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    Watch Dwayne Johnson Chase Ryan Reynolds in ‘Red Notice’

    The director Rawson Marshall Thurber narrates a sequence set in a museum.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.A chase scene through a museum allowed the filmmakers behind “Red Notice” to try out some fun new technology.This sequence involves the F.B.I. profiler John Hartley (Dwayne Johnson) getting into a foot chase with the art thief Nolan Booth (Ryan Reynolds). The chase involves some creative use of scaffolding and some inventive reuse of locations.In this video, the writer and director Rawson Marshall Thurber discusses how he and his crew worked through some of the limitations involved in shooting the film during the pandemic. They couldn’t leave Atlanta, their home base for the production, and had to build a museum set on a soundstage there.“Ryan and Dwayne chase each other through hallways, and oftentimes, what we would do is have them run through one hallway,” Thurber said, “and then overnight we would change it to look like a different hallway and they would run back the other way.”The filmmakers also employed a small camera called the Komodo, from Red Digital. That camera was attached to a race drone, which could chase the actors through the sets.“It got us some pretty great shots,” Thurber said.Read the “Red Notice” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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    Bob Bondurant, Car Racer Who Tutored Actors on the Track, Dies at 88

    After a racetrack accident put him in the hospital, he pivoted to open a driving school, where his students included Paul Newman, Tom Cruise and Christian Bale.Bob Bondurant, a master racecar driver who was better known for his driving school in California and later Arizona, where he tutored actors like Paul Newman, Tom Cruise and Christian Bale for their onscreen racing roles, died on Nov. 12 in Paradise Valley, Ariz. He was 88. A death certificate provided by his wife, Pat Bondurant, said he had a “suspected immune reaction related to vaccinations.” It cited cerebrovascular disease and cerebral arterial stenosis as underlying conditions. He died at an assisted living facility.Mr. Bondurant began attracting attention in the racing world in 1959, when he won 18 of the 20 races he entered behind the wheel of a Corvette.“I am an original California hot rodder turned white hot when I started winning everything in my Corvettes,” he was quoted as saying by the National Corvette Museum, which inducted him into its Hall of Fame in 2016.He continued to win races regularly in Corvettes in the 1960s, but he also began to race successfully in other sports cars and open-wheeled Formula 1 machines, including for the elite Ferrari team from 1965 to ’66.“He was top of the line,” said Peter Brock, who designed the Shelby Daytona Cobra Coupe that Mr. Bondurant raced with Dan Gurney to first place in the GT, or Grand Touring, class at the 24 Hours of Le Mans endurance race in 1964.But in 1967, Mr. Bondurant crashed during a race at what is now the Watkins Glen International in upstate New York, suffering multiple injuries, including fractures of both feet and a broken right ankle. It was a turning point.In the hospital he came up with the idea of opening a school that would teach safe, defensive driving to auto enthusiasts.The Bob Bondurant School of High Performance Driving opened in early 1968 at the Orange County International Raceway in Irvine, Calif. “We want to make a better driver, rather than make a faster driver,” he told The Los Angeles Times at the time. He also offered instruction in racecar driving, motorcycling and drag racing.Even before opening the school, Mr. Bondurant had some well-known students. He had coached James Garner and Yves Montand in driving Formula 1 cars for John Frankenheimer’s 1966 film, “Grand Prix.” Mr. Bondurant, who was a stunt man and technical adviser to the film, wore 16-millimeter cameras on the sides of his helmet to record racing action on the track while moving at 150 miles per hour.Mr. Bondurant, in the car, with Paul Newman on the set of the 1969 movie “Winning.” Mr. Newman was one of his first big-name students.Universal, via Everett CollectionSoon after Mr. Bondurant opened the school, Mr. Newman and Robert Wagner signed up as students. They had been cast as racecar drivers in the film “Winning” (1969), in which Mr. Newman’s character dreams of winning the Indianapolis 500.“Paul has a knack of knowing how to learn,” Mr. Bondurant told The St. Louis Post-Dispatch in 1988. “He’s like most actors — they know how to listen. He would move at his own pace, and wouldn’t go too quick. He took it step by step, and it came naturally to him.”He tested Mr. Newman on three tracks before he handed him off to another instructor, who familiarized him with the Indianapolis Motor Speedway. Mr. Newman’s experience on the film led him to take up racecar driving as a sideline, as a both successful professional driver and a team owner.As Mr. Bondurant’s school grew, it moved from Irvine to Ontario Speedway, near Los Angeles, then to Sonoma Raceway, in Northern California, and in 1989 to its most recent location, Wild Horse Pass Motorsports Park, in Chandler, Ariz.“I love teaching and I love driving,” he told The Post-Dispatch. “I hope I never grow up. It would be a disaster.”Robert Lewis Bondurant was born on April 27, 1933, in Chicago to John and Ruth (Williams) Bondurant. His mother was a homemaker, and his father was a luxury car dealer who sold his business during the Depression and moved the family from Evanston, Ill., to the Westwood Village neighborhood of Los Angeles, making his living selling surgical instruments.His parents divorced when Bob was 12; four years later his mother died.“My dad took me to Gilmore Stadium when I was 7 to watch the races, and that got me interested in racing,” Mr. Bondurant told Motor Trend magazine in 2012.He drag-raced, began racing motorcycles at 18, moved on to sports cars — a British Morgan Plus 4, a Triumph TR2 — then drove a 1957 fuel-injected Corvette in his stunningly successful 1959 season, which earned him the title of Best Corvette Driver of the year. He kept winning in Corvettes into 1963.After studying business, he graduated from Woodbury College in Los Angeles in the early 1960s.Driving for the Shelby American team, Mr. Bondurant raced Cobras in the United States and Europe; in addition to the Le Mans triumph in 1964, he helped Shelby and Ford win the prestigious World Manufacturers’ GT Championships the next year.After his interlude with Ferrari, Mr. Bondurant leaped to the Canadian-American Challenge Cup circuit — better known as Can-Am — in cars that went even faster than those in Formula 1. His 1967 accident came at the Can-Am race at Watkins Glen. He was driving his McLaren Mark II at 150 m.p.h. when his steering arm broke, causing the car to flip multiple times.After recovering, he continued to race occasionally, the last time in 2012. But his focus was on his school, which his wife said had taught more than 500,000 people over 50 years, including professional racecar drivers, celebrities, military officers, F.B.I. and C.I.A. agents, Navy Seals, and teenagers learning safe-driving skills, usually at the request of their parents.In recent years, after Mr. Bondurant became less involved in it, the school was beset by financial problems and filed for Chapter 11 protection in 2018. An investment group purchased its assets the next year and renamed it the Radford Racing School. Ms. Bondurant said she was working to start another school that would use the Bondurant name.Mr. Bondurant in 2016 behind the wheel of an Alfa Romeo Giulia.“I love teaching and I love driving,” he said. “I hope I never grow up.”Kelly Sullivan/Getty Images Mr. Bondurant married Pat Chase at the Monaco Grand Prix racetrack in 2010. In addition to his wife, he is survived by her son, Jason Bondurant, whom he adopted and was a vice president of the racing school; his stepdaughter, Meagan Radigan; and two step-grandsons. His previous marriages ended in divorce.In 1990, Mr. Bondurant trained Tom Cruise for his role as a stock-car driver in Tony Scott’s “Days of Thunder,” and in 2000 Nicolas Cage trained at the Bondurant school for his role as a car thief in “Gone in 60 Seconds.”Mr. Bondurant worked with Christian Bale in the summer of 2018 as the actor trained to play the British racecar driver Ken Miles in “Ford v Ferrari” (2019), James Mangold’s account of the cutthroat competition in Formula 1 between the two automakers at the 24 Hours of Le Mans in 1966.“Bob spent hours with Christian in his GT40, talking to him about how to play Miles,” Ms. Bondurant said in a phone interview. “Bob had great reverence for Christian because both were motorcycle racers. With Christian’s motorcycle racing experience, Bob said: ‘I’d do anything to get him to quit acting. I could get him to win Le Mans.’” More

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    The company that produced ‘Parasite’ has bought Endeavor’s scripted content arm.

    The South Korean media conglomerate whose entertainment arm produced the winner of the 2019 Oscar for best picture, “Parasite,” has acquired a majority stake in the scripted arm of Endeavor Content, a subsidiary of the entertainment company Endeavor Group.Upon closure of the $775 million deal, which was announced late Thursday night, the South Korean conglomerate, CJ ENM, will own 80 percent of the business and the Endeavor Group 20 percent. The companies said they expected the deal to close in the first quarter of 2022.The Wall Street Journal reported the news earlier.“At the end of the day, CJ ENM strives to become a major global studio that encompasses content that appeals to a global audience — like this deal with Endeavor Content, we will continue to expand our presence in the global market,” Kang Ho-Sung, the conglomerate’s chief executive, said in a statement.Endeavor is being forced to reduce its ownership stake in its scripted content business as a result of a settlement this year with the Writers Guild of America, whose writers went on strike to protest what they saw as a conflict of interest at agencies that owned both talent representation businesses and production companies.Endeavor is not required to sell its unscripted assets and will maintain 100 percent ownership of that business.Endeavor Content was formed in 2017 by Graham Taylor and Chris Rice. Today, it calls itself a global film and television studio, and it has produced such projects as “Nine Perfect Strangers,” a Hulu mini-series starring Nicole Kidman, and Maggie Gyllenhaal’s directorial debut, “The Lost Daughter.” It owns a minority stake in Bruna Papandrea’s production company, Made Up Stories, in addition to PictureStart and Media Res.Mr. Taylor and Mr. Rice will remain co-chief executives of the new company.CJ has been expanding its foothold in Hollywood in recent years. Miky Lee, the vice chair of CJ Entertainment, the Hollywood arm of CJ ENM, rose to the national stage when she accepted the best picture Oscar for “Parasite,” but she was an industry player before then, nudging CJ toward Hollywood in the 1990s with a stake in DreamWorks. Most recently, she invested $100 million in David Ellison’s Skydance Media and was elected vice chair of the board of the Academy Museum of Motion Pictures.“Having known Miky Lee for more than 25 years, I’m confident that CJ ENM will be excellent stewards of the studio, accelerating and amplifying its projects on a global stage,” Ari Emanuel, the chief executive of Endeavor, said in a statement. More

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    The Real Surprise of ‘Passing’: A Focus on Black Women’s Inner Lives

    By making the lesbian attraction between the main characters more explicit, the drama moves beyond mainstream Hollywood’s white gaze.Midway through the new drama “Passing,” Irene Redfield (Tessa Thompson), the light-brown-skinned, upper-middle-class protagonist, offers a unique insight into her psyche when she says to her friend Hugh, “We’re, all of us, passing for something or the other,” and adds, “Aren’t we?”Until now, Irene has successfully maintained her cover as both a respectable wife and proud African American woman. But when Hugh (Bill Camp) challenges her by asking why she does not pass for white like her biracial childhood friend, Clare Kendry (Ruth Negga), her response is a revelation, startling me almost as much as it did him.“Who’s to say I am not?” she snaps back.In that moment, I realized that what I had considered the B-plot of Nella Larsen’s 1929 novel, “Passing,” had risen to the surface in the writer-director Rebecca Hall’s adaptation, giving us a narrative that remains all too rare in Hollywood today: the interior world of a Black woman’s mind.When I teach Larsen’s novel to my undergraduate students, I usually start with the obvious: its racial plot and the ways in which Clare finds refuge from racism by identifying as white, only to be tragically alienated from her Black family and community.But I mainly teach “Passing” through what I think is the novel’s real central conflict: same-sex female desire and the paranoia that begins to overtake Irene, and for that matter Larsen’s story line, as a result of her unconsummated relationship with Clare. In a 1986 essay on Larsen’s novel, the critic Deborah E. McDowell explained why this longing had to appear secondary to the emphasis on race. “The idea of bringing a sexual attraction between two women to full expression,” she wrote, was “too dangerous of a move” in 1929. Instead, “Larsen enveloped the subplot of Irene’s developing if unnamed and unacknowledged desire for Clare in the safe and familiar plot of racial passing.”Rather than explore the ways that Irene comes into her sexuality, racial passing — at the height of segregation in America — was considered a far more urgent and thus more conventional theme than that of Black women’s inner lives. As a consequence, Larsen’s novel ended up passing, too, eventually taking “the form of the act it implies,” McDowell concluded.Visually, Hall compensates for the novel’s restraint through stolen glances, flirtatious phrases, and lingering touches and kisses between Clare and Irene. As Irene’s tension mounts, the film externalizes it through other symbols: a loudly ticking grandfather clock, a pot of water boiling over and even her breaking a teapot at a midday social in her home. In these hints, we see both Irene’s desire to break free from the illusion of middle-class domesticity and heterosexuality that she performs, as well as the threat that Clare’s presence poses to Irene’s sense of control.But, to externalize Irene’s internal thoughts and her sublimated identity, the movie makes what is suggested in the novel far more explicit. For example, Irene’s confession to Hugh never actually happens in the book. Hall opted to amp up that moment, she explained in a video for Vanity Fair, because she wanted “to highlight the latent homosexuality and power dynamics” underlying their shared secret.But for all that movie does so very well — its subtle swing jazz score; its beautiful black-and-white montages evocative of the photographers Gordon Parks and Carrie Mae Weems; and the delightful cat-and-mouse performances by Thompson and Negga — it deliberately limits how much access we have to Irene. Such restrictions, after having a glimpse of Irene’s full personality, further reminded me of how few stories about African American female sexuality and subjectivity have been told on the big screen.In other words, at this moment, when Black artists are being celebrated and validated as never before, what does it mean to invest in films that fully move us beyond a racist or sexist gaze and into their innermost thoughts?Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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    With 'New York Ninja,' Lights, Camera and, Finally, Action

    The 1984 kung fu film was shot, but it wasn’t completed. Now, with a new director and newly recorded dialogue, the film sees the light of day.Kung fu fights on roller skates! An ex-C.I.A. Plutonium Killer who can peel off his own face! A battalion of kid ninjas! The promise of Dolemite himself, Rudy Ray Moore, as an insult-spewing police detective!In 1984, audiences had never seen anything like the low-budget epic “New York Ninja,” in which the Taiwanese kung fu performer John Liu directs himself as a high-kicking sound man who avenges his wife’s death.And despite lurid “Coming Soon” ads in the trade magazines (“WHEN YOU BACK A TIGER INTO A CORNER HE COMES OUT FIGHTING!”), audiences never got to see it in 1985. Or 1986. Or the ensuing three decades.“It was one of those things that was on my résumé for years, but I never thought it would see the light of day,” the special effects artist Carl Morano said of “New York Ninja,” which vanished after its distribution company, 21st Century, went bankrupt and sold off its assets.All that remained was a set of film reels with six to eight hours of footage. No audio. No credits or call sheets. No storyboards. Not even a script to explain who exactly the New York Ninja was fighting and why, let alone how the roller skates came into play.Those reels eventually ended up in the vaults of the film distribution company Vinegar Syndrome, known for such disreputable titles as “Christmas Evil” and “Don’t Answer the Phone!” It took a two-year resuscitation effort for Vinegar Syndrome to bring “New York Ninja” to life. The result came out on Blu-ray earlier this month after a few raucously received appearances at genre film festivals, and a theatrical release is slated for early 2022.Liu, right, shot “New York Ninja” in 1984, but the project was abandoned.Vinegar Syndrome PicturesMuch of the reconstruction fell to Kurtis M. Spieler, who is credited as the new iteration’s “re-director” and editor. “What I tried to do was make the most coherent thing I could with the footage I had,” said Spieler, who spent evenings and weekends piecing together a workable edit and then writing a new script to match his cut.This took some effort given the source material. “They had zero resources,” said Morano, who spent most of his estimated special effects budget of $100 on the Plutonium Killer’s melting face. “Different people showed up on different days. We’d meet every morning at the Howard Johnson’s where John was staying and then take a van to the location.”When he arrived in New York, John Liu was already a cult figure in martial arts circles, known for his high kicks and his collaborations with the fight choreographer Yuen Woo-ping, who went on to work on films like “The Matrix” and “Crouching Tiger, Hidden Dragon.”The huge popularity of Bruce Lee put a ceiling on just how familiar audiences were with Liu’s name, according to the film historian Chris Poggiali, a co-author of the new book “These Fists Break Bricks: How Kung Fu Movies Swept America and Changed the World.”“At the time, the studios were doing anything they could to tie in with Bruce Lee,” Poggiali said. This meant changing Liu’s name on the posters. For example, the poster for the film “Hammerfist” billed Liu as Marty Lee.By the time shooting on “New York Ninja” began in late 1984, one actor no longer attached to the project (if he ever really was in the first place) was Rudy Ray Moore. But Morano’s original shooting script, the only one known to exist, still alluded to “Detective Dolemite,” which made Morano wonder just how scrupulously the script was being followed. “My feeling is that they just kind of winged it,” he said.Poggiali described the final result as “very different from a lot of the other ninja movies at the time.” As Liu’s character frequently slips away from his co-workers to put on his New York Ninja garb and then returns as if nothing had happened, “it’s more like a crime-fighting superhero film, like Clark Kent and Superman.”The names of most of the original cast and crew are lost to time, and Spieler said Vinegar Syndrome tried to find Liu but wasn’t able to. This gave Spieler the chance to start fresh with the audio, commissioning a synth-heavy retro score by the Detroit band Voyag3r and fielding a murderer’s row of genre-film stalwarts to dub the actors.The film’s original reels, which included no actor credits, ended up in the vaults of the film distribution company Vinegar Syndrome.Vinegar Syndrome PicturesJoining the likes of Don Wilson, a.k.a. the Dragon, and Cynthia Rothrock in the recording booth was the 1980s scream queen Linnea Quigley (“Return of the Living Dead”), who here dubs the voice of the frequently imperiled TV reporter Randi Rydell. “They said, ‘You’re playing the reporter, do what you want with it,’” Quigley said. “It seemed like fun — which is wild because I think they kind of wanted it to be serious.”Or, if not exactly serious, at least not too campy. “We’re playing this straight,” said Spieler, who compared the final result to “Miami Connection,” “Samurai Cop” and other so-bad-they’re-kind-of-extraordinary titles. “We’re not trying to play up the silliness because it already comes through naturally.”While it’s impossible to know for sure, Spieler said he suspects Liu wasn’t able to complete filming before the production shut down. “The ending doesn’t feel like it was ever finished,” he said. Vinegar Syndrome originally floated the possibility of filming new scenes, but Spieler was intent on working with what they had.“I asked myself, ‘If my job was to have been an editor in the 1980s, what would I have done?’” he said. “This was how I could maintain the spirit of the original.” (In fact, he didn’t let himself look at Morano’s original shooting script until he completed his own version.)Spieler believes that the intervening decades may actually have done “New York Ninja” some favors. “We knew it was campy and silly and over the top,” he said, “but we also knew it can be appreciated from a modern-day sensibility in a different way.“It’s finding its right audience now.” More

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    She Plays a Young Serena Williams

    Demi Singleton stars in “King Richard,” opposite Will Smith.Name: Demi SingletonAge: 14Hometown: New York CityCurrently Lives: In a Spanish-style house in Los Angeles with her parents and two siblings.Claim to Fame: Ms. Singleton is an actress, singer, dancer and cellist who plays a young Serena Williams in “King Richard,” alongside Will Smith, who plays her father, Richard Williams.She started dancing at age 3, singing at age 7 and soon booked roles on Broadway. “King Richard” is her big-screen debut. “I just felt so loved and taken care of the entire time,” she said. She developed a sisterly bond with Saniyya Sidney, who plays Venus Williams. “We were on the phone with each other all day yesterday. We’re really like siblings now.”Big Break: Ms. Singleton started pursuing acting professionally at age 10, after seeing “Matilda” on Broadway. “I was able to see a bunch of young people doing what they love, and having so much fun on stage,” she said. “That’s what made me realize that I wanted to be an actress.”She booked “School of Rock” on Broadway shortly after signing with her first agency, and next played Young Nala in “The Lion King.” “It was hard in some ways, but it really wasn’t like work,” she said. “Being on Broadway is just fun, you just have an enjoyable time on stage.”Ms. Singleton plays Serena Williams in “King Richard.”Warner BrosLatest Project: For “King Richard,” which opened in theaters and HBO Max on Nov. 19, Ms. Singleton studied Serena Williams’s mannerisms, but nothing prepared her more than meeting the Williams sisters on set. “We had a very long conversation about their teenage dating lives,” she said. “It was really cool to get to see them from a different perspective, and see them talking about something other than what they’re famous for.”Next Thing: Ms. Singleton is hoping to release music within the next year, which she describes as a mix of pop and R&B. “The whole message of everything that I’m releasing is equality and love and kindness,” she said, “because we’re in such a weird time right now.”Learning Curve: Ms. Singleton had never played tennis before “King Richard.” She took three lessons before her final audition, because the casting directors wanted to see her and Ms. Sidney hit some balls together. “I was learning to play like a literal icon,” she said. “I had to mimic her. If I were to go play right now, I wouldn’t know how to play like anyone else but Serena Williams.” More

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    The company that produced ‘Parasite’ is in talks to buy Endeavor’s scripted content arm.

    The South Korean media conglomerate whose entertainment arm produced the winner of the 2019 Oscar for best picture, “Parasite,” is in final talks to acquire a majority stake in the scripted arm of Endeavor Content, a subsidiary of the talent agent Endeavor Group, two people familiar with the negotiations said.Under the deal, which the people familiar with the negotiations said was being valued at $900 million to $1 billion, the South Korean conglomerate, CJ ENM, would own 80 percent of the business and the Endeavor Group 20 percent.The Wall Street Journal reported the news earlier. Neither Endeavor Content nor CJ would comment on the talks.Endeavor is being forced to reduce its ownership stake in its scripted content business as a result of a settlement this year with the Writers Guild of America, whose writers went on strike to protest what they saw as a conflict of interest at agencies that owned both talent representation businesses and production companies.Endeavor is not required to sell off its unscripted assets and will maintain 100 percent ownership of that business.Endeavor Content was formed in 2017 by Graham Taylor and Chris Rice. Today it calls itself a global film and television studio, and it has produced such projects as “Nine Perfect Strangers,” a Hulu mini-series starring Nicole Kidman, and Maggie Gyllenhaal’s directorial debut, “The Lost Daughter.” It owns a minority stake in Bruna Papandrea’s production company, Made Up Stories, in addition to PictureStart and Media Res.Mr. Taylor and Mr. Rice will remain co-chief executives of the new company, the people with knowledge of the deal said.CJ has been expanding its foothold in Hollywood in recent years. Miky Lee, the vice chair of CJ Entertainment, the Hollywood arm of CJ ENM, rose to the national stage when she accepted the best picture Oscar for “Parasite,” but she was a Hollywood player before then, nudging CJ toward Hollywood in the 1990s with a stake in DreamWorks. Most recently, she invested $100 million in David Ellison’s Skydance Media and was elected vice chair of the board of the Academy Museum of Motion Pictures. More

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    Wilbur Smith, Best-Selling Author of Swashbuckling Novels, Dies at 88

    His books were full of lovers, dysfunctional families, pirates and hunters, and set in locations from ancient Egypt to colonial Africa. They sold in the millions.Wilbur Smith, a former accountant whose novels featuring lionhearted heroes, covetous family dynasties, steamy lovers, coldblooded pirates and big-game hunters were said to have sold some 140 million copies in 30 languages, died on Saturday at his home in Cape Town. He was 88.His death was announced on his website. No cause was specified.Over more than five decades, Mr. Smith’s historical thrillers and adventure novels, which often spanned several generations and several continents, became a popular franchise of series and sequels.Reviewing his book “The Diamond Hunters” in The New York Times Book Review in 1972, Martin Levin wrote that “the potpourri Wilbur Smith has assembled is rife with lifelong misunderstandings, undying hates, unbelievably nefarious schemes and nick‐of‐time rescues — delivered with the deadpan sincerity of the pulp greats.”Raised on a 30,000-acre cattle ranch in what was then the British protectorate of Rhodesia (and is now Zambia), Mr. Smith was a bookish boy whose strict father discouraged reading (“I don’t think he ever read a book in his life, including mine,” he told The Daily Telegraph in 2007) but went on to draft plots on official paper he lifted from his work at the government’s Inland Revenue Service.He completed his first manuscript in 1962. Twenty publishers sent telegrams rejecting it. He revised and reduced it, embracing the advice of Charles Pick, the deputy managing director of the publishing house Heinemann, to tell a story that drew more fully on his own experience. “Write only about those things you know well,” Mr. Smith said Mr. Pick advised.Inspired by the life of his grandfather, who was lured by the Witwatersrand gold rush of the 1880s and fought in the Zulu wars, and by his own upbringing on his father’s ranch, Mr. Smith wrote “When the Lion Feeds,” which was published in 1964.It became the first in a successful series of what Stephen King in 2006 praised as “swashbuckling novels of Africa” in which “the bodices rip and the blood flows.” Subsequent decades would bring other series, based in Southern Africa and ancient Egypt.“I wrote about hunting and gold mining and carousing and women,” Mr. Smith said.Mr. Smith’s “When the Lion Feeds” (1964) was initially rejected by 20 publishers but went on to become the first in a successful series of what Stephen King praised as “swashbuckling novels of Africa.” Bentley Archive/Popperfoto via Getty ImagesHe set other books in locales ranging from Antarctica to the Indian Ocean. “Wild Justice” (1979), one of the first of his books to become a best seller in the United States (where it was published as “The Delta Decision”), was the story of the hijacking of a plane off the Seychelles — one of many places Mr. Smith called home. (He also had homes in London, Cape Town, Switzerland and Malta.)Wilbur Addison Smith was born on Jan. 9, 1933, in Broken Hill, Northern Rhodesia (now Kabwe, Zambia). He was named for Wilbur Wright, the aviation pioneer. His father, Herbert, was a rancher who became a sheet metal worker. His mother, Elfreda, was a painter who encouraged his reading.He contracted cerebral malaria when he was 18 months old. “It probably helped me,” he said later, “because I think you have to be slightly crazy to try to earn a living from writing.” He caught polio when he was a teenager, which resulted in a weakened right leg.When he was 8, his father gave him a .22-caliber Remington rifle. “I shot my first animal shortly afterward and my father ritually smeared the animal’s blood on my face,” he wrote in his memoir, “On Leopard Rock: A Life of Adventures” (2018). “The blood was the mark of emerging manhood. I refused to bathe for days afterward.”He attended Michaelhouse, a private boys’ school in the KwaZulu-Natal midlands of South Africa. He started a student newspaper there, but he hated school.“Michaelhouse was a debilitating experience,” he later recalled. “There was no respect for the pupils. The teachers were brutal, the prefects beat us, and the senior boys bullied us. It was a cycle of violence that kept perpetuating itself.” Reading and writing, he said, became his refuge.“I couldn’t sing nor dance nor wield a paintbrush worth a damn,” he told the Australian website Booktopia in 2012, “but I could weave a pretty tale.”He said that he had originally wanted to write about social conditions in South Africa as a journalist, but that his father nudged him toward what he thought was a more stable profession. After graduating from Rhodes University in Grahamstown (now Makhanda), South Africa, with a Bachelor of Commerce degree in 1954, he worked for the Goodyear Tire and Rubber Company for four years, then joined his father’s sheet metal manufacturing business. When that company faltered, he became a government tax assessor.He married Anne Rennie in 1957. They divorced in 1962 after having two children: a son, Shaun, and a daughter, Christian. He married Jewell Slabbart in 1964; they had a son, Lawrence, before that marriage also ended in divorce. In 1971, he married Danielle Thomas; she died in 1999. The next year he married Mokhiniso Rakhimova, who was 39 years his junior and whom he met in a London bookstore. He adopted her son, Dieter Schmidt, from a previous marriage. Complete information about survivors was not immediately available.From left, Roger Moore, Barbara Parkins and Lee Marvin in “Shout at the Devil” (1976), based on a book by Mr. Smith.American International PicturesA few of Mr. Smith’s books have been adapted into films, including “Shout at the Devil” (1976), which starred Lee Marvin and Roger Moore.Mr. Smith had his detractors, who saw some of his writing as glorifying colonialism and furthering racial and gender stereotypes. And he was not always a favorite of critics.He maintained, as he told the Australian publication The Age, that he paid little attention. “The snootiness of critics is so silly,” he said. “They’re judging Great Danes against Pekingese. I’m not writing that literature — I’ve never set out to write it. I’m writing stories.”“Now, when I sit down to write the first page of a novel, I never give a thought to who will eventually read it,” he is quoted on his website, recalling the advice of his first publisher, Mr. Pick: “He said, ‘Don’t talk about your books with anybody, even me, until they are written.’ Until it is written, a book is merely smoke on the wind.”Later in his career, Mr. Smith was churning out two books annually, with the help of a stable of co-authors.“For the past few years,” he said when he announced the collaboration, “my fans have made it very clear that they would like to read my novels and revisit my family of characters faster than I can write them.” More