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    How an Apology Creates a Turning Point in ‘Women Talking’

    The screenwriter and director Sarah Polley narrates a sequence from her film, which is nominated for best picture and adapted screenplay.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.In this scene from the drama “Women Talking,” the words “I’m sorry” take on tremendous weight.The film, which is Oscar-nominated in the best picture and adapted screenplay categories, follows a group of women in an isolated religious community who have been the constant victims of sexual assault by men in their compound. The women are faced with a pivotal decision: do nothing, stay and fight the abusers or leave the community altogether.In this sequence, Mariche (Jessie Buckley) is arguing to stay and fight, but that leads to conflict with Ona (Rooney Mara).The tense exchange leads to an apology, first from Ona, then from Greta (Sheila McCarthy), Mariche’s mother, who expresses regret for not protecting Mariche from abuse and instead encouraging her to forgive her abuser.Discussing the scene in an interview, the screenwriter and director Sarah Polley said, “This apology and the receiving of it is, in fact, the climax of the film, and it’s what allows the group to move together into a different future.”Polley said that when shooting the scene, she spoke with a crew member who had a parallel experience to Mariche’s, growing up in a religious community and suffering abuse and feeling his parents weren’t protective of him in the way they should have been. She noticed that the crew member wasn’t responding to the apology as scripted.The two sat down and she asked him what Greta would need to say for the moment to have meaning.“We realized that what we hadn’t scripted was her saying the words, ‘I’m sorry,’” Polley said. She worked with the crew member and actors to build the most meaningful approach to this moment. “So it turned into a very collective expression of something,” she said.Read the “Women Talking” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more.2023 Oscar Nominations: Full BallotHere’s every nominee. Cast your vote and predict the winners. More

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    Twenty Years Later, ‘Irreversible’ Still Shocks

    A look back at Gaspar Noé’s brutal told-in-reverse drama, which has been rereleased in a “Straight Cut” version.In bed with her lover, Alex (Monica Bellucci) recounts a dream: “I was in a tunnel. All red. And then the tunnel broke in half.” In any other thriller, this uncanny vision would play like a warning for things to come. But in “Irreversible,” the moment arrives toward the end, well after Alex enters the red tunnel and is brutalized by a random man — an indelible scene at the heart of Gaspar Noé’s infamous rape-revenge film, released 20 years ago this week.“Irreversible” envisions the night of Alex’s assault in reverse chronological order. First, her boyfriend, Marcus (Vincent Cassel), goes on a rampage through the streets of Paris in search of the culprit. Then the tunnel. Then the party that Alex will decide to leave by herself. Then the couple’s cozy, Edenlike apartment — a space that will never be the same.“By reversing the formula, ‘Irreversible’ strips away the unspoken logic that dominates these kinds of films. It forces us to question the entire relationship between rape and revenge,” Alexandra Heller-Nicholas, a critic and the author of numerous books on rape-revenge movies, wrote in an email.Though the film was always conceived as a story in reverse, it was shot chronologically, which allowed Noé to assemble a new version, the “Straight Cut,” that flips the order of events into linear time. “Irreversible: Straight Cut” is currently playing in theaters in the United States, and will be released, along with the original cut, on Blu-ray in July thanks to the cult distributor Altered Innocence. “In a way, the new version is both more sentimental and darker,” Noé said in a video interview, explaining that it emphasizes the pointlessness of Marcus’s vengeance-seeking.When “Irreversible” came out in 2003, Noé had already made a name for himself as a provocateur who liked his films mean and loud. His debut feature, “I Stand Alone” (1998), revolves around an incestuous horse-meat butcher with a murderous streak. Noé’s films — like “Enter the Void” (2010) or “Climax” (2019) — are descents into gruesome hells featuring extreme body horror, abrasive techno-tunes, and delirious whirligig camera movements.The Projectionist Chronicles the Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.The Tom Cruise Factor: Stars were starstruck when the “Top Gun: Maverick” headliner showed up at the Oscar nominees luncheon.An Andrea Riseborough FAQ: Confused about the brouhaha surrounding the best actress nominee? We explain why her nod was controversial.Sundance and the Oscars: Which films from the festival could follow “CODA” to the 2024 Academy Awards.A Supporting-Actress Underdog: In “Everything Everywhere All at Once,” don’t discount the pivotal presence of Stephanie Hsu.With “Irreversible,” Noé took several of his formative influences — taboo titles like “Deliverance” and “Taxi Driver,” which hinge on the male crusade for retribution — and cranked them up to match the immersive feel of reality-bending epics like “2001: A Space Odyssey.” For Noé, some acts of violence are as equally capable of shattering worlds as glitches in the space-time continuum.Vincent Cassel in “Irreversible: Straight Cut.” A wild-eyed, macho intensity — the actor’s trademark — is on full display in the film.Emily De La Hosseray/Altered InnocenceSet in then-modern-day Paris, the film also starred some of the country’s biggest talents. Bellucci and Cassel, a couple at the time, were like the French equivalent of Tom Cruise and Nicole Kidman; Albert Dupontel — who plays Pierre, Alex’s bookish ex-boyfriend, witness to Marcus’s spiraling rage — was beloved for his popular comedies. Without their involvement, Noé noted, the film wouldn’t have received funding.Plus, their participation bolstered the movie’s shocks — who could imagine the steely Italian supermodel-turned-actress so graphically pulverized? Dupontel snapping and beating a man to a pulp? Cassel — well, his unhinged Marcus made sense. In “La Haine” (1996), the modern classic about police brutality in the Parisian banlieues, Cassel played a wannabe gangster, in one scene pointing a finger-gun at himself in the mirror à la Travis Bickle in “Taxi Driver.” This same wild-eyed, macho intensity — the actor’s trademark — is on full display in “Irreversible.”“The film is testosterone-phobic. It shows men as beasts,” Noé said. Indeed, the world of “Irreversible” is one of primitive brutes. In one scene, Marcus enters Rectum, a hardcore gay club, tumbling down a crimson rabbit hole filled with leather-clad men, bondage swings and chain restraints, maniacally searching for the assailant. His madness is infectious, inciting Pierre into action, which results in an innocent man’s face turned to bloody mush. They’re in a B.D.S.M. club — a real one whose clients served as extras — so the onlookers watch in fascination and shout excitedly as the two men attack. It’s an unforgettably sinister moment, one that the director Damien Chazelle pays homage to in his latest film, “Babylon,” when Tobey Maguire’s drug-addled criminal kingpin leads a tour through a cave of depravities. “He told me he needed to meet me because he copied me!” Noé said, referring to an encounter with Chazelle in Paris.But for many people, nothing in “Irreversible” surpasses the horrors of its most talked-about scene. Shot on location in a real underpass frequented by prostitutes at the outskirts of Paris (the passage has since been demolished), the rape sequence is like the eye of a storm in a film distinguished by its frenzied visuals. “Moving the camera around would have felt like it was participating in the violence, like it was the ghost of some other complicit man,” Noé said. The rapist (Jo Prestia) puts a knife to Alex’s throat, forcing her to comply over the course of nine excruciatingly long minutes. The mostly static camera makes us hyper-aware of our passivity as spectators; but unlike the faceless figure in the distance whom we briefly see stumbling upon the rape and choosing to walk away, we’re forced to watch.No intimacy coordinators were involved on set — in the early 2000s, the profession was nonexistent — but the scene was actively rehearsed, with all the actors’ movements mapped out to create the illusion of a beating. “It was kind of like a dance,” Bellucci said over the phone, emphasizing how empowering it felt for her to be able to enact the experience from a place of total control.The cinema of toxic masculinity long precedes the current era, though discourses around gender and the various institutional reckonings with sexual violence allows us to consider films like “Taxi Driver,” and, indeed, “Irreversible,” with fresh eyes. Recent films like “The Northman” — a brutal Viking thriller keenly aware of the delusions that underpin the hero’s quest for vengeance, and Patricia Mazuy’s “Saturn Bowling,” a serial-killer movie in which femicide is treated like a sport — seem to have taken up the mantle, critiquing the patriarchy by presenting it at its most monstrous.“I couldn’t make ‘Irreversible’ today,” Noé said, adding that he believes financiers are more inclined to support movies about sexual violence by women filmmakers. Noé praised up-and-comers in the art of subversion, namely the Swedish director Isabella Ekloff. Her film “Holiday” is an unconventional rape-revenge film itself, its centerpiece also a disturbingly lengthy assault.“I grew up watching transgressive movies because I saw them as a challenge from men to see if I was tough enough,” Heller-Nicholas wrote. “Now, I’m blown away by the number of sexual assault survivors I’ve encountered who find these movies cathartic.”Rape-revenge movies like “Irreversible” show that there can be more to the depiction of gendered violence than the easy thrill of looking at brutalized female bodies. Nothing about the “Irreversible” rape scene feels exciting or titillating; and nothing about Marcus’s actions feels powerful or heroic.“Today, the new generation feels more comfortable talking about issues like rape and violence,” Bellucci said, adding that her days of acting in transgressive movies are behind her now that she’s a mother. “‘Irreversible’ is about our reality in a very painful way, and you don’t have to like it, but like the best films, you watch it and you come out a different person.” More

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    A24, the Indie Film Studio, Buys New York’s Cherry Lane Theater

    The studio’s first venture into live performance follows the move by Audible, Amazon’s audio subsidiary, to stage works at the nearby Minetta Lane Theater.A24, the independent film and television studio barreling into next weekend’s Academy Awards with a boatload of Oscar nominations, is making an unexpected move into live performance, purchasing a small Off Broadway theater in New York’s West Village.The studio, which until now has focused on making movies, television shows and podcasts, has purchased the Cherry Lane Theater for $10 million, and plans to present plays as well as other forms of live entertainment there, in addition to the occasional film screening.A24, whose films include the leading Oscar contender “Everything Everywhere All at Once,” is not the first film studio to make such a move: the Walt Disney Company has been presenting stage productions at Broadway’s New Amsterdam Theater, which it leases from the state and city, since 1997. But Disney, of course, is an entertainment industry behemoth that has mastered the art of multiplatform storytelling.A more comparable move, perhaps, was that by Audible, an Amazon audio subsidiary that since 2018 has been leasing the Minetta Lane Theater, in Greenwich Village, for live productions which it then records and offers on its digital platform. And Netflix, the streaming juggernaut, has in recent years taken over several cinemas, including the Paris Theater in New York, as well as the Egyptian and Bay theaters in Los Angeles.The A24 acquisition, coming at a time when many theaters are still struggling to rebound from the coronavirus pandemic, suggests a vote of confidence in live performance. A24 plans to present some events celebrating Cherry Lane’s centennial this spring, and then to close the theater for renovations before beginning full-scale programming next year.More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.Much remains uncertain about how the company intends to use the theater. A24 declined to make anyone available to speak on the record about the acquisition, but an official there said that the company had not yet decided whether it would develop work for the stage, or present work developed by others. The official, who was granted anonymity to describe the company’s plans, said that the studio hoped the theater would allow it to strengthen existing relationships with writers and performers who work on stage and screen, and to develop new relationships with comedians and theater artists.A24 plans to retain the theater’s existing staff while adding to it with its own team, the official said, and as part of the renovation it plans to install technology so the theater can be used for film screenings.The official said A24’s theater venture is a partnership with Taurus Investment Holdings.“I really believe my theater is going into the right hands,” said Angelina Fiordellisi, who has owned the theater since 1996. “They love to develop and produce the work of emerging writers, and a lot of their writers are playwrights. I can’t imagine a better way to bring future life to the theater.”Fiordellisi, 68, has been trying to sell the theater for some time. “I don’t want to work that hard anymore,” she said, “and I want to spend more time with my family.”The purchase, which was previously reported by Curbed, includes three attached properties, including a 179-seat theater, a 60-seat theater and eight apartments, on the Village’s picturesque, curving Commerce Street. The Cherry Lane, in a 19th-century building that was a brewery and a box factory before being converted to theatrical use in 1923, bills itself as the city’s longest continually running Off Broadway theater.In 2021, Fiordellisi agreed to sell the property to the Lucille Lortel Theater for $11 million, but the sale fell apart. Last week, Lortel announced that it had spent $5.3 million to purchase a three-story carriage house in Chelsea, where it plans to open a 61-seat theater in 2025. The Lortel organization also has a 295-seat theater in the West Village.The Cherry Lane will now be a for-profit, commercial venture; Fiordellisi had operated it through a nonprofit, occasionally presenting work that she developed and more often renting it to nonprofit and commercial producers. Fiordellisi said she will convert her nonprofit to a foundation that will give grants to playwrights and small theater companies. More

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    Review: Chris Rock’s ‘Selective Outrage’ Strikes Back

    A year after Will Smith slapped him at the Oscars, Rock responded fiercely in a new stand-up special, Netflix’s first experiment in live entertainment.One year later, Chris Rock slapped back. Hard.It was certainly not as startling as Will Smith hitting him at the Oscars, but his long-awaited response, in his new Netflix stand-up special “Selective Outrage” on Saturday night, had moments that felt as emotional, messy and fierce. It was the least rehearsed, most riveting material in an uneven hour.Near the end, Rock even botched a key part of one joke, getting a title of a movie wrong. Normally, such an error would have been edited out, but since this was the first live global event in the history of Netflix, Rock could only stop, call attention to it and tell the joke again. It messed up his momentum, but the trade-off might have been worth it, since the flub added an electric spontaneity and unpredictability that was a drawing card.At 58, Rock is one of our greatest stand-ups, a perfectionist whose material, once it appeared in a special, always displayed a meticulous sense of control. He lost it here, purposely, flashing anger as he insulted Smith, offering a theory of the case of what really happened at the Academy Awards after he made a joke about Jada Pinkett Smith’s hair, and in what will be the most controversial part of the set, laid much of the blame on her. This felt like comedy as revenge. Rock said he long loved Will Smith. “And now,” he added, pausing before referencing the new movie in which Smith plays an enslaved man, “I watch ‘Emancipation’ just to see him get whooped.”One of the reasons Netflix remains the leading stand-up platform has been its ability to create attention-getting events. No other streamer comes close. Through a combination of razzle dazzle and Rolodex spinning, the streaming service packaged this special more like a major sporting event than a special, a star-studded warm-up act to the Oscars next week.It began with an awkward preshow hosted by Ronny Chieng, who soldiered through by poking fun at the marketing around him. “We’re doing a comedy show on Saturday night — live,” he said, before sarcastically marveling at this “revolutionary” innovation. An all-star team of comics (Ali Wong, Leslie Jones, Jerry Seinfeld), actors (Matthew McConaughey) and music stars (Paul McCartney, Ice-T) hyped up the proceedings, featuring enough earnest tributes for a lifetime achievement award. As if this weren’t enough puffery, Netflix had the comedians Dana Carvey and David Spade host a panel of more celebrations posing as post-show analysis.This was unnecessary, since Netflix already had our attention by having Rock signed to do a special right after he was on the receiving end of one of the most notorious bad reviews of a joke in the history of television. Countless people weighed in on the slap, most recently the actor and comic Marlon Wayans, whose surprisingly empathetic new special, “God Loves Me,” is an entire hour about the incident from someone who knows all the participants. HBO Max releasing that in the last week was its own counterprogramming.Until now, Rock has said relatively little about the Oscars, telling a few jokes on tour, which invariably got reported in the press. I’m guessing part of the reason he wanted this special to air live was to hold onto an element of surprise. Rock famously said that he always believed a special should be special. And he has done so in previous shows by moving his comedy in a more personal direction. “Tamborine,” an artful, intimate production shot at the BAM Harvey theater, focused on his divorce. This one, shot in Baltimore, had a grander, more old-fashioned vibe, with reaction shots alternating with him pacing the stage in his signature commanding cadence.Dressed all in white, his T-shirt and jeans hanging loosely off a lanky frame, and wearing a shiny bracelet and necklace with the Prince symbol, Rock started slowly with familiar bits about easily bruised modern sensibilities, the hollowness of social media and woke signaling. He skewered the preening of companies like Lululemon that market their lack of racism while charging $100 for yoga pants. Most people, he says, would “prefer $20 racist yoga pants.”Rock’s special, shot in Baltimore, had a grander, more old-fashioned vibe.Kirill Bichutsky/NetflixIf there’s one consistent thread through Rock’s entire career, it’s following the money, how economics motivates even love and social issues. On abortion, he finds his way to the financial angle, advising women: “If you have to pay for your own abortion, you should have an abortion.”A commanding theater performer who sets up bits as well as anyone, Rock picked up momentum midway through, while always hinting at the Smith material to come, with a reoccurring refrain of poking fun at Snoop Dogg and Jay-Z before making clear it’s just for fun: “Last thing I need is another mad rapper.” Another running theme is his contempt for victimhood. His jokes about Meghan Markle are very funny, mocking her surprise that the royal family is racist, terming them its originators, the “Sugarhill Gang of racism.”On tour, his few jokes about Smith were once tied to his points about victimhood. But here, he follows one of his most polished and funny jokes, comparing the dating prospects of Jay-Z and Beyoncé if they weren’t stars but worked at Burger King, with a long, sustained section on the Oscars that closes the show. Here, he offers his theory on Will Smith, which is essentially that the slap was an act of displacement, shifting his anger from his wife cheating on him and broadcasting it onto Rock. The comic says his joke was never really the issue. “She hurt him way more than he hurt me,” Rock said, using his considerable powers of description to describe the humiliation of Smith in a manner that seemed designed to do it again.There’s a comic nastiness to Rock’s insults, some of which is studied, but other times appeared to be the product of his own bottled-up anger. In this special, Rock seemed more raw than usual, sloppier, cursing more often and less precisely. This was a side of him you hadn’t seen before. The way his fury became directed at Pinkett Smith makes you wonder if this was also a kind of displacement. Going back into the weeds of Oscar history, Rock traced his conflict with her and Smith to when he said she wanted Rock to quit as Oscar host in 2016 because Smith was not nominated for the movie “Concussion” (the title that he mangled).That her boycotting that year’s Oscars was part of a larger protest against the Academy for not nominating Black artists went unsaid, implying it was merely a pretext. Rock often establishes his arguments with the deftness and nuance of a skilled trial lawyer, but he’s not trying to give a fair, fleshed out version of events. He’s out for blood. There’s a coldness here that is bracing. Describing his jokes about Smith’s wife at the ceremony in 2016, he put it bluntly: “She started it. I finished it.” But, of course, as would become obvious years later, he didn’t.Did he finish it in this special? We’ll see, but I think we’re in for another cycle of discourse as we head into the Academy Awards next week.At one point, Rock said there are four ways people can get attention in our culture: “Showing your ass,” being infamous, being excellent or playing the victim. It’s a good list, but this special demonstrates a conspicuous omission: Nothing draws a crowd like a fight. More

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    Two Histories of the Scandal-Soaked Academy Awards

    On the eve of Hollywood’s big, if diminished, night, two deeply researched books dig into the scandal-soaked history of the Academy Awards.Are the Oscars history?What else to conclude from the recent publication of two erudite if waggish books about this somewhat deflated annual pageant: Michael Schulman’s OSCAR WARS: A History of Hollywood in Gold, Sweat, and Tears (Harper, 589 pp., $40) and Bruce Davis’s THE ACADEMY AND THE AWARD (Brandeis University, 485 pp., $40)? Pile these on the even fatter “Hollywood: The Oral History,” by Jeanine Basinger and Sam Wasson (Harper, 748 pages), and you’ll have jury-rigged something like a Norton Anthology of American Moviedom.There have been plenty of Academy annals before, of course: detailed compendiums, official and not; glossy adornments for the coffee table; and at least one prose investigation of its increasingly byzantine fashion system. But these often felt like sideshows, guidebooks: boosterish accessories to a main event that is now struggling to regain and maintain its centrality in international culture.With fewer than 10 million people in 2021 watching a telecast that once commanded five times that (a few more did tune in last year; viewership spiking after The Slap), and the box office for art films hardly afire, the new books land more like crisis management briefings.Things in the film industry have been bad before, they remind, and might yet get better again.There was, for example, 1934. In the middle of the Depression, reports Davis (a former Academy executive director who retired in 2011 and promptly plunged into its archives), the organization was forced to take up a collection from members, as if passing the plate in a church pew, so that the ceremony could go on.The Run-Up to the 2023 OscarsThe 95th Academy Awards will be presented on March 12 in Los Angeles.Asian Actors: A record number of actors of Asian ancestry were recognized with Oscar nominations this year. But historically, Asian stars have rarely been part of the awards.Hong Chau Interview: In a conversation with The Times, the actress, who is nominated for her supporting role in “The Whale,” says she still feels like an underdog.Andrea Riseborough Controversy: Confused about the brouhaha surrounding the best actress nominee? We explain why the “To Leslie” star’s nod was controversial.The Making of ‘Naatu Naatu’: The composers and choreographer from the Indian blockbuster “RRR” explain how they created the propulsive sequence that is nominated for best song.Or 1989, widely and unfairly remembered as the Worst Oscars Ever, which Schulman, a staff writer for The New Yorker, dissects like a forensic pathologist hovering over an overdressed corpse.The ceremony had become “a big, embarrassing yawn,” and Allan Carr, the caftan-wearing producer of “Grease” known as “Glittermeister, ” was hired to zhuzh it up, which he did with a caroming live-action Snow White — uncleared with Disney — singing “Proud Mary” with her Prince Charming, played by Rob Lowe, then a leader of the Brat Pack. The gaudy opening number, with stars ducking for cover as Snow roamed the aisles, ruined Carr’s career and possibly his life. The unfortunate actress, Eileen Bowman, was coerced into signing a nondisclosure agreement that forbade her to talk about the Oscars for 13 years.“Never trust a man in a caftan,” Lowe had, in fairness, warned her.Davis, whose book is subtitled “The Coming of Age of Oscar and the Academy of Motion Picture Arts and Sciences,” focuses on the organization’s formative years, “an early life that deserves a bildungsroman.”But he is less Thomas Mann than diligent mythbuster, calling, for example, Susan Orlean’s assertion in her biography of Rin-Tin-Tin that the dog got more votes than any other male actor at the first Awards (repeated in this newspaper) “nonsense of a high order, now inserted into the historical record utterly without evidence.” In the ballot box Davis uncovered at the Margaret Herrick Library, there were no votes for the pooch.Davis also dispels the belief that the statuette was originally nicknamed by Bette Davis — no relation — because its backside resembled that of her then-husband Harman Oscar Nelson. He makes the case rather to credit a secretary of Norwegian descent, Eleanore Lilleberg, who was tired of referring to the “gold knights in her care” as “doodads, thingamajigs, hoozits and gadgets” and mentally conjured a military veteran with dignified bearing she’d known as a girl.This version of events, if true, is apt, for in Schulman’s framing, the Oscars have long been no mere contest but brutal hand-to-hand combat. He chronicles the 1951 best actress race between Davis (for “All About Eve”) and Gloria Swanson (for “Sunset Boulevard”); they lost to Judy Holliday (“Born Yesterday”) but the first two performances both proved more enduring, show business loving no subject better than itself.He retraces the long exile of the screenwriter Dalton Trumbo, perhaps the most prominent of the Hollywood Ten, blacklisted and driven behind pseudonyms for defying the House Un-American Activities Committee; credited and awarded for “Roman Holiday” only posthumously (his widow’s cat, satisfyingly, scratched up the thingamajig’s head).And no book called “Oscar Wars” could neglect how Harvey Weinstein, currently facing life in prison for his sex crimes, made the campaign nuclear in 1999 with “Shakespeare in Love.” The reign of this titan (and his eventual topple) was for the nation-state of Hollywood as consequential as Nixon’s for the U.S. government.He “made the Oscars dirty,” Schulman writes, using tricks like buying ads suggesting Miramax’s “The Piano” had won best picture at the preliminary critics’ awards (with “runner-up” in tiny print); relentlessly wooing senior citizens; parties, swag, ballot-commandeering and bad-mouthing his opponents. He even brought Daniel Day-Lewis to Washington to help get the American With Disabilities Act passed as a boost for “My Left Foot.”Along with the envelope, some context, please: Scandal has always beset Hollywood. Indeed, both authors note that the Academy was founded to raise the tone after a series of them, most notoriously the arrest of the Paramount actor Fatty Arbuckle after a starlet died in his hotel room following an orgy. Both in their own way document the race and gender inequity endemic to the institution, and its often ham-handed attempts to course-correct.And both conjure how exciting and special this event used to feel, with all its warts and overlength, like Christmas and New Year’s rolled into one.Now, as Oscar totters toward his 95th birthday, in a ceremony to be aired Sunday, March 12, going to a theater to see something screened feels fun but increasingly antique, like hopping on a wooden roller coaster (when I suggest it as a recreational activity to my teenagers, they look at me like I’m the MGM lion).It’s not just the pictures that have gotten small, as Swanson playing Norma Desmond declared — they’ve gotten really small, as we’re all Ernst Lubitsches now with cameras and flattering filters in our back pockets. The ceremony to commemorate them has shrunk as well.“I’m not sure I see a way to re-establish the Academy Awards as an experience for a wide swath of the country’s, or the world’s, population,” Davis writes. “It isn’t hard to see the Oscars on a track to becoming something like the National Book Awards” — heaven forfend! — “with way more glamorous presenters.” More

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    ‘Tár’ | Anatomy of a Scene

    Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More

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    ‘Everything Everywhere’ Wins Writers Guild Award, Sweeping Major Guilds

    The victory for Daniel Scheinert and Daniel Kwan cements the film’s front-runner status. Sarah Polley’s “Women Talking” takes the adaptation prize.The sci-fi smash “Everything Everywhere All at Once” won the original-screenplay trophy at the Writers Guild Awards on Sunday night, completing a thorough sweep of the top prizes from Hollywood’s major guilds. Only four other films have also triumphed with the Directors Guild, Producers Guild, Writers Guild and Screen Actors Guild: “Argo,” “No Country for Old Men,” “Slumdog Millionaire” and “American Beauty.” All went on to win the best picture Oscar.“Writing is confusing and hard, and we felt so lost so often,” said Daniel Scheinert, who co-wrote and co-directed the twisty “Everything Everywhere” with Daniel Kwan. Scheinert praised everyone who had read an early draft of the screenplay, then added, “Thank you to our therapists.”Meanwhile, “Women Talking” prevailed in the adapted-screenplay race, topping competition that included “Top Gun: Maverick” and “Glass Onion: A Knives Out Mystery.”The “Woman Talking” writer-director, Sarah Polley, praised her representatives for standing by her as she segued from an acting career that included films like “The Sweet Hereafter” and “Dawn of the Dead.” Polley said with a laugh, “They signed me thinking I was going to be a really big movie star. Whoops!”What she really wanted to do was write, Polley explained, and her adaptation of the Miriam Toews novel about assaults in a Mennonite community has now brought her a second WGA honor (her first, for a documentary screenplay, came in 2014 for “Stories We Tell,” which she also directed.)“To be taken seriously in this way, in this room of so many amazing writers, I really can’t tell you what that means to me,” she said.The path to a best picture Oscar typically requires a screenplay win along the way, so the WGA victory for “Everything Everywhere” should only further strengthen the film’s front-runner status. Still, it wasn’t exactly a fair fight: Though the original-screenplay category on Oscar night is expected to be a two-way race between “Everything Everywhere” and Martin McDonagh’s “The Banshees of Inisherin,” the latter was ineligible for the WGA prize because, like many international films, it was not written under a bargaining agreement with the WGA or its sister guilds.That stipulation also kept surging BAFTA winner “All Quiet on the Western Front” out of the WGA race for adapted screenplay, clearing a safe path to victory for “Women Talking.” So while “Everything Everywhere” and “Women Talking” are coming out of the WGA ceremony with momentum, the real battle is still to come at the Oscars, and surprises may be in store.Here are the major WGA winners. For a complete list, go to wga.org.Original screenplay: “Everything Everywhere All at Once,” Daniel Kwan and Daniel ScheinertAdapted screenplay: “Women Talking,” Sarah PolleyDocumentary screenplay: “Moonage Daydream,” Brett MorgenDrama series: “Severance”Comedy series: “The Bear”Limited series: “The White Lotus”New series: “Severance” More

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    Ricou Browning, Who Made the Black Lagoon Scary, Dies at 93

    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