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      What will be nominated? Our expert makes his predictions.

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      Expect the unexpected: This is an unusually fluid awards season, and most of the top categories still feel up for grabs.When it comes to best picture, three films have been nominated by the producers, directors and actors guilds — “Everything Everywhere All at Once,” “The Fabelmans” and “The Banshees of Inisherin” — and each has won a televised award for best film, too. Those are your front-runners in a category that recently expanded to 10 guaranteed slots, followed closely by “Tár,” the intellectual favorite, and “Top Gun: Maverick,” the popcorn pick.The next two slots should go to two box-office success stories: “Elvis,” the rare adult drama to make a killing last year, and “Avatar: The Way of Water,” which put up eye-popping numbers all through the Oscar-voting period and is poised to pass $2 billion worldwide.What about another huge sequel, “Black Panther: Wakanda Forever,” which made the producers’ lineup, and the epic-scaled “RRR” and “The Woman King,” both of which that guild snubbed? ABC executives would be thrilled if the telecast could tout those crowd-pleasers, but the expanded best picture lineup has never been dominated by so many action-driven blockbusters. (And I’d have more faith in “Wakanda Forever” if the Screen Actors Guild, which gave the first “Black Panther” its top film prize, had nominated this sequel in the same category.)The best actor winner almost always hails from a film nominated for best picture, so if you think a resurgent Brendan Fraser could go all the way this year, then expect a nod here for “The Whale,” which cast him in a transformative role as a 600-pound recluse. And though Netflix has been pushing “Glass Onion: A Knives Out Mystery,” it’s the streamer’s German-language “All Quiet on the Western Front” that most resonates with the voters I’ve spoken to.There’s still a shot that the Sarah Polley-directed “Women Talking,” which received a SAG ensemble nomination, or the British fave “Aftersun” could show up here. But I’m predicting the final slot goes to the class-warfare comedy “Triangle of Sadness,” which won the Palme d’Or at the Cannes Film Festival, just as another social satire, “Parasite,” did four years ago.For my predictions for the nominees in the other top categories, read more here. More

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      ‘Room’ Will Be Staged on Broadway, Starring Adrienne Warren

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      Emma Donoghue adapted the show from her best-selling 2010 novel; she also wrote the screenplay for the 2015 film.“Room,” Emma Donoghue’s harrowing story of a young boy raised in a shed where he and his mother are held captive by a sexual predator, was a best-selling novel in 2010, and then a much-praised film in 2015.Now a stage adaptation of the story is coming to Broadway with Adrienne Warren, a Tony-winning actress, starring as the boy’s mother. Warren, a founder of the antiracism organization Broadway Advocacy Coalition, won the Tony in 2021 for her electrifying performance as Tina Turner in the “Tina” biomusical. She has since appeared in the film “The Woman King” and the television series “Women of the Movement” and signed a development deal with a production company.The stage adaptation of “Room,” which is a drama with songs, has had several productions, starting in 2017 in the British Isles — at Theater Royal Stratford East in London, Abbey Theater in Dublin and National Theater of Scotland in Glasgow — and then last year in Canada, at Grand Theater in London, Ontario, and the Princess of Wales Theater in Toronto.Asked whether the production would be considered a play or a musical for awards purposes, Jim Byk, a spokesman for the show, said, “The producers have previously described ‘Room’ as a play with music, but as there has been considerable work done since the last production, they do not plan on making a definitive call on this until after the show is frozen, as is traditional for productions that could technically qualify for either category.”The Broadway production is scheduled to begin preview performances April 3 and to open April 17 at the James Earl Jones Theater. Donoghue, the Irish Canadian author of both the novel and the screenplay, has also written the stage adaptation; the songs are by two Scotswomen, Kathryn Joseph and Cora Bissett. Bissett is also directing the show.“Room” is being produced by Sam Julyan, James Yeoburn, ShowTown Productions and Hunter Arnold. More

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      Edward R. Pressman, Film Producer Who Boosted Many Careers, Dies at 79

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      Oliver Stone, Terrence Malick, Kathryn Bigelow and other directors were just starting when he took on their projects.Edward R. Pressman, a prolific film producer who guided some of the earliest movies by Brian De Palma, Terrence Malick, Oliver Stone, Kathryn Bigelow and other leading directors, died on Tuesday in Los Angeles. He was 79.The cause was respiratory failure, his family said.Mr. Pressman was producer or executive producer on almost 100 movies across a range of genres. His career began in the late 1960s and by 1988 had already resulted in enough acclaimed films that he was the subject of an 11-movie retrospective at the Museum of Modern Art in Manhattan.The New York Times said then that he “has been distinguished by his dedication to both highly literate and decidedly quirky movie projects during the last two decades.” And he still had some three decades and more than 60 movies ahead of him.Jack Nicholson as the labor leader Jimmy Hoffa in the 1992 film “Hoffa.” Mr. Pressman persuaded David Mamet to write a screenplay, recruited Mr. Nicholson to star and made an unconventional choice for director: the comic actor Danny DeVito.Liaison/Hulton Archive, via Getty ImagesMr. Pressman’s name is on films about intriguing real-life figures — “Hoffa” (1992), with Jack Nicholson as the Teamsters boss Jimmy Hoffa; “The Man Who Knew Infinity” (2015), which starred Dev Patel as the Indian mathematician Srinivasa Ramanujan; “Paterno” (2018), the HBO film in which Al Pacino portrayed the football coach Joe Paterno. It is on action fantasies like “Conan the Barbarian” (1982), the movie that brought Arnold Schwarzenegger to stardom. It is on scalding crime dramas like “Bad Lieutenant” (1992) and “American Psycho” (2000).His biggest claim to fame, especially early in his career, may have been his willingness to take a chance on unproven talent.One of his first forays as a producer was a movie about a murder that may or may not have been committed by one of two formerly conjoined twins, “Sisters” (1972) — Mr. De Palma’s breakthrough in the creepy crime genre. (Mr. Pressman was also a producer on a 2006 remake, directed by Douglas Buck.) Two years later, he produced Mr. De Palma’s comic drama about a disfigured composer who sells his soul, “Phantom of the Paradise,” which has become a cult favorite.Martin Sheen and Sissy Spacek in “Badlands” (1973), the first feature directed by Terrence Malick. Mr. Pressman said he was partial, especially early in his career, to movies like this one that were “the expression of a single vision.”Michael Ochs Archives/Getty ImagesIn between those two he produced the first feature directed by Mr. Malick, “Badlands” (1973), which starred Martin Sheen and Sissy Spacek, both still early in their careers, as criminals on the run. In 1981 he produced the horror film “The Hand,” the first studio feature directed by Mr. Stone.In 1990 he and Mr. Stone were producers on the crime drama “Blue Steel,” a film by another relative newcomer, Ms. Bigelow; 30 years later she became the first woman to win the directing Oscar, for “The Hurt Locker.” Mr. Pressman also took a chance on David Byrne, the lead singer of Talking Heads, producing Mr. Byrne’s feature debut as a director, the offbeat comedy “True Stories” (1986).Whatever project he was involved in, Mr. Pressman generally avoided the hands-on approach some other producers favor.“The hardest thing I’ve learned over the years is that I’m getting paid a lot of money to produce a movie, but sometimes the best thing to do is nothing,” he told The New York Times in 1992, when he was making “Hoffa.” “I don’t need to impose myself.”Nonetheless, he knew he played a vital role.“It’s the creative urge that makes me work,” he told American Film magazine for a 1988 article. “The pleasure is, to some extent, vicarious, but it’s no less creative for that. It is creating a world by bringing together creative financing with creative filmmakers. In a sense, producing can be compared to conceptual art.”Although Mr. Pressman and his company, Pressman Film, worked with major studios, he was partial, especially early in his career, to independent films — movies that were “the expression of a single vision,” as he put it in a 1989 interview with SBS of Australia, like “Badlands,” which was both directed and written by Mr. Malick.Other times, he viewed his job as bringing together the right director, writer and actor, as with “Hoffa” — he persuaded David Mamet to write a screenplay, recruited Mr. Nicholson to star and, after a few other candidates proved not to be a good fit, made an unconventional choice for director: the comic actor Danny DeVito.“I think of myself as a catalyst in attracting the key elements,” he told The Times.And sometimes he was the person who validated a director’s vision, as he was for Ms. Bigelow on “Blue Steel,” which, in addition to directing, she wrote with Eric Red.“The script for ‘Blue Steel’ was rejected multiple times; the general response was, ‘Could the NYC police officer be a man instead of a woman?’” Ms. Bigelow said by email. “I said, no. Then Ed Pressman agreed. Jaimie Lee Curtis played the officer. Ed offered a lifeline.”Charlie Sheen, left, and Michael Douglas on the set of “Wall Street” (1987), one of many movies on which Mr. Pressman worked with the director Oliver Stone.Sunset Boulevard/Corbis, via Getty ImagesEdward Rambach Pressman was born on April 11, 1943, in Manhattan. His parents, Jack and Lynn (Rambach) Pressman, founded the Pressman Toy Corporation, and, especially after his father died when he was a teenager, there was some expectation that Edward would go into the family business, but his interests veered to other things.At Stanford University, he studied philosophy, earning a bachelor’s degree in 1965, and he first started thinking about a career in the movie business.“I had a roommate my senior year whose father was a director,” he told American Film in 1991, “and we’d talk about making films.”The prospect of actually doing so seemed remote, he said, but it became a reality when, studying for a year at the London School of Economics, he met Paul Williams, a fellow American who was going to Cambridge and who shared his growing interest in films.“I thought he was, you know, Cecil B. De Mille,” Mr. Pressman said, “and he thought I was Louis Mayer.”They jointly produced a short that Mr. Williams wrote and directed, “Girl” (1967). Two years later they combined again on a feature, “Out of It,” again written and directed by Mr. Williams; Jon Voigt was in the cast, as he was for Mr. Pressman’s next project with Mr. Williams, “The Revolutionary” (1970).Mr. Williams had only a limited career after that, but Mr. Pressman was on his way.His later movies included Mr. Stone’s “Wall Street” (1987), a defining movie of the 1980s. It was while making Mr. Stone’s “The Hand” that Mr. Pressman met Annie McEncroe, who was in the cast (for most of her movie career she was billed as Annie McEnroe); they married in 1983. She survives him, along with their son, Sam Pressman, an executive at Pressman Film; a sister, Ann Markelson; and a brother, Jim. Arnold Schwarzenegger in “Conan the Barbarian” (1982), directed by John Milius and produced by Mr. Pressman. In addition to producing prestige films, Mr. Pressman liked making movies based on pulp magazine and comic book characters.Universal Pictures-Sunset Boulevard/Corbis, via Getty ImagesIn addition to advancing the careers of directors and actors, Mr. Pressman advanced a genre: He was big on making movies based on pulp magazine and comic book characters, something that was not as common when he began doing it in the early 1980s as it is today, in the age of digital effects.“Conan the Barbarian” and its sequel, “Conan the Destroyer” (1984), were based on the pulp character created in the 1930s by Robert E. Howard, and Mr. Pressman’s comics-inspired films included “The Crow” (1994) and several sequels, as well as “Judge Dredd” (1995).“Comic books, video games, interactive software — these are all areas where artists can create with great freedom and imagination,” he told Business Wire, prophetically, in 1993. “They will be a major part of the motion picture industry’s future.” More

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      ‘The Wandering Earth II’ Review: It Wanders Too Far

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      The audacious sequel to Frant Gwo’s 2019 sci-fi blockbuster follows survivors working to avert planetary disaster, but it loses much of the glee of its predecessor.Upon its release, “The Wandering Earth,” Frant Gwo’s 2019 film about a dystopia in which Earth is perilously pushed through space, was minted as China’s first substantial, domestic sci-fi blockbuster, with the box office returns to prove it.The film was entertaining enough, but its ambitious scope had something of an empty gloss to it, partly because the story’s drama wasn’t grounded in anything beyond the showy cataclysm. Its audaciously messy sequel, “The Wandering Earth II,” seems to have taken note and sprinted, aimlessly, entirely in the other direction. Losing all of the glee of its predecessor, the movie instead offers nearly three hours of convoluted story lines, undercooked themes and a tangle of confused, glaringly state-approved political subtext.Boasting a bigger budget and greater expectations — the Hong Kong superstar Andy Lau has been added to the cast — “Wandering Earth II” is, narratively, a prequel. Gwo’s follow-up takes place years before the events of the first film and focuses on the United Earth Government’s initial efforts to push Earth out of our solar system, a move intended to avoid planetary disaster. It sets up flimsy ideas about dystopian geopolitics, man versus machine, and the nature of human consciousness (partly as a back story to the “2001: A Space Odyssey”/evil HAL 9000 knockoff plot of the first film).This is all just in the first hour of setup, before the film does a fast-forward to the next conflict, years later, when humankind needs to nuke the Moon. The premise might be laughable, but silly narrative ideas didn’t get in the way of a good time in the first film. It’s hard to say how much of a true cinematic achievement “The Wandering Earth” was when it gave China its very own “Armageddon,” but after this sequel trips over its armful of melodramatic plotlines and conspicuously nationalist messaging, you’re left wishing you just savored the mindless fun the first time around.The Wandering Earth IINot rated. In Mandarin, with subtitles. Running time: 2 hours 53 minutes. In theaters. More

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      Alec Baldwin Will Be Charged With Involuntary Manslaughter in ‘Rust’ Killing

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      A gun that Mr. Baldwin was rehearsing with went off, killing the film’s cinematographer. The armorer responsible for weapons on set also faces manslaughter charges.Silent footage shows Alec Baldwin practicing a scene with a revolver on the “Rust” movie set before shooting and killing the film’s cinematographer, Halyna Hutchins.For more than a year, the actor Alec Baldwin has tried to defend himself against the suggestion that he bore responsibility for the fatal shooting of a cinematographer on the set of “Rust,” a low-budget western he was filming on the outskirts of Santa Fe, N.M.He told detectives he had been assured the gun he was rehearsing with that day did not contain live ammunition, sat down for an extensive television interview, sought indemnification from financial liability in the case and then sued crew members on the film, claiming that they were responsible for handing him a loaded gun.But on Thursday prosecutors said they would charge him with two counts of involuntary manslaughter in the killing of the cinematographer, Halyna Hutchins, 42, saying they believed he had a duty to ensure the revolver was safe to handle.“We’re trying to definitely make it clear that everybody’s equal under the law, including A-list actors like Alec Baldwin,” Andrea Reeb, a special prosecutor appointed by Santa Fe County’s district attorney to help handle the case, said in an interview. “And we also want to make sure that the safety of the film industry is addressed and things like this don’t happen again.”The film’s armorer, Hannah Gutierrez-Reed, who loaded the gun that day and was responsible for weapons on the set, will also be charged with two counts of involuntary manslaughter. The film’s first assistant director, Dave Halls, who handed Mr. Baldwin the gun, agreed to a plea deal on a charge of negligent use of a deadly weapon.During an interview with detectives, Alec Baldwin said that the gun “should’ve been a cold gun with no rounds inside.”The criminal charges Mr. Baldwin faces came as a surprise to many in the film industry and were strongly disputed by his legal team. A lawyer for Mr. Baldwin, Luke Nikas, said the prosecutors’ decision “distorts Halyna Hutchins’s tragic death and represents a terrible miscarriage of justice.”“Mr. Baldwin had no reason to believe there was a live bullet in the gun — or anywhere on the movie set,” Mr. Nikas said in a statement on Thursday. “He relied on the professionals with whom he worked, who assured him the gun did not have live rounds. We will fight these charges, and we will win.”SAG-AFTRA, the union representing film, television and radio workers, said in a statement that the death of Ms. Hutchins was a “preventable” tragedy but that it was “not a failure of duty or a criminal act on the part of any performer.”“The prosecutor’s contention that an actor has a duty to ensure the functional and mechanical operation of a firearm on a production set is wrong and uninformed,” the union said. “An actor’s job is not to be a firearms or weapons expert.”Mr. Baldwin, 64, has been a household name for decades as a Hollywood leading man, a TV star who played Jack Donaghy in “30 Rock” and former President Donald J. Trump on “Saturday Night Live,” a co-host of the Oscars and the voice of the New York Philharmonic’s radio broadcasts.He has long drawn scrutiny for his offscreen behavior, which has included run-ins with paparazzi, an arrest for riding his bicycle the wrong way on Fifth Avenue, a 2018 arrest over a parking space dispute and feuds waged on social media.But he has never faced a crisis like the one he faces now.Ever since the shooting Mr. Baldwin had sought to strike a delicate balance: publicly maintaining his innocence in an effort to preserve his reputation and career while trying to stay out of legal jeopardy.He appeared on national television, where he said he had been told that the gun did not have live rounds in it, and added that he was only following directions when he pointed it at the cinematographer. “Someone is ​responsible for what happened, and I can’t say who that is, but I know it’s not me,” he said in the interview.Privately, a police report said, he had lamented to a detective that fall that “if your name becomes associated with something, nobody wants to work with you anymore — nobody.”After news of the charges spread, about two dozen reporters and photographers camped out on the sidewalk outside his Manhattan apartment, to the consternation of neighbors.If a jury found Mr. Baldwin or Ms. Gutierrez-Reed guilty, it would choose between the two manslaughter charges. The more serious one includes a firearm enhancement and a mandatory five-year sentence; the other charge carries a sentence of up to 18 months.A detective questioned Hannah Gutierrez-Reed, the armorer on “Rust,” about the ammunition inside the gun that killed the movie’s cinematographer.The criminal charges against Mr. Baldwin are sure to reopen questions about safety on film sets, and who bears responsibility. The district attorney for Santa Fe County, Mary Carmack-Altwies, said in an interview that Mr. Baldwin had a duty to ensure the gun and the ammunition were properly checked and that he should never have pointed it at anyone. “You should not point a gun at someone that you’re not willing to shoot,” she said. “That goes to basic safety standards.”Ms. Gutierrez-Reed, the armorer who was responsible for the weapons on set and loaded the gun that day, told investigators she had checked the gun and all six cartridges she loaded, but she also remarked, “I wish I would’ve checked it more.”One of her lawyers, Jason Bowles, said his client was not responsible for involuntary manslaughter, calling the investigation into the case “flawed.”The shooting on Oct. 21, 2021, which also wounded the film’s director, Joel Souza, took place in a small set meant to look like a church. The film’s first assistant director, Mr. Halls, 63, took the revolver from a gray, two-tiered tray set up outside the church by Ms. Gutierrez-Reed, 25, and handed it to Mr. Baldwin, calling out “cold gun” to indicate it did not contain live ammunition, according to court papers.A lawyer for Mr. Halls, Lisa Torraco, said in a statement that the plea deal allowed him to “put this matter behind him and allow the focus of this tragedy to be on the shooting victims, their family and changing the industry so this type of accident will never happen again.”The prosecutors said they had determined it was part of film industry standards for actors to ensure that the guns they used on set were safe for them to handle, saying they had interviewed several actors who spoke to the importance of those protocols. Mr. Baldwin has pushed back on that idea in the past, saying that in his experience on film sets it was not the practice for actors to check their own guns.Ms. Reeb, the special prosecutor, who is also a Republican member of the New Mexico Legislature, said Ms. Gutierrez-Reed was also responsible for ensuring that the guns on the set did not contain live rounds, saying in an interview that she should have taken each round out of the gun and shaken them in front of the actor — a practice that helps confirm the rounds are dummies, inert cartridges used to resemble real ammunition in a film.Body camera video shows a lieutenant searching for the gun that discharged and fatally wounded a cinematographer on the “Rust” movie set.In the aftermath of the shooting, the authorities found five additional live rounds on the set, including on top of the cart where props were kept and in a belt that Mr. Baldwin was wearing as a costume piece. The investigation by the Santa Fe County Sheriff’s Office did not answer a key question — how live ammunition ended up on a movie set — and Ms. Reeb said that aspect of the case was still unclear. “We may never answer that question,” she said.The tragedy has resulted in several lawsuits, including from crew members who have accused the production of not properly adhering to safety protocols.During interviews with the sheriff’s office, some crew members described a lack of consistent meetings devoted to on-set safety. The night before the shooting, most of the camera crew had quit over complaints about overnight lodging and other concerns; in an email to other people on set informing them he was leaving, Lane Luper, the head of the camera department, wrote that the filming of gunfight scenes was played “very fast and loose,” citing two accidental weapons discharges.A lawyer for Ms. Gutierrez-Reed, who trained on film sets with her father, a veteran Hollywood armorer named Thell Reed, had previously said she filled two roles on the “Rust” set — as armorer and props assistant — which made it difficult for her to focus fully on her job as armorer.Mr. Baldwin has maintained that he is not responsible for the shooting, saying that Ms. Hutchins had been directing him where to point the gun and that he did not pull the trigger before the gun discharged. He told investigators he had pulled the hammer back and let it go in an action that might have set it off.“I know 1,000 percent I’m not responsible for what happened to her,” Mr. Baldwin told an investigator, Detective Alexandria Hancock, in a phone call following the shooting.Ms. Carmack-Altwies, a Democrat who was elected in 2020, said an F.B.I. analysis of the gun showed “conclusively” that the trigger had been pulled.A crime scene technician took photos of Alec Baldwin on the “Rust” movie set shortly after the fatal shooting of the film’s cinematographer, Halyna Hutchins.The prosecutors said the people they intended to charge this month would not be arrested but would be expected to appear for a virtual court appearance. A judge in New Mexico will then oversee a preliminary hearing on the charges and determine whether there is probable cause to move forward.Ms. Gutierrez-Reed has also accused Seth Kenney, the primary supplier of guns and ammunition for the film, of being responsible for the shooting, alleging in a lawsuit against him and his company that the supply he sent to the set had mixed live ammunition in with dummy rounds.Mr. Kenney has said he checked all of the rounds he provided to the production to ensure they were not live, saying in a statement that handling the guns and ammunition on set was Ms. Gutierrez-Reed’s responsibility.Last year, Matthew Hutchins, the widower of Ms. Hutchins, agreed to settle his wrongful death lawsuit against the “Rust” production. Under the agreement, Mr. Hutchins would become an executive producer of “Rust,” which had been set to resume filming this month. It was not immediately clear how the planned charges would affect those plans.A lawyer for Mr. Hutchins, Brian J. Panish, said in a statement that he agreed with the decision to bring criminal charges.“It is a comfort to the family that, in New Mexico, no one is above the law,” Mr. Panish said. “We support the charges, will fully cooperate with this prosecution and fervently hope the justice system works to protect the public and hold accountable those who break the law.”Brooks Barnes More

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      Julian Sands, ‘Room With a View’ Actor, Is Missing on Hike in California Mountains

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      The search for Mr. Sands, a British actor known for the 1986 film “A Room With a View” and other roles, is an avid trail hiker. His disappearance follows weeks of devastating weather across California.The British actor Julian Sands, known for his role in the critically acclaimed 1986 film “A Room With a View,” among others, is one of two missing hikers the authorities are searching for in the San Gabriel Mountains in Southern California following a period of heavy rain and snow across the area.Mr. Sands, 65, of North Hollywood, was reported missing on Friday after hiking alone on a trail on Mount Baldy, more than 40 miles northeast of Los Angeles, Mara Rodriguez, a spokeswoman for the San Bernardino County Sheriff’s Department, said on Thursday. The trails there are popular but also labeled challenging and strenuous on hiking websites.Search efforts had been affected by “trail conditions and the risk of avalanche,’’ Ms. Rodriguez said.“However, we continue to search by helicopter and drones when weather permits,’’ she added.Elsewhere in the San Gabriel Mountains, the authorities are searching separately for another missing hiker, Robert Gregory, 61, of Hawthorne, Calif. That search is being handled by the Hawthorne Police Department, supported by the Los Angeles County Sheriff’s Office San Dimas station.Mr. Gregory was reported missing on Friday evening by his wife after he had not returned that day in the Crystal Lake area. The police said his vehicle was found Saturday outside a cafe in front of a trail head in the area.Early on Jan. 13, Robert Gregory left his Hawthorne, Calif., residence to go hiking. When Mr. Gregory failed to return home, his wife contacted the police.Hawthorne Police DepartmentLt. Louis Serrano of the San Dimas station said on Thursday that search and rescue teams were on the ground and that aerial patrols were continuing.More on CaliforniaStorms and Flooding: A barrage of powerful storms has surprised people in California with an unrelenting period of extreme weather that has caused extensive damage across the state.New Laws: A new year doesn’t always usher in sweeping change, but in California, at least, it usually means a slate of new laws going into effect.Facebook’s Bridge to Nowhere: The tech giant planned to restore a century-old railroad to help people in the Bay Area to get to work. Then it gave up.Wildfires: California avoided a third year of catastrophic wildfires because of a combination of well-timed precipitation and favorable wind conditions — or “luck,” as experts put it.Representatives for Mr. Sands did not immediately return requests for comment on Thursday.A stream of atmospheric rivers, storms that are narrow in shape and carry a tremendous amount of water, have slammed much of California in recent weeks, causing flooding, power outages and widespread evacuations. At least 19 people have died.On Friday, when Mr. Sands was reported missing, another round of storms was just beginning to sweep across Southern California, lasting through the holiday weekend.By Wednesday, conditions had not improved and the sheriff’s office urged hikers to “think twice and heed warnings,” adding that rescue teams had responded to 14 rescue missions on Mount Baldy and the surrounding area in the last four weeks.The rescue missions were for lost, stranded and injured hikers, two of whom did not survive after falling and injuring themselves, officials said. The recent storms brought snow and ice to the mountain, and conditions were not favorable for hikers, even those with experience, the authorities added.Mr. Sands, a British performer who has appeared in more than 150 films and television shows, including “Arachnophobia,” “Naked Lunch,” “Warlock” and “Ocean’s Thirteen,” is known to enjoy the outdoors. He is best remembered for his starring role at 27 opposite Helena Bonham Carter in “A Room With a View,” the Oscar-nominated Merchant Ivory adaptation of E.M. Forster’s novel, which often makes lists as one of the best British films of all time.In an interview with The Guardian in 2020, Mr. Sands said he was happiest when close to a mountain summit on a cold morning and had aspirations of climbing a remote peak in the Himalayas. He also described a time in the early 1990s when he was caught in a storm above 20,000 feet in the Andes. “We were all in a very bad way,” he said. “Some guys close to us perished; we were lucky.”In another interview that year with Thrive Global, a company started by Arianna Huffington that provides behavior change technology, Mr. Sands said that he had spent time in mountain ranges in North America and Europe.Mr. Sands said that people who don’t climb mountains assume it’s about a “great heroic sprint” to the summit and an ego.“But actually, it’s the reverse,” he said. “It’s about supplication and sacrifice and humility, when you go to these mountains. It’s not so much a celebration of oneself, but the eradication of one’s self consciousness. And so on these walks you lose yourself, you become a vessel of energy in harmony, hopefully with your environment.” More

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      India’s Love Story With ‘D.D.L.J.’ Is Still Strong After 27 Years

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      Well past the film’s intermission, the crowd keeps trickling in. Some pay at the ticketing window with a couple of taps on their phone; others dump fistfuls of coins. They are students and office clerks, prostitutes from the waning red-light district nearby, day laborers still chasing dreams in India’s “maximum city,” and the homeless with dreams long deferred.India’s film industry puts about 1,500 stories on the screen annually. But the audience that files every morning into the Maratha Mandir cinema in Mumbai is here for a movie that premiered 27 years ago — and has resonated so intensely that this once-grand 1,100-seat theater has played it every day since, save for a pandemic hiatus.The film, “Dilwale Dulhania Le Jayenge” — which translates as “The Big-Hearted Will Take the Bride” and is known as “D.D.L.J.” — is a boy-meets-girl story set against the backdrop of a moment of immense change and unbridled possibility in India.The Indian economy had just opened up, bringing new opportunities, new technologies and new exposure to a rising middle class. But it also brought new strains, as the choices afforded by economic opportunity — to decide your own love and your own life — ran up against the protective traditions of old.In many ways, the India of today looks like the India reflected in the movie. The economy is still on the rise, and it is now about 10 times the size it was in the mid-1990s. A technological revolution, this one digital, has opened new worlds. Women are seeking more freedom in a male-dominated society. And the forces of modernity and conservatism remain in tension as an ascendant political right wing appoints itself the enforcer of conventional values.The sense of unlimited possibility, however, has receded. As the early rewards of liberalization peaked and economic inequities deepened, aspirations of mobility have diminished. For those left behind, the world of “D.D.L.J.” — its story and stars, its music and dialogue — is an escape. For those still striving, it is an inspiration. And for those who have made it, it is a time capsule, the starting point of India’s transformation.Moviegoers at the Maratha Mandir cinema in Mumbai.A scene from “Dilwale Dulhania Le Jayenge,” which translates as “The Big-Hearted Will Take the Bride.”“It grew and grew and grew and went on to, you know, become an heirloom,” said the actress Kajol, 48, who played the female lead, Simran, in the film. “I have had so many people who told me that, you know, we have made our children sit down and watch ‘D.D.L.J.,’ we have made our grandchildren sit down and watch — and I was like, there are grandchildren now?”She burst out laughing. “Children I am fine with. But grandchildren?”When the pandemic closed theaters for a year, many speculated that “D.D.L.J.’s” record run would end. But the film is back on for its 11:30 a.m. slot at Maratha Mandir, often drawing crowds larger than those at afternoon screenings of the latest releases.Some of those who show up have watched it here so many times that they have lost count — 50, 100, hundreds.A taxi driver who was in the line outside the theater one morning this fall had seen it six times, a welder about a dozen. A gray-bearded merchant of secondhand goods claimed about 50 viewings, the same for a 33-year-old delivery worker.Then there were the regular regulars, those who trek here nearly every day. Madhu Sudan Varma, a 68-year-old homeless man who has a part-time job feeding neighborhood cats, comes about 20 mornings a month.The woman with her head wrapped in a plastic bag?“I come every day,” she said. “I like it every day.”No one knows her real name — it may be Jaspim, but even she is unsure. It doesn’t matter, because everyone calls her by the name she prefers: Simran, just like the star on the screen.People buying tickets for the film at the Maratha Mandir cinema in Mumbai.Fans of the movie, which is known by its initials D.D.L.J., taking selfies in front of a poster for the film in Mumbai.Lying at night in the room she keeps as a prostitute in Kamathipura, Mumbai’s red-light district, she sometimes dreams of the film’s scenes, she says. In the morning, she makes sure she doesn’t miss the show — not even on this day when the henna she used to dye her graying hair hadn’t yet dried. She would rather come wearing a plastic bag than not make it.More on IndiaOn the Big Screen: A Mumbai theater has shown the movie “D.D.L.J.” nearly every day since 1995. In many ways, the India of today looks like the India on the screen.India’s Cram City: In Kota, students from across the country pay steep fees to be tutored for elite-college admissions exams — which most of them will fail.Renting as a Single Woman: As they delay or reject marriage and live on their own, single working women in India face an often infuriating quest for housing.Delivery Apps: Fueled by billions of dollars in investments, Indian companies are rushing to cut delivery prices and wait times, relying on an army of low-paid, harried drivers.“I don’t see any other films, just this one,” she said. “I feel great when I come here. I get lost in the songs and dance.”‘Live Your Life’“D.D.L.J.” is a love story. But it is also about compromise.Kajol’s character, Simran Singh, is brought up in London, though her father uses the income from the family’s corner store to raise his children in the traditions of India.On a European trip with friends, Simran meets Raj Malhotra, played by Shah Rukh Khan, a wealthy young man raised by a single father. The rest of the film’s three hours are spent on the couple’s efforts to persuade Simran’s conservative father to let go of the arranged marriage he had planned for his daughter and bless their union.“Go, Simran, go,” the father declares at the end, after the film barrels through tears, bloody fistfights and many songs of longing. “Live your life.”Kajol said that the movie’s middle path had broken new ground. Before “D.D.L.J.,” she said, “we only had films that talked about either this way or that — either we had films that celebrated marriages and everybody was involved from uncles to aunties, or it was ‘us against the world, we will fight it out, we will live together, die together.’ I think ‘D.D.L.J.’ came up with a very simple thought — to say that maybe we can walk a line.”When the movie was released in 1995, Kajol and Mr. Khan were both relative newcomers. Kajol went on to become one of the most successful actresses in Hindi cinema. Mr. Khan, 57, found even greater fame, becoming one of India’s most recognizable faces.Both actors benefited from an Indian entertainment industry that was itself in transition, as money flooded in with the country’s economic liberalization. Now, the country has over 200 million households with televisions, up from 50 million then. Many more people can afford cinema tickets. And India, which recently became the world’s fifth-largest economy, is expected to have one billion smartphone users by 2026.Film stars have become permanent fixtures on billboards and on television commercials. India is a huge market — it is projected to soon pass China as the world’s most populous country — and a star’s simple post of sponsored content on platforms like Instagram can be lucrative. Actors who would once perform in different films in the same change of clothes now find themselves with unfathomable wealth.Every day, fans throng outside Mr. Khan’s seaside home in Mumbai, the heart of India’s film industry, hoping for a sighting. Buses passing the road in front of his house slow down so passengers can take selfies.The film’s lead male actor, Shah Rukh Khan, greeting fans outside his home in Mumbai on his 57th birthday.A crowd gathered outside Mr. Khan’s house in Mumbai to get a glimpse of the popular actor on his birthday. He has challenged perceptions of masculinity in Indian filmmaking.On his birthday, thousands gather, waiting and chanting for Mr. Khan — and he does not disappoint. He climbs up a caged platform, throwing kisses at the fans, before breaking into what has become his signature move: a leaned-back spread of the arms.Bollywood has long favored those with legacy and family ties. Mr. Khan resonates as an outsider, a child of middle-class struggle in Delhi who lost both of his parents when he was young.The towering residence he now occupies with his family “is a middle-class monument to a man who didn’t own property,” said the Indian economist Shrayana Bhattacharya. “He became this prism and this concept. He represents this idea of mobility.”Ms. Bhattacharya wrote a book, “Desperately Seeking Shah Rukh,” about how Mr. Khan symbolizes the possibilities that only India’s liberalized economy could produce, and what he has meant to young working women as he has challenged perceptions of masculinity in Indian cinema.Taking advantage of new channels of information, he has built an image of an empathetic partner who listens, helps with household chores and shares the spotlight with female co-stars.The power of this image, he said in one interview, has become such that he has become “an employee of the myth of Shah Rukh Khan.” It is so potent that young women, Ms. Bhattacharya said, “want to be him” rather than want to “marry him,” the emotion usually associated with older matinee idols.To some women, Mr. Khan — or at least his persona — is a reminder of the ways Indian men have not changed. Surbhi Bhatia, a data and development researcher in Mumbai, said she often binge-watched his talks as an antidote to the restrictive male energy around her. If she is feeling low or uncertain, she strolls down to linger outside his seaside residence.“You know when he spreads those arms,” she said about Mr. Khan’s signature move, “there is space to just go in.”In many ways, women have yet to achieve the economic promise of the new India. Only about a quarter of women participate in the work force, less than half the rate of all other major economies.For women who have found economic opportunity, society has been slow to accept their independence. Having their own incomes — or even just a smartphone — has translated into some new freedom. But when a husband comes into the picture, Ms. Bhatia said, it brings another layer of permission and the forfeiture of leisure hours to household chores.“The phone has done so much to give access, but not solved the larger problem,” she said. “It’s making us more lonely.”Surbhi Bhatia, a fan of Mr. Khan, outside his house in Mumbai. “When he spreads those arms,” she said of his signature move, “there is space to just go in.”Atul Loke for The New York TimesKajol, the film’s lead actress, at her office in Mumbai.India is still trying to decide where to set the line that “D.D.L.J.” suggested it walk between conservatism and modernity. Added to the tension is a Hindu-first fervor under Prime Minister Narendra Modi, with Muslims in particular becoming a target. Mr. Khan, despite his crosscutting appeal, has not been spared.This month, right-wing groups vandalized cinemas promoting Mr. Khan’s latest film after a trailer showed its female star, Deepika Padukone, wearing a saffron bikini. The groups called the choice of saffron an offense to Hinduism, which is closely associated with the color.Mr. Khan is a product of a secular India — a Muslim who attended a Christian school and married a Hindu. Faced with attacks like these, he has largely stopped commenting on the country’s political direction.“I am a Muslim, my wife is a Hindu and my kids are Hindustan,” Mr. Khan said on a television show in 2020, using another word for India. “When they went to school, they had to write their religion. My daughter came to me once and asked, ‘What is our religion?’ I simply wrote in her form that we are Indian.”‘Love Doesn’t End’At the Maratha Mandir cinema, the logic of keeping one film running for nearly three decades is simple economics: New films could be hit or miss, but the crowd for “D.D.L.J.” is steady.“This picture is evergreen,” said Manoj Desai, the cinema’s 72-year-old executive director, “because it tells the story of true love. Because love doesn’t end.”The theater’s position near two transportation hubs ensures constant traffic. And it helps that the tickets are cheap: 30 rupees for downstairs seats and 40 for those in the balcony, or about 40 to 50 cents, a quarter of the price for admission to new releases.Ticket prices for the movie are part of the draw, as is the air conditioning inside the theater.Manoj Desai, the executive director of the Maratha Mandir cinema. “This picture is evergreen,” he said of the movie, “because it tells the story of true love.” “Three hours in air-conditioning, 40 rupees. Who will refuse that?” Mr. Desai said.The interview with Mr. Desai was interrupted by frequent phone calls, including one from his wife. “Home minister,” he said as he picked up her call.He and his wife, who are celebrating their 50th wedding anniversary, went through a caste-based love struggle of their own, though with a different ending from the one in “D.D.L.J.”When her wealthy Jain parents refused Mr. Desai, a Gujarati Brahmin, they eloped and made their marriage official in a faraway temple. Her family kept looking for them for two years, trying to register her as a minor to charge Mr. Desai with kidnapping.“Love has changed in the sense that breakups are easy,” Mr. Desai lamented.As he spoke, reporters called to inquire about a recent storm Mr. Desai had kicked up. In a scathing video interview, he had called a rising star “arrogant” for talking about taking his films directly to streaming services. The star was sent by his father on a private jet to Mr. Desai’s office to touch his feet and apologize.With Hindi cinema struggling to regain momentum after its pandemic lull, many producers and stars have opted to take their films directly to streaming platforms such as Netflix and Amazon.To purists like Mr. Desai, the growing trend is blasphemy. “There is the money, but sirrrrr,” he said, stretching and rolling his “r.” “What about theater? What about the big screen?”For the entire time that “D.D.L.J.” has been showing on Mr. Desai’s big screen, Jagjivan Maru has been the projectionist. He will soon retire after 50 years.Jagjivan Maru, the projectionist at the Maratha Mandir cinema, has been working there for more than 50 years, but plans to soon retire.The film draws a seemingly unending stream of viewers with themes that resonate across generations.When he sets up the day’s show, staff downstairs change into their uniforms, prepare the popcorn and samosas in the dimly lit corner concession stand and mop the marble floor between the rows of worn-out seats.“For 10 years, the hall would be full — there would queues for tickets,” he said about the film’s release in 1995. “After 10 years, it cooled off a bit — but the passion hasn’t died.”As customers line up to enter the theater, the guards frisking them and checking their bags repeat one reminder: “Don’t put your feet on the seats.” They know it’s futile, because many come precisely for that — to escape the city’s heat, to put up their feet.Mr. Varma, the 68-year-old homeless man, arrives at the ticket counter with his two bags of belongings, containing a blanket, some changes of clothes and his water bottle.He sleeps in a parked auto rickshaw near a Buddha statue. Waking before dawn, he feeds about 50 neighborhood cats, for which an NGO pays him 100 rupees — roughly $1.30 — a day. He worked in the family’s furniture upholstery business before a dispute forced him to the streets. He has lost everyone dear in his life, from his siblings to his parents.But one person resurfaced about 15 years ago: an unrequited love that had left him a bachelor. Caste differences made their union impossible, just as they prevent many love stories even today. The woman got married in 1984 and went on to have children who are now married.The rekindling is one of friendship. They speak by phone once a month; he asks about her life, her children, and she asks if he is eating well.“There were others who would call in the past,” Mr. Varma said. “There is no one else now.”Mr. Varma takes his seat on the ground floor of the cinema hall. In the row in front of him is Simran, the prostitute.Madhu Sudan Varma sleeping in an auto rickshaw parked on a street in Mumbai. He comes to about 20 screenings a month.Simran, so named after the movie’s lead female character, dancing to one of the movie’s many songs.When the movie’s wildly popular songs come on, Simran shimmies in her seat, singing along and getting up to dance in the aisle. She mimics the dialogue. And when the Simran on the screen waves goodbye to Raj, the Simran in the theater also waves her hand in goodbye.Every time the light from the screen reflects on Mr. Varma’s face, he is lounged in his seat, his soft eyes glued to the film.“I find peace here,” Mr. Varma said. “I get a little calm.” More