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      ‘You Are Not My Mother’ Review: Parental Misguidance

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      A lonely teenager is traumatized by her mother’s volatile behavior in this impressive horror debut.A baby in a stroller sits alone on a deserted nighttime street. A young mother sprawls on a bed, limbs bound and head shrouded. A teenage girl cowers before classmates who are threatening to set her on fire.These are only a few of the chilling images in Kate Dolan’s arresting debut feature, “You Are Not My Mother,” a skin-crawling merger of Irish folklore and family secrets. At once deeply metaphorical and genuinely distressing, the film hovers anxiously around Char (Hazel Doupe), a withdrawn and bullied teenager who’s becoming increasingly alarmed by the erratic behavior of her mother, Angela (Carolyn Bracken). When Angela disappears, only to reappear the following day without explanation, the mystery of her whereabouts is only deepened by the unfazed reaction of Char’s grandmother (Ingrid Craigie). In this household, the silences scream.Set just outside Dublin during the run-up to Halloween, “You Are Not My Mother” leaves much of its supernatural thrust to vagueness and allusion, focusing instead on Char’s responses to her mother’s terrifying transformation. Pale-faced and wide-eyed, Doupe is heartbreaking; but it’s Bracken who has the more challenging role, flitting from hostile to loving, severe to vulnerable, energized to near-catatonic. In one startling scene, performed to Joe Dolan’s toe-tapper “You’re Such a Good Looking Woman,” she slowly turns a simple dance into a petrifying act of predation.Imaginative and spooky, “You Are Not My Mother” shows just how frightening — and stigmatizing — a parent’s mental illness can be to a child. Trapped in her suffocating suburb, where steel-colored skies press down on crouching rooftops (the wonderfully moody cinematography is by Narayan Van Maele), Char is alone. If she should find a champion, it won’t be from inside her house.You Are Not My MotherNot rated. Running time: 1 hour 33 minutes. In theaters and available to rent or buy on Amazon, Google Play and other streaming platforms and pay TV operators. More

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      ‘King Otto’ Review: For Greece, a Whole Different Ballgame.

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      Christopher André Marks analyzes the Greek national soccer team’s championship season under the leadership of a German coach.“King Otto,” which opens with a quote from “The Odyssey,” treats its retelling of a soccer underdog story as the stuff of myth. In 2004, the German coach Otto Rehhagel led the Greek national team to victory in the European Championship. The team had never even won a match at a major competition before. According to the closing titles, Rehhagel became the first foreign-born coach to win a major international soccer tournament for another country’s national team.In this documentary directed by Christopher André Marks, the coach, the players and others recount Rehhagel’s arrival in Greece as someone who didn’t understand the culture or speak the language. (In its opening minutes, “King Otto” makes clear that the offscreen filmmaker and Rehhagel also had a linguistic barrier to overcome.) Ioannis Topalidis, who became Rehhagel’s assistant coach and the interpreter connecting him with the players, emerges as one of the liveliest subjects.Somewhat gratingly, “King Otto” treats its story as a tale of national stereotypes colliding head-to-head. Vassilis Gagatsis, the president of the Hellenic Football Federation at the time, says he hired Rehhagel because he thought that “being a German, he would be able to instill the discipline that we Greeks lack.” One player says that the team “became calmer and cold-blooded” under Rehhagel. According to Gagatsis, the German coach turned out to have “the heart of a Greek.”“King Otto” is less grandiose and more granular when it goes match by match through the 2004 tournament. The briskly edited recap probably holds more suspense for those who didn’t follow the events than those who did.King OttoNot rated. In Greek and German, with subtitles. Running time: 1 hour 22 minutes. In theaters and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      ‘Bronco Bullfrog’: Hello Young Lovers

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      Barney Platts-Mills’s 1969 feature about aimless East End teenagers in love comes to Film Forum after a cinematic rediscovery.An auspicious first feature, Barney Platts-Mills’s “Bronco Bullfrog” fell between the cracks — a belated example of British “kitchen sink” naturalism that arrived in 1969 before the wave of disaffected youth films by Mike Leigh and Alan Parker.Still, the writer-director Platts-Mills lived to see his movie restored and revived, if not to enjoy its American rediscovery, heralded by a weeklong run at Film Forum in New York.Platts-Mills intended “Bronco Bullfrog” as a British equivalent of Italian neo-realism: A cast of nonactors recruited from the streets of London’s depressed East End enact a story that might have been their own. Indeed, the movie grew out of a short documentary, “Everybody’s an Actor, Shakespeare Said,” that Platts-Mills made about an improvisatory workshop established by the radical theater artist Joan Littlewood in the neighborhood.The camera tilts down from smoky factories to a world of grimy alleys, dreary housing projects and aimless teenagers, who are introduced smashing into a cheap cafe to find nothing more than a few pence and some stale cakes — the first of many disappointments. A similarly barren establishment is where diffident Del (Del Walker), 17, an apprentice welder with a bad Beatles haircut, first courts discomfited Irene (Anne Gooding), a gawky 15-year-old schoolgirl in a micro mini.The couple’s awkwardness is compelling. According to Platts-Mills — who at 25 wasn’t much older than his actors — the movie was largely improvised because the cast hadn’t bothered to read the script. Del and Irene are frequently at a loss for words but, in the Littlewood tradition, Platts-Mills gives their relationship a Shakespearean framework. Irene’s mother loathes Del as instinctively as Del’s father hates Irene. What brings the couple closer is precisely their inability to find a place to be together.The fantasy of escape is underlined by the movie’s title. Bronco Bullfrog (Sam Shepherd) is the neighborhood hero — newly escaped from reform school to embark on a dead-end career of petty larceny. Del and Irene suggest lumpen mods; Bronco is a suedehead with wide suspenders and polished work boots. He has style but no sense, happily hiding out amid cartons of stolen consumer goods he is unable to fence.Movies are part of the daydream. In a rare liberating moment, Del pays for a movie ticket then opens a theater’s side door for a small crowd of crashers that includes a jolly grandmother. A corresponding scene has Del and Irene venture into London’s West End to discover they don’t have enough money to see “Oliver!,” a candy-color musical treatment of criminalized youth.Platts-Mills’s film is unpretentiously atmospheric: The thick Cockney accents require subtitles, and Audience, an East End prog band, supplies a credible score. Its understatement impressed the New York Times critic Roger Greenspun who, appreciative, wrote that, “It takes a while, with ‘Bronco Bullfrog’ to realize that you are witnessing a love story, so free is it from the rhetoric of love, or love stories.”“Bronco Bullfrog” is essentially a study in frustration — economic, sexual, even cosmic. (Del matures at the very moment that his life unravels.) But its bleak ending is mitigated by the energy of the cast and the spirit of the filmmaking.Bronco BullfrogPlays Friday, March 25 through Thursday, March 31 at Film Forum, Manhattan; filmforum.org. More

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      Hollywood Crosses the Pond

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      Hollywood Crosses the PondEshe Nelson�� Reporting from Liverpool, EnglandMr. Lunt recalls watching a Batman stunt double launch himself off the top of one of the Liver Building’s towers. “It was very, very exciting,” he said. Liverpool is used to being a stand-in for American cities. It is 1920s New York in “Fantastic Beasts and Where to Find Them” and the Brooklyn docks in “Captain America: The First Avenger.”More than 80 percent of the record amount spent in 2021 on film and high-end TV productions in Britain is from American and other overseas production companies. More

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      Vivien Leigh and Laurence Olivier’s Turbulent Relationship, Retold With Compassion

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      In “Truly, Madly,” Stephen Galloway writes about one of the 20th century’s most glamorous couples, training an eye on Leigh’s mental health struggles.TRULY, MADLYVivien Leigh, Laurence Olivier and the Romance of the CenturyBy Stephen Galloway406 pages. Grand Central Publishing. $30.God help anyone who flew the friendly skies with Vivien Leigh, her second husband, Laurence Olivier, or both.1936: A struggling seaplane on which Leigh was a passenger went “thudding like a skimmed stone over the waves” en route to Capri, writes Stephen Galloway in “Truly, Madly,” a new book about the couple’s relationship, causing Leigh, a Catholic, to repeatedly invoke Saint Thérèse.1940: The newlyweds were en route from Lisbon to Bristol. The cockpit of their plane burst into flames, eerily echoing a dream of Olivier’s.World War II: The debonair Olivier, enlisted in the Fleet Air Arm of the Royal Navy but a pilot “of notorious incompetence,” according to the writer and editor Michael Korda, crashed his own plane twice and was demoted to target-towing, parachute-packing and recruitment demonstrations.1946: On a trans-Atlantic flight from New York, the lovebirds glanced out the window and saw an engine on fire. The Pan Am Clipper turned back and hit the ground with a long, hard bounce in Connecticut.1948: Leigh got breathless at 11,000 feet over the Tasman Sea; the plane had to descend several thousand feet, and the actress was given an oxygen mask. Traveling by air in the ensuing years, she suffered flashbacks that required her to be restrained and sedated.Best remembered for her role as Scarlett O’Hara in “Gone With the Wind” (1939), Leigh had bipolar disorder, known in her lifetime as manic depression (she later contracted tuberculosis as well). She was brittle, winsome and sociable: “The only person in the world who could be charming while she was throwing up,” Korda’s uncle, the director and producer Alexander Korda, told him. But then she would toggle rapidly, and at first confoundingly, to fits of temper and nervous breakdowns. The medications and therapies that might have stabilized her weren’t common at the time.And thus her three-decade entanglement with Olivier, considered one of the greatest talents of his generation, was its own sort of doomed flight: It soared sharply into the heavens, then was rocked with turbulence before its inevitable tumble down to earth and straight through to hell.There have been many, many previous biographies of Leigh and several of Olivier (including one by his oldest son, Tarquin, from a first marriage to Jill Esmond); a memoir by Olivier, “Confessions of an Actor”; and a memoir by his third wife, Dame Joan Plowright. There has even been at least one book, “Love Scene” (1978), devoted specifically to the Olivier-Leigh romance.But Galloway, the former executive editor of The Hollywood Reporter, is perhaps the first author to interpolate this oft-told story with commentary from contemporary mental-health experts, like Kay Redfield Jamison, the psychologist who herself suffers from bipolar disorder and wrote “An Unquiet Mind.” He accomplishes this smoothly, in a contribution to the LarViv literature that is — if not strictly essential — coherent, well-rounded and entertaining. To the couple’s tale of passion he adds compassion, along with the requisite lashings of gossip.Stephen Galloway, the author of “Truly, Madly: Vivien Leigh, Laurence Olivier, and the Romance of the Century.”Austin HargraveSome couples “meet cute.” Olivier espied Leigh playing a prostitute in “The Mask of Virtue” and was left “drunk with desire.” (They went on to get drunk on many other substances as well.) Unfortunately, they had both already married other people.The startlingly beautiful Leigh was born Vivian Hartley, an only child raised first in India and then shipped off to convent school in England. She took her stage surname from the middle name of her first husband, Herbert Holman. They had a daughter, Suzanne, but Leigh found the marriage “just another role in an interminable play,” Galloway writes, and “motherhood a repeat performance without the benefit of good writing.” The youngest of three siblings, Olivier lost his beloved mother when he was 12, and though less attached to his father — a clergyman of some oratorical gifts who “meted out affection in tranches, just like the Sunday roast he would cut into wafer-thin slices” — he was influenced by him to settle down early with Esmond. “That’s a noble idea,” Esmond responded when Olivier proposed for the second time. Trying to spice up their home life, he bought her a lemur from Harrods. The Brits are different.Leigh, Olivier and their spouses all became friends at garden parties, lunches and holidays. Reading how it all went down, quite civilized and drawing-room (Leigh asked Esmond how Larry liked his eggs cooked) but with plenty of jealousy, despair and child neglect, I was reminded of John Updike’s lesser-known infidelity novel, “Marry Me,” and Harold Pinter’s play “Betrayal.” (Leigh, who excelled onstage as Blanche in “A Streetcar Named Desire” before bringing her to the silver screen, and Olivier, a Shakespearean virtuoso, both preferred the theater to mercenary moviedom.)That the scandal of their relationship had to be initially covered up for the morality clauses of Hollywood just as they were having their big breakthroughs there — Leigh in “Gone With the Wind”; Olivier as Heathcliff in “Wuthering Heights” — surely only added to the excitement.Galloway clearly spent significant time in the archives (though frustratingly, a chunk of Leigh’s side of her correspondence with Olivier remains on the loose). Galloway splices this material seamlessly with old interviews and enough new ones with those Of That Era, such as Korda and Hayley Mills, to inject some pep and freshness. Re-encountering Leigh and Olivier’s highly literate fans, like Noël Coward and J.D. Salinger, and their foils, like the flamboyant critic Kenneth Tynan, is a treat. As are the old-fashioned words — like “martinet,” “popinjay” and “annealed” — that Galloway sprinkles through the text, the way Leigh strewed the beloved posies from her various country estates.This celebrated pair, whose doomed, disease-troubled love lends them a sheen denied to steadier partnerships, won between them half a dozen Oscars. It’s an enjoyable, disorienting sensation — as the Oscars now hemorrhage viewers and relevance — to find a time capsule from when movies and their stars didn’t just stream into our living rooms along with all the other space junk, but seemed the very center of the universe. More

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      ‘Bisping: The Michael Bisping Story’ Review: An M.M.A. Fighter Speaks Out

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      A documentary takes a look at Bisping’s tough and tender sides.This slick documentary about the mixed martial arts fighter Michael Bisping spends a lot of its first half putting up a kind of cinematic “Tough Guys Only” sign. Bisping’s a crudely voluble bruiser from the North of England! His father was a sniper in the British Army! “Fighting is something that I liked, to be honest,” Bisping says, when not swearing at his critics.OK, then. The movie is executive produced by Bisping himself, which signals a certain subjectivity. The director, Michael Hamilton, assembles a “Raging Bull”-style montage in the middle of the movie, alternating cage footage with home movies to underscore Bisping’s more tender side. This is all pretty conventional. But then the fighter’s story takes a twist.In 2013, after getting a detached retina in a fight, Bisping became blind in one eye. Despite the vision loss — which he did not reveal, as it would have kept him out of the sport — he went on to become U.F.C. champion in 2016. For reasons that become obvious, Bisping and the movie do not detail how he got cleared to fight, but fight he did. And even the milquetoasts who have hung in there until this point will feel compelled to hand it to him.The movie star Vin Diesel, with whom Bisping appeared in an action-packed movie, here waxes poetic about being an alpha male. And Joe Rogan shows up without the benefit of a trigger warning, but hey, Rogan was a U.F.C. commenter back in the day. He contributes the movie’s most amusing anecdote, in which Bisping, at a weigh-in, baits Vitor Belfort, a fighter who is known for being a devoted Christian, with the taunt “Jesus isn’t real.” As it happens, Belfort’s the guy who went on to deliver the blows that detached Bisping’s retina.Bisping: The Michael Bisping StoryNot rated. Running time: 1 hour 49 minutes. Rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      Up Next for Jessie Buckley of ‘The Lost Daughter’: More Movies, and Music

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      The actress Jessie Buckley is a natural brunette, but her hair is currently chopped into a ragged black bob and her nails are painted the same emerald green that the writer Christopher Isherwood gave Sally Bowles, the glamorously in-denial singer, in his 1937 novella of the same name. “Different hair for every job,” says Buckley, characteristically wry over a video call from London. “People think you’re very transformative.” Later, she’ll go onstage in “Cabaret,” the musical adaptation of Isherwood’s story of Weimar-era doom, at the Playhouse Theatre’s Kit Kat Club, alongside Eddie Redmayne. And in a few weeks, she’ll fly to Los Angeles for the 94th Academy Awards: Her performance in “The Lost Daughter” garnered her a nomination for best actress in a supporting role. Her brother had delivered the news to her over text the day before. “I thought he was joking,” she says. “It’s just something that doesn’t happen in life.”Buckley, photographed for T: The New York Times Style Magazine, wearing a Celine by Hedi Slimane shirt.Photograph by Andrea Urbez. Styled by Hisato TasakaBuckley with her musical collaborator Bernard Butler. Buckley wears a Miu Miu sweater, $1,430, and shoes, $875, miumiu.com; and Celine by Hedi Slimane pants, $1,250.Photograph by Andrea Urbez. Styled by Hisato TasakaExplore the 2022 Academy AwardsThe 94th Academy Awards will be held on March 27 in Los Angeles.A Makeover: On Oscar night, you can expect a refreshed, slimmer telecast and a few new awards. But are all of the tweaks a good thing?Best Actress Race: Who will win? There are cases to be made for and against each contender, and no one has an obvious advantage.A Hit: Ryusuke Hamaguchi’s “Drive My Car” is the season’s unlikely Oscar smash. The director Bong Joon Ho is happy to discuss its success.  Making History: Troy Kotsur, who stars in “CODA” as a fisherman struggling to relate to his daughter, is the first deaf man to earn an Oscar nomination for acting. ‘Improbable Journey’: “Lunana: A Yak in the Classroom” was filmed on a shoestring budget in a remote Himalayan village. In a first for Bhutan, the movie is now an Oscar nominee.Buckley, 32, has been earning praise for her deft portrayals of maddening, messily vital characters, but her own career trajectory has been disciplined, even conventional: drama school (the Royal Academy of Dramatic Art) to theater (Shakespeare’s Globe), theater to indies, indies to Hollywood. She was born in Ireland’s County Kerry and seems to fulfill a kind of Yeatsian fantasy of the woman from the west who’s gifted in song. Raised in an artistic household with four younger siblings — her mother is a musician and teacher, and her father is a poet and bar manager — she moved to London as a teenager, where she finished second on a TV talent series called “I’d Do Anything.” YouTube videos show her delivering a tune from “Oliver!” with the same blend of power and vulnerability she’d bring to later roles.It’s Buckley’s voice, after all, that astonished audiences in 2018’s “Wild Rose,” a movie in which she plays an aspiring country star. This summer, she and Bernard Butler — a veteran musician, songwriter and producer — are set to release a 12-track album called “For All Our Days That Tear the Heart” on the British label EMI. “I feel a bit shy about it,” she says. “It was a really pure, beautiful, untainted thing, and a bit of a secret.” Over the past two summers, she and Butler would meet weekly to drink tea in his kitchen and discuss, among other things, lines of poetry. At the end of the day, they’d record whatever they’d made on an iPhone, just one or two takes, “and then we’d say goodbye,” says Butler. The finished album conveys the intimacy of two friends finding private meaning through creativity.Buckley, photographed for T: The New York Times Style Magazine, wearing aMiu Miu sweater; and Celine by Hedi Slimane pants.Photograph by Andrea Urbez. Styled by Hisato TasakaIn the fall, Buckley will travel to Spain to film Rebecca Lenkiewicz’s “Hot Milk.” This year will also see the release of the Sarah Polley-directed “Women Talking” — starring Buckley, Rooney Mara and Frances McDormand as members of a remote religious community disturbed by sexual violence — and Alex Garland’s “Men,” in which Buckley portrays a widow alone on holiday.Our Reviews of the 10 Best-Picture Oscar NomineesCard 1 of 10“Belfast.” More

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      After Criticism, Academy Museum Will Highlight Hollywood’s Jewish History

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      The new Academy Museum of Motion Pictures in Los Angeles, which tried to present an inclusive history of film, overlooked the role Jewish immigrants played in creating the industry.LOS ANGELES — When the Academy Museum of Motion Pictures, a 300,000-square-foot tribute to Hollywood, opened here last fall, it was lauded for honoring, in an industry historically dominated by white men, the contributions that women, artists of color and people from many backgrounds have made to film, an essential American art form.“We want to ensure that we are taking an honest, inclusive and diverse look at our history, that we create a safe space for complicated, hard conversations,” the museum’s director, Bill Kramer, said the day after the museum opened as he welcomed guests to a panel discussion titled “Creating a More Inclusive Museum.”But one group was conspicuously absent in this initial celebration of diversity and inclusivity: the Jewish immigrants — white men all — who were central to founding the Hollywood studio system. Through dozens of exhibits and rooms, there is barely a mention of Harry and Jack Warner, Adolph Zukor, Samuel Goldwyn or Louis B. Mayer, to list just a few of the best-known names from Hollywood’s history.The omission, which came at a time of increasing concern about rising antisemitism across the country, soon drew complaints from Jewish leaders, concern from supporters of the new museum and a number of critical articles, including in Rolling Stone and The Forward, which ran a piece headlined “Jews built Hollywood. So why is their history erased from the Academy’s new museum?”“I was there opening night: I was shocked by the absence of an inclusion of Jews in the Hollywood story,” said Jonathan Greenblatt, the head of the Anti-Defamation League, a group that tracks antisemitism and hate crimes.Now, museum officials say, that is going to change.The museum was criticized for overlooking the first- and second-generation Eastern European Jews who helped create Hollywood, including Louis B. Mayer.Margaret Herrick LibraryBarraged by complaints, the museum plans to open a new permanent exhibition next spring devoted to the origins of Hollywood, and specifically the lives and contributions of the Jewish studio founders who were largely responsible for creating the world that is being celebrated by the sellout crowds flocking to the new museum.Kramer said in an interview that the Academy Museum had always intended to open a temporary gallery devoted to the subject. “We’ve long had this on our list to do, and we knew this was going to be in our first rotations,” he said recently over coffee at Fanny’s, the museum’s restaurant. But the criticism prompted museum officials to shift gears and decide to enshrine it as a permanent exhibition.“Representation is so important,” Kramer said “We heard that and we take that seriously. When you talk about the founding of Hollywood studios, you’re talking about the Jewish founders.”The dispute highlights the challenges museums across the nation face in an atmosphere of heightened sensitivities about issues of representation and race and gender. It is particularly complicated for the Academy Museum, as it tries to walk the uncomfortable line between being a place of scholarship and a sales tool for an industry struggling to reinvent itself as audiences abandon movie theaters for their living rooms.“It’s a colossal miss,” said Greenblatt, of the Anti-Defamation League. “Any honest historical assessment of the motion-picture industry should include the role that Jews played in building the industry from the ground up.”Some historians said the omission appeared to be the latest example of Hollywood’s strained relationship with its Jewish history.“You have to understand that Hollywood in its very inception was formed out of a fear that its founders — and those who maintained the industry — would be identified as Jews,” said Neal Gabler, the author of “An Empire of Their Own: How the Jews Invented Hollywood,” a book about the Jewish studio heads. “It’s almost fitting that a museum devoted to the history of Hollywood would incorporate in its very evolution this fear and sensitivity.”Still, Jewish leaders said they were heartened by the museum’s response to their complaints. Kramer and other museum leaders reached out to rabbis and Jewish scholars, including Gabler and Greenblatt, asking their guidance on what should be included in the new gallery to repair this breach.“I am convinced they are going to do the right thing,” Greenblatt said.What that is, though, is not yet clear. The exhibition is being planned for a relatively modest 850-square-foot gallery on the third floor of the building. Dara Jaffe, the curator, said the exhibition, which will be called “Hollywoodland,” will be a broad look at the origins of the industry. It will highlight the biographies and achievements of the founders of the major studios, as well as of some lesser-known Jewish filmmakers.Carl Laemmle, who was born to a Jewish family in Germany, became a founder of Universal Pictures and later worked to help German Jews escape from the Nazis. Margaret Herrick Library“We want to answer the question of: Why Los Angeles?” Jaffe said. “Why is this the place where the world capital of cinema blossomed? It’s not a coincidence that many of the founders are predominantly Jewish. It’s a specifically Jewish story and a specifically Jewish immigrant story.”The exhibition will not open for a year, and key details, from how it will be presented to what kind of artifacts will be included, are still in the planning stages.Haim Saban, an Israeli American philanthropist and media entrepreneur who with his wife, Cheryl, donated $50 million to the museum, becoming one of its most important benefactors, said in an email that the promise of a new gallery “not only underscores how seriously the Academy Museum has taken the feedback, but demonstrates an understanding of the critical role that Jewish founders had in the establishment and shaping of Hollywood.”Saban was among the major backers of the museum to register his concern within days after it opened. He and his wife were critical to financing what ended up to be a $487 million project; the main exhibition hall at the museum was named the “Saban Building” in their honor.Some are asking how a museum that took such care to highlight the contributions of people from a diverse array of backgrounds — it created an Inclusion Advisory Committee to offer guidance on how to deal with these issues, and made a call to “Embrace Diversity and Be Radically Inclusive” one of its guiding principles — neglected to account for the role of some of the biggest names in Hollywood history.“There is a historic tendency of Jewish people in the industry to play down the fact that they were Jewish,” said Rabbi Kurt F. Stone of Boca Raton, Fla., who grew up in Los Angeles and is one of the rabbis the museum consulted after the backlash began. “But do I have an answer as to why they screwed up so badly? I don’t.”Sid Ganis, a former president of the Academy of Motion Picture Arts and Sciences and a lifetime trustee of the museum, said he was surprised at the depth of the outrage that emerged after the museum opened its doors. “It was vocal and real and something we paid attention to,” he said.Ganis, a longtime proponent of the museum, said organizers were always aware of the importance of Jews in Hollywood history, adding that this was not an oversight. “We just hadn’t gotten to it yet,” he said. “Opening the museum at the end of October, the beginning of November, was an enormous undertaking. And we made choices. It was something we always knew we were going to attend to. But now, even more so.” More