 2011, led to Carpenter joining the Disney entertainment empire: signing to Disney’s Hollywood Records and gaining recognition with acting roles on the Disney Channel series “Girl Meets World” and in movies. Her Hollywood albums tried on teen-pop styles with middling results, gradually easing toward more adult material.But she gained full artistic control with a new label, Island, and her 2022 album, “Emails I Can’t Send,” made the leap into her grown-up persona: equal parts playful, vulnerable, amorous and calculating. The album mixed post-breakup plaints with flirtations like the hit “Nonsense,” a song about overpowering attraction that’s also about songwriting: “Woke up this morning, thought I’d write a pop hit,” she lilts.It also included “Because I Liked a Boy,” a ballad that seemingly addressed a celebrity romantic tangle and promoted everyone involved. Was Carpenter the “blond girl” who captured the ex-boyfriend that Olivia Rodrigo sang about in “Drivers License”? The internet thought so. “Now I’m a home wrecker, I’m a slut/I got death threats filling up semi trucks,” Carpenter sang, adding, “When everything went down we’d already broken up.”“Short n’ Sweet” arrives powered by two ubiquitous summer hits. One is “Espresso,” a retro disco-pop groove carrying the boast of a confident hottie: “He looks so good wrapped around my finger,” she coos. The other, “Please Please Please,” begs an unstable boyfriend not to embarrass her in public. “Whatever devil’s inside you, don’t let him out tonight,” she admonishes, then sings “Please, please, please, don’t prove I’m right,” in the sugariest of harmonies.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Russell Malone, Acclaimed Jazz Guitarist, Dies at 60

    Russell Malone, a jazz guitarist whose encyclopedic knowledge of musicians and songs, combined with a precise yet relaxed playing style, earned him jobs with Harry Connick Jr., Diana Krall and many others, as well as a dedicated following as a solo artist, died on Friday in Tokyo. He was 60.His death, from a heart attack, was announced on social media by the bassist Ron Carter, in whose trio Mr. Malone had worked for many years. The trio, with Donald Vega on piano, was touring Japan and had just finished a performance at the Blue Note Tokyo when Mr. Malone died.Mr. Carter said that he and Mr. Vega would continue the tour as a duo.Mr. Malone was highly regarded for his versatility: He was able to support a variety of singers and instrumentalists in a range of styles, but he also had his own well-defined sound as a bandleader and soloist.He was open about his influences — among them B.B. King, Wes Montgomery and Pat Martino — and he was never shy about pointing out how much he had learned from them, and how much of their sound showed up in his playing.“When I hear a player play, if I don’t hear a smidgen of influences, I get suspicious,” he said in a 2023 interview with the online magazine Jazz Guitar Today.He managed to carry the weight of those influences without sounding derivative. He was known for a distinctive style that was precise and spare but at the same time warm and luscious.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Apple Rethinks Its Movie Strategy After a String of Misses

    “Wolfs,” a new film starring George Clooney and Brad Pitt, was going to get a robust theatrical release. But the company is curtailing that plan.When Apple won a bidding war in 2021 for the rights to make the action comedy “Wolfs” with George Clooney and Brad Pitt, it did so in part because it promised the stars it would put the movie into a large number of movie theaters.“Brad and I made the deal to do that movie where we gave money back to make sure that we had a theatrical release,” Mr. Clooney said last year in an interview with the Hollywood trade publication Deadline.But this month, just six weeks before the film was set to show up in thousands of theaters around the United States, Apple announced a significant change in plans. “Wolfs” will now be shown on a limited number of movie screens for one week before becoming available on the company’s streaming service on Sept. 27. (Internationally, it won’t appear in theaters at all with the exception of the Venice Film Festival, where it will premiere on Sept. 1.)“‘Wolfs’ is the kind of big event movie that makes Apple TV+ such an exceptional home for the best in entertainment,” Matt Dentler, the head of features for Apple Original Films, said in a statement. “Releasing the movie to theaters before making it widely available to Apple TV+ customers brings the best of both worlds to audiences.”The film’s director, Jon Watts, told Vanity Fair that he had found out about the change in plans only days before the announcement. “The theatrical experience has really made an impression on me, of how valuable this thing is and how important it is,” Mr. Watts said. “I always thought of this as a theatrical movie. We made it to be seen in theaters, and I think that’s the best way to see it.”Despite the filmmakers’ desires, the about-face follows a middling run at the box office for Apple, which began releasing films into theaters around the country via partnerships with traditional studios in October.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    The Best Movies From 1999, According to Our Critics

    In our view, these eight comedies, dramas and more have attained classic status 25 years later. Let us know your own picks.On the 25th anniversary of what many argue is the greatest year in movie history, we asked film staff writers and critics to share the movie from 1999 that they love the best or feel is most overlooked. After reading their picks, let us know your choices.Best Comedy‘Being John Malkovich’Capping a decade of high-concept comedies, Spike Jonze’s “Being John Malkovich” (available on most major platforms) raised the stakes with the most outlandish premise yet: When a downtrodden puppeteer (John Cusack) takes an office job to make ends meet, he discovers a hidden portal there that allows him to enter the mind of medium-famous character actor John Malkovich. Jonze’s smartest instinct is to resist piling onto a concept that’s already perilously clever. Instead, the movie is underplayed, intimate and even a little scuzzy-looking. But that approach to Charlie Kaufman’s surprising screenplay leaves room for viewers to wonder as they watch: Why are we so certain that our lives would improve with even a modicum of fame? And are these bodies the wrong containers for what we feel inside? KYLE BUCHANANBuchanan’s other 1999 favorites: “eXistenZ,” “Three Kings,” “Election,” “The Talented Mr. Ripley”Best Drama‘Beau Travail’Claire Denis’s film focuses on the French Foreign Legion soldiers stationed in Djibouti.Pathé TVA haunting exploration of desire and violence, Claire Denis’s “Beau Travail” (available on major platforms) takes place in the East African country of Djibouti, a onetime French territory. There, French Foreign Legion soldiers practice drills, their bodies synced and individualities subordinated. At times, they dance with African women, their gazes uneasily summoning up the history shared by the formerly colonized and their colonizers.Loosely inspired by Herman Melville’s novella “Billy Budd,” Denis’s beguiling tour de force takes shape after one soldier (Grégoire Colin) rescues another, an act that disturbs a sergeant (Denis Lavant). The soldier “seduced everyone,” the sergeant says in voice-over. “Deep down I felt a sort of rancor, a rage brimming.” With minimal dialogue, ravishing visuals and meticulous attention to sensuous detail, Claire Denis elliptically charts what binds these men — tracing lines between love and hate, past and present, nation and self, masculinity and militarism — in a film that remains as disturbing as it is seductive. MANOHLA DARGIS

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    ‘A League of Their Own’ Grandstand Destroyed in Fire

    The field and wooden grandstand in Ontario, Calif., were the backdrop for the 1992 movie about a women’s baseball league.The wooden grandstand, locker rooms, press box and dugout of Jay Littleton Ball Park, a baseball field in California that was featured in the 1992 movie “A League of Their Own,” were destroyed in a fire on Thursday, a city spokesman said.Aerial footage showed scorched debris ringing a grassy baseball diamond at the park in Ontario, Calif., which is about 40 miles east of Los Angeles.Firefighters responding to the fire at 11:25 p.m. local time on Thursday encountered flames engulfing the wooden structures of the stadium, which they were unable to save, Dan Bell, Ontario’s communications director, said on Saturday.“This is an old-school, 1937, all-wood grandstand construction,” Mr. Bell said. “Once it lit, it just went up.”It was not immediately clear what caused the fire. Mr. Bell said the city had closed the field to the public four years ago because of the dilapidated and dangerous condition of the grandstand. The city had been considering finding funds to restore it.Geena Davis, center, and Megan Cavanagh, left, in a scene from “A League of Their Own.”Columbia Pictures“A League of Their Own,” which also starred Madonna, Rosie O’Donnell and Tom Hanks, told the story of the All-American Girls Professional Baseball League, a professional league founded in 1943 when many minor league teams were disbanded because the draft was sending players and other men to fight in World War II. The league lasted 12 seasons.In one memorable scene from the movie, the character played by the actress Geena Davis does a split and makes a spectacular catch in front of the grandstand.In addition to “A League of Their Own,” the ballpark served as a setting for the 1992 movie “The Babe,” starring John Goodman, and the 1988 movie “Eight Men Out.”Representative Norma J. Torres, Democrat of California, whose district includes Ontario, said on social media on Friday that the site had been “generations of families’ favorite ballpark since the 1930s.”The park, which the city designated a historic landmark in 2003, was originally called the Ontario Ball Park, home to the semiprofessional baseball team, the Ontario Merchants.It was, at that time, a modern baseball facility with a wooden grandstand that could seat 3,500, team locker rooms and a press box complete with radio transmission towers on the roof, according to a historic structure report conducted by the city in 2019.Because wood construction was susceptible to fire, most professional baseball stadiums from the early 20th century were built with less flammable materials, such as brick, concrete and steel.For economic reasons, amateur ball parks like Ontario’s continued to be built of wood, the report said.The park was later renamed for Jay Littleton, a semiprofessional baseball player from Ontario who went on to work as a Major League Baseball scout, according to a 2003 obituary. More