Aurelia Butler

He helped bring “Flipper” to the movies and TV but was best known for his plunge in a monster suit in “Creature From the Black Lagoon.”Ricou Browning, who played the title character, or at least the underwater version of it, in one of the most enduring creature features of the 1950s, “Creature From the Black Lagoon,” died on Feb. 27 at his home in Southwest Ranches, Fla., northwest of Miami. He was 93.His daughter Renee Le Feuvre confirmed the death.Mr. Browning was 23 when Newt Perry, a promoter of various Florida attractions for whom he had worked as a teenager, asked him to show some Hollywood visitors around Wakulla Springs, a picturesque spot near Tallahassee. The entourage — which, as Mr. Browning told the story later, included Jack Arnold, the film’s director, and the cameraman Scotty Welbourne — was scouting locations for a planned movie about an underwater monster.“Scotty had his underwater camera,” Mr. Browning recalled in an interview recorded in “The Creature Chronicles: Exploring the Black Lagoon Trilogy,” a 2014 book by Tom Weaver (with David Schecter and Steve Kronenberg), “and he asked me if I would get in the water with him and swim in front of the camera so they could get some perspective.”Mr. Arnold not only liked the location; he also liked Mr. Browning. He called him days later and asked if he would want to play the creature for the underwater scenes to be shot in Florida. (An actor named Ben Chapman portrayed the monster in the scenes on land, which were filmed in California.)“We’ve tested a lot of people for this part,” Mr. Browning recalled Mr. Arnold telling him, “but I’d like to have you play the creature — I like your swimming.”Mr. Browning in a scene from “Creature From the Black Lagoon,” the first of three movies in which he played the title character. “I’d like to have you play the creature,” he recalled the film’s director telling him — “I like your swimming.”Silver Screen Collection/Getty ImagesIn August 1953 he was brought to California to be fitted for the suit that would turn him into the Gill Man, and six months later “Creature From the Black Lagoon” was released. It was the latest in a tradition of monster movies from Universal Studios that included “The Mummy” (1932) and “The Wolf Man” (1941), and it took its place in monster movie lore.In the film, which was released in 3-D, scientists working in the Amazon discover a creature in a lagoon that takes a shine to a female member of the party, Kay (played by Julie Adams). About 28 minutes into the film, Kay decides to go for a swim in the lagoon, and the creature, still undiscovered by the research party, swims beneath her like an underwater stalker, a scene both creepy and oddly poignant.“This scene turned it from a regular old monster movie to a ‘Beauty and the Beast’ thing,” Mr. Weaver said by email, “a big reason for the movie’s ongoing popularity.”Some critics weren’t impressed by the movie.“The proceedings above and under water were filmed in 3-D to impart an illusion of depth when viewed through polarized glasses,” A.H. Weiler wrote in The New York Times. “This adventure has no depth.”Yet the movie did decently at the box office and became a sort of cultural reference point. Mr. Browning, who had the ability to hold his breath underwater for minutes at a time, played the swimming version of the creature in two sequels, “Revenge of the Creature” (1955) and “The Creature Walks Among Us” (1956).He went on to share a story-writing credit on the 1963 film “Flipper,” about a boy who becomes friends with a dolphin, and then, the next year, was a creator of the television series of the same name and directed and helped write a number of its episodes during its three seasons. He also did some of the underwater stunt work.In an introductory essay in Mr. Weaver’s book, Ms. Adams, whose “Black Lagoon” character was played by Ginger Stanley in the underwater scenes, recalled waiting eagerly in California to see the “dailies” — footage from the day’s shooting — coming out of Florida.“The dailies were long, silent takes of him and Ginger Stanley deep in the crystal clear water of Wakulla Springs,” she wrote. “They’d swim for a while, get some air from an air hose, and then go back and resume their action. It was so exciting to see the Gill Man brought to life by Ricou’s unique swimming style, and I was captivated.”Ms. Stanley, Mr. Browning’s underwater partner in that eerie scene that helped define the film, died in January in Orlando, Fla., at 91.Ricou Ren Browning was born on Feb. 16, 1930, in Fort Pierce, Fla. His father, Clement, worked construction in the Navy, and his mother, Inez (Ricou) Browning, was a bookkeeper.He first saw Wakulla Springs as a teenager and earned some money by swimming deep in the water for the benefit of tourists in glass-bottomed boats, who would watch him plunge to depths of 80 feet and leave tips.“Some of us kids would earn 30, 40 dollars a day,” he told Mr. Weaver for his book, “and that was big, big money.”In the 1940s he also got his first taste of the movie business, appearing in several short films made in the area by Grantland Rice, who was better known as a sportswriter. In one, according to Mr. Weaver’s book, Mr. Browning is among the teenagers packed into a Model T Ford that drives into the waters of Wakulla Springs.After serving in the Air Force from 1947 to 1950, Mr. Browning returned to Florida. He was the underwater double for Forrest Tucker in “Crosswinds” (1951), an adventure story about an effort to recover gold from a sunken plane, which was filmed in Florida. He was performing in Mr. Perry’s underwater shows at Weeki Wachee, another Florida attraction, and studying physical education at Florida State University when he was recruited for “Creature From the Black Lagoon.”In his book, Mr. Weaver recounts the hit-or-miss process of coming up with the right creature costume, and the difficulties Mr. Browning had to deal with once the right look was found. One problem was that the costume was made of foam rubber, which floats.“I wore a chest plate that was thin lead,” Mr. Browning told him, as well as thigh and ankle weights.Another problem, Mr. Weaver said, was that Mr. Chapman, the actor playing the on-land version of the creature, was quite tall; in Florida, Mr. Browning had scenes with Ms. Stanley and several other stand-ins.“Ricou was average height,” Mr. Weaver said, “so short people were hired to play the hero-heroine-bad guy so that Ricou would look comparatively king-sized.”Mr. Browning’s later film work included directing the comedy “Salty” (1973), about a sea lion, and the crime drama “Mr. No Legs” (1978), about a mob enforcer who is a double amputee, as well as doing stunt work in several movies, including serving as Jerry Lewis’s underwater double in the 1959 comedy “Don’t Give Up the Ship.”Mr. Browning’s first marriage, to Margaret Kelly in 1951, ended in divorce. His second wife, Fran Ravelo, whom he married in 1977, died in 2020. In addition to his daughter Renee, he is survived by three other children from his first marriage, his sons, Kelly and Ricou Jr., and his daughter Kim Browning; 10 grandchildren; and 11 great-grandchildren.Mr. Weaver noted that all of the other actors who portrayed monsters in the classic Universal films died some time ago.“Ricou,” he said, “had the distinction of being the last man standing.” More

El actor ha protagonizado las cuatro películas por las que su país ha sido nominado este siglo, pero él cree que más que su talento, su mayor suerte es la confianza que otros han tenido en él.WEST HOLLYWOOD, California — Hace tiempo que la fortuna favorece a Ricardo Darín. Más que al concepto subjetivo de talento, es a la providencia, expresada como la confianza inquebrantable que tienen los demás en sus capacidades, a lo que el actor atribuye su galardonada carrera como la estrella de cine argentina más célebre en el mundo.“He tenido toda la suerte que mis padres no tuvieron como actores”, comentó durante una entrevista reciente en el hotel Sunset Tower. “Muchas veces me han valorado mucho más de lo que yo mismo me valoro, y luego yo pienso, ‘¿Será que me merezco tanto?’”.El último ejemplo de su relación con la suerte es su papel como el fiscal Julio Strassera en Argentina, 1985, un drama judicial histórico sobre el juicio a las Juntas, cuando los líderes militares fueron procesados por violaciones de los derechos humanos durante la anterior dictadura. Dirigida por Santiago Mitre, le valió a Argentina una nominación al Oscar como mejor largometraje internacional.Darín parece ser el amuleto de la suerte de su país cuando se trata de los premios de la Academia. Ha protagonizado las cuatro películas por las que Argentina ha sido nominada este siglo: El hijo de la novia, Relatos salvajes y El secreto de sus ojos, que se llevó la estatuilla en 2010. A lo largo de los años, Argentina ha postulado a la Academia otras producciones estelarizadas por Darín, lo que significa que, aunque no todas fueron nominadas, las películas en las que aparece son casi sinónimo de lo mejor del cine argentino.Desde el primer apretón de manos, Darín, de 66 años, irradia un aura acogedora. Vestido de manera informal con jeans y una camiseta color azul marino, habla con una calidez y franqueza que la mayoría de la gente reserva para sus amigos más íntimos. Ese temperamento se traduce en la pantalla.“Ricardo tiene un inmenso poder de empatía con la audiencia, y eso es raro”, afirmó el director Juan José Campanella, colaborador de Darín en cuatro largometrajes.“Ricardo tiene un inmenso poder de empatía con la audiencia, y eso es raro”, dijo el director Juan José Campanella.David Billet para The New York TimesAunque la pasión por la interpretación la heredó de sus padres, que trabajaban como actores en Buenos Aires, ninguno de los dos estaba entusiasmado con que continuara el oficio familiar. “No me pelearon, pero tampoco me ponían fichas para que lo hiciera”, recordó.Darín considera que su camino está predestinado. Durante su infancia, visitaba con regularidad platós de cine y televisión, y escenarios teatrales, y actuó profesionalmente por primera vez a los 3 años en la serie de 1960 Soledad Monsalvo. A los 10, debutó en el escenario junto a sus padres. A los 14, cuando asistió a su primer taller de teatro, Darín ya se sentía un veterano que había experimentado de primera mano muchas facetas del oficio.Durante un tiempo, en la adolescencia, se planteó ser veterinario, psicólogo o incluso abogado. Pero al final, el mundo con el que siempre había estado familiarizado le convenció para quedarse. Las puertas se le abrían con facilidad, con frecuentes invitaciones a participar en diversos proyectos.Esa confianza de gente notable del sector es lo que él llama fortuna. Darín guarda un entrañable recuerdo de la directora de televisión Diana Álvarez, que se peleó con una cadena en 1982 para que él formara parte del programa Nosotros y los miedos. Ella vio en él un potencial que otros no pudieron.“La suerte en nuestro oficio es muy importante”, dice Darín. “Hay una gran cantidad de gente talentosa allá afuera con mucho que contar que no encuentran oportunidades”.En la década de 1990, Darín tuvo un gran éxito en la comedia televisiva Mi cuñado, en la que interpretaba a un torpe impertinente pero encantador. Su contrato le impedía participar en otros proyectos televisivos, pero le permitió dedicarse al cine. Entre sus papeles filmográficos está su primera película con Campanella, El mismo amor, la misma lluvia (1999), que ayudó a otros directores a ver más allá de su personaje en la televisión.Las películas de Darín nominadas por la Academia, en el sentido de las agujas del reloj desde arriba a la izquierda: Argentina, 1985, El hijo de la novia, El secreto de sus ojos y Relatos salvajes.Amazon Prime; Sony Pictures Classics; Sony Pictures Classics; María Antolini/Sony Pictures Classics.Uno de ellos, Fabián Bielinsky, le dio el papel de estafador ruin en el filme de suspenso Nueve reinas, estrenado en Argentina en 2000.“Me dijo, ‘Yo no había pensado en vos para este personaje. Porque vos sos demasiado simpático. Y yo no quiero que la audiencia tenga ningún tipo de empatía con él’”, relató Darín.En opinión de Campanella, “hay una sola cosa que Ricardo no puede ser, y eso es antipático. El testimonio más claro de esto es Nueve reinas, donde él hace de un estafador amoral, y aun así estamos de su lado”.Al año siguiente, llegó la conmovedora El hijo de la novia, de Campanella, que aprovechó la sensibilidad cómica de Darín para darle la vida al papel del dueño de un restaurante que se ocupa de sus padres ancianos.“Una vez un crítico lo llamó ‘nuestro Henry Fonda’ porque proyecta entereza”, señaló Campanella. “Pero tiene una cosa que Fonda no tenía, lo cual es un gran sentido del humor”.Darín sostiene que fue el estreno consecutivo de Nueve reinas y El hijo de la novia lo que cimentó su carrera cinematográfica.“Fue como una muy buena carta de presentación para un actor tener la posibilidad de mostrar dos facetas absolutamente opuestas casi al mismo tiempo”, asegura Darín. “A pesar de que yo ya era muy conocido por cuestiones televisivas y en teatro, ahí yo empecé a sentir que mis colegas me empezaron a considerar un poco mejor”.Desde entonces, el actor ha disfrutado con los papeles que eligió, incluida la aclamada El secreto de sus ojos, de Campanella, en la que interpretó a un investigador atormentado por un espantoso caso sin resolver.Otro de los papeles favoritos de Darín es la comedia dramática Truman (2017), centrada en un enfermo terminal que pasa sus últimos días junto a sus mejores amigos, uno humano y otro canino. Su personaje sarcástico le recordó a Darín a su difunto padre, también llamado Ricardo Darín, a quien describió como un peculiar hombre del Renacimiento con un sentido del humor mordaz e ideas descabelladas que a otros les resultaban difíciles de digerir.Hollywood le ha tendido la mano un puñado de veces, pero él la ha rechazado, sobre todo porque lo más difícil para un actor es pensar en otro idioma, afirmó, y añadió que los primeros planos revelan cuando alguien está recitando de memoria en lugar de habitar una emoción.“Siempre he confiado mucho en mi estómago, más que en mi corazón o mi cabeza”, explicó Darín, y luego añadió, señalando su vientre: “Confío en cómo el material me pega aquí”.Hollywood lo ha buscado, pero Darín no está muy interesado porque, según dice, pensar en otro idioma es lo más difícil para un actor.David Billet para The New York TimesEn Argentina, su papel en Relatos salvajes (estrenada en Estados Unidos en 2015), de Damián Szifron, como un ciudadano frustrado que lucha contra la opresiva burocracia, fue muy bien acogido por el público. “Ricardo tiene una mirada lúcida sobre las realidades que afectan a su país”, aseguró Szifron. “Es una figura popular y, al mismo tiempo, un actor sofisticado”.Para Argentina, 1985, Mitre y Darín acordaron no imitar la voz ni los gestos exactos del Strassera real, sino que se tomaron cierta libertad artística en su recreación.Mitre, que había dirigido a Darín como un presidente argentino ficticio en la saga política de 2017 La cordillera, dijo que admiraba cómo el actor produce una interpretación veraz a través de una síntesis de sus propias sensibilidades y las del personaje.“Es como si la cámara lo pudiera mostrar por completo, mostrarlo en toda su complejidad”, comentó Mitre. “Siempre que ves a Ricardo actuar, sabés que va a haber gran honestidad en la pantalla”.Más allá de la positiva recepción crítica de Argentina, 1985” —y de su triunfo en los Globos de Oro—, Darín dijo que el efecto más significativo de la película fue concienciar a una generación más joven sobre un capítulo doloroso de la historia del país.“No podemos olvidar que detrás de esta recuperación del evento histórico que nos ha traído tantos elogios y felicidad, hay una historia de mucho dolor, de esa clase de dolor que no tiene bálsamo”, señaló Darín con expresión solemne.Su hijo Chino Darín, con el que ha creado una productora, continúa la tradición interpretativa de su familia. Ambos protagonizan y producen la comedia de 2019 La odisea de los giles. Darín nunca se opuso a que su hijo se interesara por el oficio, solo le aconsejaba que siguiera el camino que le diera más satisfacciones.“Soy de los que creen que lo más importante en la vida es tratar de ser feliz”, dijo Darín. “Entre más cerca está uno de su vocación, tiene más chance de ser feliz”. More

Anyone buying a ticket for a concert, baseball game, Broadway play or flight has experienced it: Seats are now priced with dizzying complexity, with costs in some instances changing minute by minute, based on demand.But movie theaters? In many ways, they have been trapped in pricing amber. A seat has cost the same no matter where it is or when it is bought.No more.As they struggle in a fast-changing business, multiplex operators — some carrying astounding debt because of pandemic shutdowns — have started to experiment with pricing in ways that have startled moviegoers. AMC Entertainment, the world’s largest cinema chain, is testing “sightline” pricing, giving seats at evening screenings different costs depending on their location. (Discounts of $1 to $2 for the neck-craning front row, increases of $1 to $2 for the center middle, status quo for the rest.) Chains have also started to charge more on opening weekends for expected blockbusters like “The Batman” and “Spider-Man: No Way Home,” with plans to ramp up the practice.“It’s a taste of what’s coming,” said Stacy Spikes, who co-founded the subscription ticketing service MoviePass, which he plans to reintroduce nationwide this summer. “The big theater chains are gaining the technology to implement variable pricing on a wide scale. This may have near-term financial benefits, but it may also reduce attendance of younger customers who are more price sensitive and key to future growth.”Increasingly, theaters have been pushing customers toward premium-priced specialty tickets. On Saturday evening at AMC Lincoln Square in New York, for instance, patrons interested in the boxing drama “Creed III” could choose from three IMAX screenings (a $7 to $11 surcharge, depending on seat location), three screenings with Dolby audio and visual technology and reclining chairs ($8 to $12 more), and two standard screenings ($18 for a regular adult ticket).“I’m going to go, no matter what, because I love it, but sorting through all the options is starting to feel like a nuisance,” said Chris Ordal, a tech executive in Los Angeles. “I understand why chains are doing this, but they’re not doing a good job of communicating how it helps the consumer.”Theaters have increasingly been pushing premium-priced specialty tickets for movies like “Creed III.”Eli Ade/MGM, via Associated PressThe move toward pricing complexity adds risk as theater owners look for ways to get people back into the ticket-buying habit after three pandemic-battered years. IMAX has been experimenting with live events, including concert simulcasts. Fathom Events has premiered episodes of a religious TV show, “The Chosen,” in theaters; episodes have generated $20 million at the box office since November, despite being available free online.Prices may actually be going down for certain types of movies — ones that have struggled to attract ticket buyers in the streaming age, including comedies, conventional dramas and art films. Last month, theaters lowered opening-weekend prices for the octogenarian comedy “80 for Brady” to attract value-sensitive older customers. Tickets for evening screenings cost the same as a matinee, a discount of up to 30 percent, depending on the location. Some theaters offered the same deal for “A Man Called Otto,” starring Tom Hanks.“In a business where the only innovation in pricing has been to go up, this is a good first step,” said Chris Aronson, the president of domestic distribution at Paramount Pictures, which released “80 for Brady” and urged theaters to lower prices.Inside the Media IndustryRupert Murdoch: The conservative media mogul acknowledged in a deposition in a $1.6 billion defamation lawsuit that several Fox News hosts promoted the false narrative that the 2020 election was stolen.Dropping ‘Dilbert’: Hundreds of newspapers across the country will stop running the comic strip after its creator, Scott Adams, said that Black people were “a hate group.”Carlos Watson: The founder of the troubled digital start-up Ozy Media was arrested on fraud charges, punctuating one of the more precipitous falls in the annals of online journalism.Vice Media: The departure of Nancy Dubuc, the chief executive of Vice, highlights the fallen fortunes of a group of digital media companies that not long ago was talked about as the future of the industry.“We’re hopeful that others will follow,” Mr. Aronson added, “and that this is hopefully the beginning of alternative ways of looking at pricing.” (Antitrust rules prevent studios from setting ticket prices themselves.)Theaters offered lower ticket prices for “80 for Brady,” hoping to attract value-conscious older customers.Scott Garfield/Paramount PicturesParamount spent about $28 million to make “80 for Brady,” which has so far collected about $40 million. Roughly 15 percent of the film’s target audience, women over 50, had not been to a theater in more than a year, according to exit surveys.Charging less for certain kinds of movies and more for others has long been a Hollywood third rail, with filmmakers panicking that it will send a message about quality. Just try telling Martin Scorsese that tickets for his next prestige drama will cost less than ones for “Ant-Man and the Wasp: Quantumania.”The difference now is that the theatrical marketplace has become so difficult for certain genres that many filmmakers may have no choice. Do you want your film to be seen in theaters? Or are you fine with it going straight to streaming, where it could get lost in the digital maw? If the answer is theaters, you may have to accept a discounted price.The average movie ticket cost $11.75 in 2022, according to EntTelligence, a research firm. In New York, prices reach $28, depending on the format. A small popcorn at AMC Lincoln Square costs $10 with tax. (Fun fact: The average movie ticket price in 1969 was $1.42, according to the National Association of Theatre Owners. Adjusted for inflation, that ticket would cost $11.93 today.)Because multiplex chains make most of their money from popcorn and soda, it is in their economic interest to keep ticket prices low; concession counters rely on foot traffic. But there isn’t much room to raise the price of popcorn anymore, prompting some operators to look at “creative” ticket pricing for growth.It has been a tough stretch for theaters. More than 500 movie screens have closed since the start of the pandemic.Philip Cheung for The New York TimesCinema attendance had been declining for decades, with people citing a variety of reasons for going less often: 50-inch TVs at home, streaming services, rude patrons who text on their phones when the lights go down. But the pandemic caused ticket sales to collapse in 2020 and 2021. More than 500 movie screens have closed since the start of the pandemic. Cineworld, the world’s No. 2 chain, filed for bankruptcy in September, and dozens of its Regal multiplexes in the United States have closed.A recovery has been slower than expected. Cinemas in North America sold $7.5 billion in tickets in 2022, a 34 percent decrease from 2019, according to EntTelligence. This year, domestic ticket sales are running 24 percent behind the same period in 2019, according to Comscore.The gap is expected to narrow this summer, largely because the flow of new movies is normalizing. Movies delayed by pandemic bottlenecks are finally ready. Studios are also rerouting fewer movies to streaming services. Twelve movies costing at least $100 million to make will arrive in theaters from May to July, up from six during that period last year.“If you squint hard enough, it is possible now to see a return to the better days,” Robert Fishman, an analyst at SVB MoffettNathanson who follows the Cinemark multiplex chain.Cinemark has comparatively little debt, but the hole for other theater companies is deep. AMC, which according to security filings has more than $5 billion in debt, said last week that it generated $990 million in the fourth quarter of last year, a 15 percent decline from 2021, and lost about $288 million.To shore itself up, AMC has offered $5 movie tickets on Tuesdays, introduced home popcorn products in partnership with Walmart, enhanced its Stubs loyalty program, announced plans to turn some theaters into Zoom conference rooms for corporate events and invested in a struggling Nevada gold mine. (Yes, really.) Last month, AMC announced its pricing experiment with seat location, which it calls Sightline.Adam Aron, AMC’s chief executive, characterized that move — charging a bit more for the best seats — as less a moneymaking gambit than a way to avoid broader price increases.“In these inflationary times, we are coming under pressure to raise prices,” Mr. Aron said in an interview. “We could have raised prices on every seat in the house. Instead, we are holding the line on 75 percent of the seats in the house.” (Also, subscribers to AMC’s premium loyalty program, Stubs A-List, can book a “preferred” seat at no extra charge.)Wall Street responded favorably. But cinephiles had a conniption. In a column, The Chicago Tribune’s film critic, Michael Phillips, called Sightline “a bush-league pickpocket move” and “the latest tiny nail getting tap-tap-tapped into the coffin currently under construction for an entire era of filmgoing.”AMC has pushed back, noting that some European cinemas have charged a premium for prime seats for years. Yes, prices are high in New York and Los Angeles, Mr. Aron acknowledged. But he said 30 percent of AMC customers paid less than $8 a ticket.“When you change the way an industry has priced itself for 100 years, it is not surprising that there is going to be lots of reaction,” Mr. Aron said. “It is our expectation that consumers will adjust to this very quickly.” More

He earned praise for his work in films like “Saving Private Ryan” and “Black Hawk Down.” He also served prison time for drug possession and domestic abuse.Tom Sizemore, a tough-guy actor whose career, which included roles in major films like “Saving Private Ryan” and “Black Hawk Down,” was overshadowed at times by his problems with substance abuse and the law, died on Friday in Burbank, Calif. He was 61.The death was announced by his manager, Charles Lago. The cause was not immediately known, but Mr. Sizemore suffered a stroke on Feb. 18, which caused a brain aneurysm. He had been in a coma and on life support since then. Mr. Sizemore could be intense, charismatic and manic in roles as soldiers, thugs, cops, killers and, in a television movie, the baseball player Pete Rose. As Sgt. Mike Horvath in Steven Spielberg’s “Saving Private Ryan” (1998), he was the devoted second in command to Captain Miller (played by Tom Hanks) in a small group of Army Rangers whose mission after the D-Day invasion was to locate a soldier whose three brothers had already died in battle.Near the end of the movie, Horvath eloquently lays out the choices facing Miller: Let Private Ryan stay and fight, which he prefers, or send him home, as the unit had been ordered to do.“Part of me thinks the kid’s right — what’s he done to deserve this?” Mr. Sizemore, as Horvath, says. “He wants to stay here? Fine, let’s leave him and go home. But then another part of me thinks, what if by some miracle we stay, and actually make it out of here? Someday we might look back on this and decide that saving Private Ryan was the one decent thing we were able to pull out of this.” “That’s what I was thinking, sir,” he concludes. “Like you said, Captain, we do that, we all earn the right to go home.”Mr. Spielberg was not the only A-list director Mr. Sizemore worked with. In Oliver Stone’s “Natural Born Killers” (1994), he was an obsessed detective pursuing a young couple on a murder spree. In Michael Mann’s “Heat” (1995), he was a member of a crew of thieves led by Robert De Niro. And in Ridley Scott’s “Black Hawk Down” (2002), based on a botched United States military raid in 1993 in Mogadishu, Somalia, to capture lieutenants of a brutal warlord, he was the commander of the 75th Ranger Regiment.Mr. Sizemore in a scene from the television series “Robbery Homicide Division.” One critic said Mr. Sizemore was the main reason to watch the show.Tony Esparza/CBSWhen Mr. Sizemore starred on the television series “Robbery Homicide Division,” a police procedural set in Los Angeles and aired in the 2002-3 season, Robert Philpot of The Fort Worth Star-Telegram said he was the main reason to watch.“Using his oversized head, which hangs down slightly as if it were too heavy for his body, and his expressive eyes,” Mr. Philpot wrote, “Sizemore projects complete authority, keeping underlings as well as suspects in line.”Mr. Sizemore at the time was dealing with serious drug problems, which dated to the 1990s. Over the years he used heroin, crystal methamphetamine and cocaine, and he was in and out of rehab.“How long sober now?” Larry King asked him on his CNN show in 2010.“Three hundred twenty-six days,” Mr. Sizemore said.“What was the longest you were ever sober before that?” Mr. King asked.“A couple minutes,” Mr. Sizemore said. “No, that’s not true. I got sober in ’97 and was sober through 2002.”In 2003, he was convicted of physically abusing his former girlfriend, Heidi Fleiss, who in the 1990s ran an upscale prostitution ring and was referred to in the news media as the Hollywood Madam.In a letter to the judge who sentenced him, Mr. Sizemore wrote, “I am convinced that if I had not been under the influence of drugs, I would have controlled my behavior.”He served eight months in prison.In October 2004, he pleaded guilty to a felony count of possessing methamphetamine and was placed on probation. The probation was revoked in 2005 when he was caught using a prosthetic device to fake a drug test. His probation was later reinstated.And in 2007 he served several months in jail for violating his probation after being arrested in a hotel in Bakersfield, Calif., for possessing methamphetamine.“God’s trying to tell me he doesn’t want me using drugs because every time I use them I get caught,” Mr. Sizemore said in a jailhouse interview with The Associated Press.He participated in 10 episodes of the reality series “Celebrity Rehab With Dr. Drew” from 2010 to 2011, along with Ms. Fleiss, the former basketball player Dennis Rodman, the actress Mackenzie Phillips and others.In an article in The New York Times Magazine in 2009 about the series, Chris Norris wrote that Mr. Sizemore had fallen “from an Olympus populated by Pacino, De Niro, Spielberg and Scorsese to this beige-carpeted, cable-only Hades.”Mr. Sizemore played the Mafia boss John Gotti in the two-part 1998 TV movie “Witness to the Mob.”Thomas Edward Sizemore Jr. was born on Nov. 29, 1961, in Detroit. His father was a lawyer. His mother, Judith (Schannault) Sizemore, worked for the City of Detroit’s ombudsman.After graduating from Wayne State University in Detroit with a bachelor’s degree in theater in 1983, he earned a master’s in the same subject from Temple University in 1986. Three years later, he made his debut on television, in the series “Gideon Oliver,” and on film, in “Lock Up,” starring Sylvester Stallone.“Lock Up” was a flop, but United Press International wrote that Mr. Sizemore, as a “whacked-out scheming loser of an inmate,” had emerged “with semi-star potential.”By the time “Lock Up” was released, he had filmed parts in the forthcoming films “Born on the Fourth of July,” directed by Mr. Stone and starring Tom Cruise; “Blue Steel,” with Jamie Lee Curtis; and the dark comedy “Penn & Teller Get Killed.”“Most of the characters I play are losers, like the convict Dallas in ‘Lock Up,’” Mr. Sizemore told U.P.I. “In ‘Born on the Fourth of July’ I’m a quadriplegic. In “Penn & Teller,’ I’m a crazed killer. In ‘Blue Steel,’ I’m a crack maniac.”His role as a mobster in “Witness Protection” (1999) earned him a Golden Globe nomination for best performance by an actor in a made-for-TV movie or mini-series. That year, he and eight other actors from “Saving Private Ryan” were nominated for a Screen Actors Guild Award for outstanding cast.Mr. Sizemore continued to play characters on either side of the law, and despite his substance abuse problems, he remained busy for the rest of his career. He portrayed an internal affairs investigator on five episodes of “Hawaii Five-O” in 2011 and 2012; a C.I.A. agent assigned to rescue three American journalists taken hostage in “Radical” (2017); and a commander in the science fiction film “Battle for Pandora” (2022).And in a preternaturally chilling role, he played a depraved building manager who is tried for kidnapping and killing a little boy in a 2015 episode of “Law & Order: Special Victims Unit.”Mr. Sizemore in 2022. Despite his substance abuse problems, he remained busy until the end. Gonzalo Marroquin/Getty ImagesMr. Sizemore is survived by his mother; his twin sons, Jagger and Jayden; his brother Paul; his half sister, Katherine Sizemore; and his half brother, Charles Sizemore. His brother Aaron died last year. His marriage to Maeve Quinlan ended in divorce.During his 2010 interview with Mr. King, Mr. Sizemore said that soon after he had become successful in Hollywood, he started using cocaine with a famous actor, whom he would not identify.“I didn’t want to do it,” he said, “but there was people in this room and he did it, and I went, ‘If he did it, I’m going to do it.’ And I did it, it took a couple minutes and I went, ‘Wow, that is bomb. Where do you get that? Do you have any more of it?’” More

More than 300 items that belonged to Paul Newman and Joanne Woodward will be sold in June in a series of auctions run by Sotheby’s in New York.Shackles from the film “Cool Hand Luke”; a script from the 1963 comedy “A New Kind of Love”; the wedding dress that Joanne Woodward wore the day she married Paul Newman in 1958.These artifacts, along with some 300 others, tell the story of a union between two of Hollywood’s most enduring film stars that lasted more than a half century. It began in 1953 and lasted until Mr. Newman, a magnetic titan of the screen, died in 2008 at the age of 83. Ms. Woodward, 93, a formidable talent, has kept a private life since she was diagnosed with Alzheimer’s disease in 2007.The objects will also take on another kind of value later this year, when they are put up for sale in a series of auctions by Sotheby’s. If previous demand for Mr. Newman’s belongings is any measure, the events are likely to be lucrative: A Rolex he owned sold in 2017 for a record $17.8 million. Three years later, another of Mr. Newman’s watches sold for more than $5.4 million.The auctions, which will take place both online and in person in New York, follow the recent release of “The Last Movie Stars,” a six-part HBO Max documentary series directed by Ethan Hawke and based on audio transcripts of interviews with the couple’s friends, colleagues and family members.Mr. Newman’s posthumous memoir, “The Extraordinary Life of an Ordinary Man,” was also published last year.Putting a Price Tag on ArtCard 1 of 6Hot commodities. More

Julian Rubinstein’s investigative documentary traces the engrossing case of a Denver community organizer, Terrance Roberts, who faced charges of attempted murderAt the point where Julian Rubinstein’s investigative documentary “The Holly” begins, an entire biopic’s worth of drama has already happened. After years in gangs and prison, Terrance Roberts became an activist and founded a successful youth program to rejuvenate a troubled Denver neighborhood known as the Holly. Then, in 2013, while organizing a peace rally in the area, he shot a gang member he knew, and was arrested and charged with attempted murder.The film portrays Roberts’s turmoil as the 2015 trial approached, and sorts through a paranoia-inducing churn of local police crackdowns, gang activity and general controversy. Roberts prepares a self-defense plea, but vents about further blowback after he speaks out against the back channels between law enforcement and gangs.Dangling speculations in voice-over, Rubinstein at times suggests a lower-key, adenoidal Nick Broomfield as he taps his surprisingly outspoken sources: amiable former gang members, the flamboyant Rev. Lee Kelly (who takes over as a neighborhood liaison after Roberts) and Roberts’s supportive father, also a reverend.Roberts emerges as a Shakespearean figure of forceful magnetism who fights mightily against being viewed as a walking metaphor for the Holly’s struggles. His fearlessness is both heroic and tragic, though Rubinstein’s sometimes foggy explanations of community politics make the film feel as if it might vanish into the night at any moment. (The director, a journalist, partly shot the movie while writing a more detailed book with the same title.)It’s all a heady brew that leaves one wanting to know even more about Roberts, who is now running for mayor in Denver. The movie resists encapsulating him, or perhaps he escapes its director’s full understanding.The HollyNot rated. Running time: 1 hour 43 minutes. In theaters and available to rent or buy on most major streaming platforms. More