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    These 'Spider-Man' Villains Return in 'No Way Home'

    Willem Dafoe, Alfred Molina and Jamie Foxx talk about reprising their bad-guy roles in the blockbuster sequel.They were very good at being bad.At the dawn of the “Spider-Man” film franchise in 2002, Willem Dafoe, the acclaimed actor of movies like “Shadow of the Vampire” and “The Last Temptation of Christ,” inaugurated the superhero series with a credible, formidable villain, Norman Osborn — otherwise known as the Green Goblin.Two years later, Alfred Molina, the distinguished star of film (“Frida,” “Boogie Nights”) and theater (“Art”), donned the mechanical tentacles of the nefarious Otto Octavius — a.k.a. Doctor Octopus — for a sequel, “Spider-Man 2.”Another decade and another iteration of the franchise went by, and the mantle of eminent evildoer was passed to Jamie Foxx, an Academy Award winner for “Ray,” who played Max Dillon and his high-voltage alter ego, Electro, in “The Amazing Spider-Man 2.”Each reset — not to mention the fact that some of the characters died in their films — seemed to preclude the possibility that these actors and the bad guys they played could ever meet up in a single film.But that comic-book fantasy became cinematic reality in the current blockbuster “Spider-Man: No Way Home,” in which an errant spell cast by Doctor Strange brings Osborn, Octavius and Dillon into a dimension where Tom Holland wears the Spidey suit. (Oh yeah, the movie also unites Holland and his “Spider-Man” predecessors, Tobey Maguire and Andrew Garfield — blah, blah, blah.)For Dafoe, Molina and Foxx, “No Way Home” allowed them to share (or steal) trade secrets. The movie also gave their bad guys the opportunity to try out being good guys: as Molina explained, “All the villains got a chance to not just redeem ourselves but find a deeper, more nuanced level to fill out our characters and make them richer.”In individual interviews, the actors talked about being recruited to the “Spider-Man” franchise, returning for “No Way Home,” and the process and pleasures of doing their dirty deeds. These are edited excerpts from those conversations.What do you remember about first being offered your role in the “Spider-Man” series? What was different about superhero movies at the time?WILLEM DAFOE They offered the Goblin/Norman Osborn part to many people before they arrived at me. I was shooting a film in Spain [“The Reckoning”], and they sent the casting director to Spain and we shot a little audition in my hotel room. It wasn’t business as usual. But it was something I was very interested in doing, and I had a good feeling for Sam Raimi [who directed the original “Spider-Man” movies]. Of course, some people, at that point, thought it was very strange to make a film out of a comic. But I saw there could be a great pleasure and a great adventure in it, so I pursued it.The Green Goblin — and that mask — in the first “Spider-Man.”Sony PicturesALFRED MOLINA These movies have become very specific and almost forensic in the way they’re made. They have to appeal to all kinds of quadrants. On Sam Raimi’s film, I found the best way to handle the enormity of the event was to remember that as an actor, you’re a small cog in a much, much larger machine. You don’t spend a great deal of time exploring character or motivations, particularly if you’re playing a villain. But for me, that’s part of the joy of it — of turning a moment into, hopefully, a fun piece of storytelling.Explore the Marvel Cinematic UniverseThe popular franchise of superhero films and television series continues to expand. ‘Spider-Man: No Way Home’: The web slinger is back with the latest installment of the “Spider-Man” series.‘Hawkeye’: Jeremy Renner returns to the role of Clint Barton, the wisecracking marksman of the Avengers, in the Disney+ mini-series.‘Shang-Chi and the Legend of the Ten Rings’: The superhero originated in comics filled with racist stereotypes. The movie knocked them down.‘Eternals’: The two-and-a-half-hour epic introduces nearly a dozen new characters, hopping back and forth through time.JAMIE FOXX All I can tell you is that my kids finally thought I was cool. “OK, we get all that other stuff you’ve been doing. But what? You’re going to go where? Are you kidding me?” They just loved Andrew Garfield. I was so jazzed to be able to be a kid myself. Watching the “Spider-Man” television show, back in the day, when his web was like a shoestring or whatever, and then to be part of this huge, huge world, it was just mind-blowing.After your movies, did you ever feel pangs of disappointment to see the “Spider-Man” franchise continue without you?DAFOE Even in the second and third installments [of the Raimi films], having me do little cameos, it was a pleasure to just see everyone again and stick my toe in the pool. But I didn’t have the imagination of continuing on.MOLINA I just walked away from my movie thinking, well, that was fun. I really had a great time. But I never thought, oh God, I wish they’d bring him back. I never had any kind of hankering to do it again. When your character dies, you go, that’s it.FOXX You can never look at it that way. If you look at the disappointments of what could have been, you can never do this business.How were you approached about “No Way Home,” and how much did you know about the other actors who were participating in it?DAFOE When Amy Pascal [a “Spider-Man” producer] and Jon Watts [the director of “No Way Home”] called me up and said we’d like to pitch you this idea, I thought, this is crazy. But let’s see what they have to say. I really didn’t want to do a cameo. I wanted to make sure there was something substantial enough to do that wasn’t just a tip of the hat. And the other thing was, I said I really want there to be action — I want to take part in action scenes. Because that’s really fun for me. It’s the only way to root the character. Otherwise it just becomes a series of memes.MOLINA When I got asked to come in for a meeting with Amy and Jon, I actually thought it was for a completely different project, maybe to play another villain, or maybe an interview for some retrospective documentary. As the years had gone by, I thought, they may well bring Doc Ock back. But I never thought they’d bring him back with me. I was witness to my body changing, things moving. I walked in completely innocent. Like everyone else, I didn’t know the full extent of where the film was going. I didn’t get to read a whole script — I just saw the pages pertinent to me.Molina opposed Tobey Maguire as our hero in “Spider-Man 2.”Melissa Moseley/Sony PicturesFOXX They were able to keep the mystique alive in a world where mystique doesn’t exist, anywhere. There’s Instagram posts and it’s about how many likes you get. Imagine if Picasso was screenshotting everything, everybody could see it, like, “Eh, I don’t want to buy that painting.” They kept everything under wraps and we all bought into something.Did anything change about how you played your characters in the new film?DAFOE I must be honest, I am aware that there was some criticism of that [Green Goblin] mask in the original one. We heard it enough that it was probably a consideration, to change it up a little bit. I don’t think about that because I don’t think about emoting with my face. My face follows my heart. It’s just an expression of what you’re feeling.MOLINA In my original film, the tentacles — I almost said my tentacles — they were mechanical. They were played by puppeteers who gave them personality. We were like a gang — I dubbed us the Octourage. But this time around, the technology is so much more advanced that the tentacles were computer-generated and I was on my own. That was a whole other way of looking at it.FOXX There was a character I played in “Baby Driver,” his name was Bats. He got killed off, but this was an opportunity to let Bats a little bit in on Electro. He wasn’t like, I want to [expletive] everybody up — I just want to get mine. Everybody flying through the air, looking good, got girlfriends. That now becomes the mantra of Electro.Had you previously met the actors who play your fellow villains? What was it like encountering them on “No Way Home”?DAFOE [Alfred and I] started at about the same time, so I was aware of his work and I’d see him through the years, so it was fun to see him and hear his stories. He’s got a million of them. And it was really fun to work with Jamie, because I’ve loved him ever since “In Living Color.” He’s a supremely sweet and energetic guy.MOLINA Willem and I met each other briefly on the set of Sam’s movie. They brought me to watch Willem doing a scene as Doc Ock, just a little practical joke, which was delightful. For me, Green Goblin is the absolute zenith of supervillains, and he plays him with such relish. For my money, he’s the top man.FOXX Alfred is the funniest guy on the planet. But then, the first time I saw Willem, I said, I’ve got to bow seven times, bro. He said, [bashful Willem Dafoe voice] “Ah, Jamie, you’re so nice, thank you so much, Jamie.” I said, no, bro, you’re going to get these seven bows. I would just watch these guys work and even small things that they would do, I’d say, ooh, I’mma steal that.Foxx in his first go-round as Electro, in “The Amazing Spider-Man 2.” 2014Sony PicturesYour characters in “No Way Home” each have ample opportunity to be very bad and the chance to turn good. Which side do you prefer?DAFOE Whenever you play a role, it is you and it isn’t you. If you’re going to play one of these archvillains, it’s the most natural thing in the world to cultivate the opposite of what they lead with. You develop a vulnerability and an insecurity against the confidence of the aggression. We all have that little devil on one shoulder and that little angel on the other shoulder. I remember as a kid seeing cartoons with that image. God knows it stayed with me.MOLINA They’re two very different things, but in a way they belong to each other. Whatever element in Doc Ock that is villainous is made more villainous in the minds of the audience because of their knowledge of his goodness. And at the same time, his return to decency is even more poignant because of what we know he’s capable of doing and has done.FOXX Oh, it’s always great to be bad, bro. What makes the superheroes super is how bad the villains can be.If any of the characters you’ve previously played could appear in the same movie, who would you want to see team up?DAFOE Once you finish something, you’ve got to make room for the next thing. So I don’t have much of an imagination for that kind of thing. Maybe I’m a little simpler. One at a time, one at a time.MOLINA Just off the top of my head, I think it might be cool if Doc Ock met up with Diego Rivera [from “Frida”] and lent him the tentacles so he could finish off all those glorious murals. He could get so much work done. He could be working on four or five canvases at the same time.FOXX Oh, man, Django [from “Django Unchained”], Willie Beamen [from “Any Given Sunday”] and Electro would be crazy. If they could share, they’d be like, yo, I need a little bit of that electricity over here. More

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    They Screamed, We Screamed. Now They’re in ‘Scream’ Again.

    After more than a decade, Neve Campbell, Courteney Cox and David Arquette return to take a new stab at the meta-horror franchise. They didn’t jump in right away.Twenty-five years after “Scream,” Neve Campbell is still seeing Ghostface everywhere she goes.This past Halloween, Campbell brought her children to a pumpkin patch in Hollywood, where they saw fellow visitors dressed in the groaning Ghostface masks worn by the murderers who have tormented her character in these undying horror movies.Though the costumed revelers didn’t seem to notice Campbell, she resisted her older son’s urgings to reveal that they were in the presence of Sidney Prescott, the intrepid “Scream” heroine she has played since 1996.“My 9-year-old hasn’t seen the movies, but he obviously knows about them,” Campbell said. “And he was like, ‘Mom, you should go tell them!’ I’m not going to walk over and be like, ‘Hey, do you know who I am?’” She laughed and added, “Although it probably would be fun for them.”Hearing Campbell’s tale, her two longtime “Scream” co-stars joked about how their connections to the films affected them at Halloween. Courteney Cox, who plays the strident TV personality Gale Weathers, said that she kept her own supply of Ghostface masks: “I bought five from Amazon.”David Arquette said it was even easier to remind people of his screen identity as the hapless officer Dewey Riley. “Why do you think I have this mustache?” he asked.At its release, “Scream” reinvented the slasher picture, populating it with photogenic cast members who were well-versed in the genre’s rules and tired of its clichés. It made a star of its screenwriter, Kevin Williamson, reinvigorated the career of its director, Wes Craven, and kicked off a cottage industry of imitators and parodies.The slow-burn success of the first movie elevated its lead actors: Campbell, a star of the TV drama “Party of Five”; Cox, enjoying her first flushes of success from “Friends”; and Arquette, a scion of a family of character actors. Three sequels bonded them for life, and Cox and Arquette fell in love and got married.Cox and Arquette in the first “Scream,” released in 1996.Dimension FilmsArquette and Cox found themselves with a storyline that echoed their real-life split.Brownie Harris/Paramount PicturesBut following “Scream 4” in 2011, the series seemed to grow tired. By then, Cox and Arquette had separated and would later divorce; Craven died in 2015. A “Scream” TV series only loosely connected to the movies ran for three years on MTV and VH1 but gained little cultural traction.Now, after a decade-long absence from theaters, a new “Scream” — with no numerals or subtitles, from new directors and new screenwriters — will be released on Jan. 14. It is both a reboot and a sequel, introducing new characters (played by Melissa Barrera, Jenna Ortega, Jack Quaid and others) to an audience equally accustomed to franchise do-overs like “Star Wars: The Force Awakens” and art-house horror films like “The Babadook” and “Midsommar.”The latest “Scream” also brings back Campbell, Cox and Arquette as the founding characters, who have grown well into adulthood and been altered in different ways by their past encounters with the various Ghostface killers. For the actors, the proposition of returning to “Scream” is, well, a double-edged one: a chance to rekindle old connections and remember what made the previous films great — tempered by the fear that they will squander the series’ legacy if they cannot duplicate past glories.When she was approached about the new movie, Cox said, “I was really like, What? They want to do another ‘Scream’?” But as she considered it further, she thought, “Why not go back to something that was such a huge part of my life and play a character that was fun? They must have a real vision for this if they want to bring back the franchise and take the risk.”As they spoke in a video interview at the end of November — Campbell and Cox together in one window, Arquette by himself in another — the actors shared a tentative intimacy, like old classmates encountering each other at a high school reunion. They traded goofy laughs as each claimed to have forgotten key details about the past “Scream” films and made self-deprecating jokes about their accomplishments.Asked how she was hired, Cox said her manager suggested her. Or: “It could be that my manager said, ‘She’s not that good and I don’t think you should hire her.’ But who knows?”What they agreed on about the first film was the brilliance of Williamson’s convention-busting script and their admiration for Craven, who previously made seminal horror movies like “The Last House on the Left” and “A Nightmare on Elm Street.” The cast was largely shielded from behind-the-scenes conflicts between him and Dimension Films, which produced the original “Scream” series and had reservations about Craven’s work on the first movie. Campbell said of the director, “He was very gentle and kind and quiet.”Jenna Ortega is among the new cast members trying to escape Ghostface.Brownie Harris/Paramount Pictures“Scream” withstood a fourth-place opening weekend in December 1996, overshadowed by the animated hit “Beavis and Butt-head Do America.” Several days later, Campbell got a call from her agents. “I thought, Uh-oh, something’s wrong,” she recalled. “And they said, ‘It’s at $30 million.’” Her voice dropped to a whisper: “I was like, ‘Is that bad?’” In fact, the film would run until the summer and gross more than $100 million in the United States alone.A sequel was already in production and released in December 1997. (“It was college next, wasn’t it?” Campbell asked. “You went to college,” Arquette affirmed.) “Scream 3” followed quickly in 2000, adding more layers of metacommentary as the characters’ brushes with death continue to inspire a hastily made movie-franchise-within-a-franchise called “Stab.”With each entry, the “Scream” stars said, they never felt the pressure was on them to sustain the overall quality of the series. “In television, when I go out and do something new, it’s petrifying,” Cox said. “You feel nothing can live up to what you’ve done before. But in movies, we get the script and come to play our characters.”But Williamson said that “Scream 4” left him and Craven feeling burned out. “The studio was second-guessing themselves and kept giving note after note after note,” the writer said. “I finally was like, ‘Guys, I don’t know what I’m writing anymore — I’m just typing.’”After Craven’s death, he said, “in my heart, it was over. Without Wes, I didn’t think there would be a ‘Scream.’”Years went by, and the Weinstein Company, which owned Dimension Films, collapsed after its co-founder Harvey Weinstein was accused of sexual assault and harassment by numerous women. (He has since been convicted and sentenced for sex crimes and faces further charges.)The rights for “Scream” were eventually acquired by Spyglass Media Group, which partnered with Paramount to produce a new entry written by James Vanderbilt (“Zodiac”) and Guy Busick (“Ready or Not”) and directed by Matt Bettinelli-Olpin and Tyler Gillett of the filmmaking group Radio Silence (“Ready or Not,” “V/H/S”).Williamson, an executive producer on the new “Scream,” said that the project had his blessing. “My first thought was, Wait, they’re not going to ask me to write it? How dare they,” he said with a laugh. But after hearing the creative team’s plans for the film, he said, “They had it all figured out. I’m like, ‘OK, this works.’”Naturally, this “Scream” sees another Ghostface once again plaguing the fictional California town of Woodsboro, requiring the return of Sidney, Gale and Dewey. But bringing back the actors who played them was hardly a certainty.The biggest obstacle, they said, was the absence of Craven: “I don’t see how that happens — emotionally but also practically,” said Campbell. “Who’s going to do it as well as Wes?”But one by one, the actors were placated by the film’s directors, who wrote them letters praising their past work and urging their involvement.Campbell in the original “Scream,” directed by Wes Craven. She and her fellow stars had a hard time imagining another movie without the filmmaker, who died in 2015.Dimension FilmsCampbell in the new “Scream.” She consulted with the original screenwriter, Kevin Williamson, before agreeing to return.Brownie Harris/Paramount Pictures“It was weirdly the easiest and the hardest thing to do,” Gillett said. “It’s so easy to express our admiration for them as actors and for Wes and his work.” The challenge, he said, was that “there was a lot on the line and a lot of pressure.”Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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    ‘American Gadfly’ Review: A Candid Candidacy

    This documentary goes behind the scenes of Mike Gravel’s oddball run for the 2020 Democratic presidential nomination.A victory lap for a campaign that never sought to win, the documentary “American Gadfly” goes a long way toward explaining Mike Gravel’s perplexing run for the 2020 Democratic presidential nomination.Gravel, the former two-term Alaska senator who pursued the 2008 nomination in earnest, and who died last year at 91, merely tried to qualify for the 2020 cycle’s debates. His run, which lasted for four months in 2019, was mainly the brainchild of two teenagers, David Oks and Henry Williams, who saw Gravel as a storied figure who wouldn’t prevail but could raise hell and push the political discussion leftward. Gravel sat on the sidelines and handed over his Twitter account.“My real end goal has always been to have Bernie Sanders pick up our platform plank,” Williams says at a staff meeting in the movie. Later in the film, in June 2019, Williams says he hopes half the candidates, “possibly including us,” will soon drop out, so that voters can vet contenders with a chance. Casting Tim Ryan, Bill de Blasio and John Delaney as villains — while somewhat incongruously praising Marianne Williamson, who aided Gravel’s fund-raising efforts — the movie suggests that Gravel had more substance than better-publicized long shots.The director, Skye Wallin, presents the correctness of Oks and Williams’s cause as a given. If you can get past that ingenuousness, “American Gadfly” is enjoyable as a chronicle of teenage idealism and its frustrations. (In Iowa, Oks bemoans the inefficiency of meeting and greeting voters.) Gravel, in his appearances, comes across as avuncular, eager to share ideas but even more eager to encourage young acolytes.American GadflyNot rated. Running time: 1 hour 36 minutes. Rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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    Hollywood Glamour Is Pandemic-Proof at the Polo Lounge

    LOS ANGELES — Hollywood is down in the dumps. Oscar hopefuls like “King Richard,” “Nightmare Alley” and “West Side Story” have sputtered, and everyone knows that, studio spin aside, the Omicron variant is only partly to blame.What about those stunning Spider-Man grosses? Sure, great, whatever — another superhero hit. It doesn’t change the fact that one storied studio, 20th Century Fox, vanished in 2019 and another, the venerable Warner Bros., is slashing theatrical output by almost half. Unless regulators do something unexpected, Amazon will soon swallow Metro-Goldwyn-Mayer. Streaming services are ending a moviegoing era.“It’s over,” a glum film executive said at a holiday fete. “TV won.”But there is at least one place where Hollywood feels undiminished. Step into the 88-year-old Polo Lounge — as a deluge of film V.I.P.s have done lately, defying a lingering boycott over its owner, the sultan of Brunei, and his enacting of Shariah law in his country — and return to a time when movies indisputably commanded the culture. Outside the Beverly Hills Hotel, which houses the Polo Lounge, change is washing through moviedom with terrifying speed. (Hollywood’s prize system, long a crucial promotional platform, is crumbling, with the near-abandonment of the Golden Globes on Sunday as only one example.) Inside the clubby Polo Lounge, however, very little has changed in decades.It might as well be 1937, when Marlene Dietrich, wearing long gloves, could be seen dispassionately smoking a cigarette at the bar, her mink slung over a stool. “It’s one of the last surviving links to a time when movies still mattered,” said Terry Press, a former president of CBS Films and longtime patron.What better place for Hollywood heavies to gather for what amounts to group therapy? And, perhaps, plot a counterattack.As of early December, Polo Lounge revenue for the year was roughly 10 percent above the same period in 2019.Rozette Rago for The New York TimesRegular visitors in recent months have included David M. Zaslav, the chief executive of Discovery, which is merging with Warner Media; Brian Robbins, the new kingpin at Paramount Pictures; Toby Emmerich, Warner’s movie chairman; Bryan Lourd, the Creative Artists superagent; and Jeffrey Katzenberg, a former studio chief who remains a formidable Hollywood string-puller.Mary Parent, who produced “Dune” as vice chairman of Legendary Entertainment, and Casey Bloys, who reigns supreme at HBO and HBO Max, have conducted business there in recent months. Power lunchers have included Emma Watts, Paramount’s former production chief; Reginald Hudlin, an Oscar-nominated producer and director; and Lorne Michaels, the creator and executive producer of “Saturday Night Live.”Not long ago, Jimmy Fallon, dutifully wearing a face covering, stood next to the grand piano on a Friday night and belted out “Sweet Caroline.” Jennifer Lopez and Jennifer Lawrence have been spotted. Kim Kardashian and Pete Davidson dropped in for a bite the day after Christmas. Caitlyn Jenner had tried but was asked to leave for ignoring the dress code. (No “ripped denim.”)As of early December, Polo Lounge revenue for the year was roughly 10 percent above the same period in 2019, according to Edward Mady, the hotel’s general manager. He added that the Polo Lounge had recently been receiving about 150 calls a day for reservations, with roughly 75 requesting one of nine patio booths.“What boycott?” Mr. Mady said.In 2014, Mr. Katzenberg, Jay Leno, Ellen DeGeneres, Elton John and others led an entertainment-industry boycott of the property after its owner, the sultan of Brunei, imposed Shariah law in his country, making gay sex and adultery punishable by stoning. Hollywood mass-shunned the Polo Lounge, which was at first deserted and then bounced back as a popular spot for Beverly Hills Ladies Who Lunch. (“Betsy! Betsy!”)The restaurant has a large outdoor dining area filled with Brazilian pepper trees, roses bushes and magenta bougainvillea.Rozette Rago for The New York TimesBy 2017, many luminaries had returned. The entertainment industry enjoys a public snubbing, but it also has a short attention span. President Trump, elected in 2016, prompted outrage on so many fronts in liberal Hollywood that remembering to be mad at the Polo Lounge was difficult.And people wanted their salads. The most popular one at the Polo Lounge is the McCarthy, famous for its price ($44) and for being chopped so finely that one could almost drink it with a straw.A-listers may have returned, but none were eager to be quoted in this article. An email to Mr. Katzenberg, for instance, was forwarded to a spokesman, who responded, “He is actually unreachable on vacation at the moment so won’t be able to participate.” Others declined because they did not want to make themselves a target for activists. Several cited the awkward optics — cooing over an ostentatious watering hole at a time when more studio layoffs are on the horizon.Protesters have not given up. In 2019, George Clooney wrote an opinion piece calling for an expanded boycott. (He did not respond to a query on whether his position had changed.) In October, one of the most ardent proponents of a boycott, James Duke Mason, wrote a new letter to the sultan, Hassanal Bolkiah, demanding the revocation of his kingdom’s “draconian laws.”“The boycott has been and still is firmly in place,” Mr. Mason said by phone. “It’s a matter of values. Is your McCarthy Salad really more important than human rights?” Mr. Mason added that he and several associates intend to redouble their campaign against the hotel and its sister Dorchester Collection properties in 2022. (Mr. Mason comes from a show business lineage; his parents are Belinda Carlisle and Morgan Mason, a former agent and producer.)Dorchester Collection, the London-based hotel company owned by the Brunei Investment Agency, responded with a statement: “We operate autonomously and embrace our longstanding values of inclusivity and belonging.”Pepe De Anda, the director of Polo Lounge, started working at the restaurant in 1986.Rozette Rago for The New York TimesIn some ways, the Polo Lounge is perfectly positioned for life during the pandemic. It has a large outdoor dining area adorned with Brazilian pepper trees, roses and magenta bougainvillea. Studio offices have been mostly closed since March 2020, so moguls who would normally conduct business meals on their lots have needed a place to go; many live within walking distance. Mr. Zaslav has been intermittently staying at the Beverly Hills Hotel; he is renovating a historic estate four blocks away.The Los Angeles power-restaurant scene has also been shaken up. Chateau Marmont closed its restaurant to the public when the pandemic started. (It has also had boycott issues.) The Palm was sold, prompting the departure of its charismatic torchbearer, Bruce Bozzi. For some, the Peninsula still has the stench of Harvey Weinstein, who, his accusers said, used the cover of work meetings there to sexually harass and assault women.Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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    ‘Three Minutes: A Lengthening’ Looks at Jewish Life Before Nazi Invasion

    A documentary based on a home movie shot by an American in 1938 provides a look at the vibrancy of a Jewish community in Europe just before the Holocaust.AMSTERDAM — Glenn Kurtz found the film reel in a corner of his parents’ closet in Palm Beach Gardens, Fla., in 2009. It was in a dented aluminum canister.Florida’s heat and humidity had nearly solidified the celluloid into a mass “like a hockey puck,” Kurtz said. But someone had transferred part of it onto VHS tape in the 1980s, so Kurtz could see what it contained: a home movie titled “Our Trip to Holland, Belgium, Poland, Switzerland, France and England, 1938.”The 16-millimeter film, made by his grandfather, David Kurtz, on the eve of World War II, showed the Alps, quaint Dutch villages and three minutes of footage of a vibrant Jewish community in a Polish town.Old men in yarmulkes, skinny boys in caps, girls with long braids. Smiling and joking. People pour through the large doors of a synagogue. There’s some shoving in a cafe and then, that’s it. The footage ends abruptly.Kurtz, nevertheless, understood the value of the material as evidence of Jewish life in Poland just before the Holocaust. It would take him nearly a year to figure it out, but he discovered that the footage depicted Nasielsk, his grandfather’s birthplace, a town about 30 miles northwest of Warsaw that some 3,000 Jews called home before the war.Fewer than 100 would survive it.Now, the Dutch filmmaker Bianca Stigter has used the fragmentary, ephemeral footage to create “Three Minutes: A Lengthening,” a 70-minute feature film that helps to further define what and who were lost.“It’s a short piece of footage, but it’s amazing how much it yields,” Stigter said in an interview in Amsterdam recently. “Every time I see it, I see something I haven’t really seen before. I must have seen it thousands and thousands of times, but still, I can always see a detail that has escaped my attention before.”Almost as unusual as the footage is the journey it took before gaining wider exposure. All but forgotten within his family, the videotape was transferred to DVD and sent to the U.S. Holocaust Memorial Museum in Washington in 2009.“We knew it was unique,” said Leslie Swift, chief of the film, oral history and recorded sound branch of the museum. “I immediately communicated with him and said, ‘If you have the original film, that’s what we want.’”The Holocaust museum was able to restore and digitize the film, and it posted the footage on its website. At the time, Kurtz didn’t know where it had been shot, nor did he know the names of any of the people in the town square. His grandfather had emigrated from Poland to the United States as a child and had died before he was born.Thus began a four-year process of detective work, which led Kurtz to write an acclaimed book, “Three Minutes in Poland: Discovering a Lost World in a 1938 Family Film,” published by Farrar, Straus and Giroux in 2014.Glenn Kurtz, who found the original footage shot by his grandfather in his parents’ closet in Florida, later wrote a book about the significance of the film.Stigter relied on the book in completing the film, which is co-produced by her husband, Steve McQueen, the British artist and Academy Award-winning director of “12 Years a Slave,” and narrated by Helena Bonham Carter. It has garnered attention in documentary circles and has been screened at Giornate degli Autori, an independent film festival held in parallel with the Venice film fest; the Toronto International Film Festival; Telluride Film Festival; the International Documentary Film Festival Amsterdam; and DOC NYC. It was recently selected for this month’s Sundance Film Festival.Nasielsk, which had been home to Jews for centuries, was overtaken on Sept. 4, 1939, three days after the German invasion of Poland. Three months later, on Dec. 3, the entire Jewish population was rounded up and expelled. People were forced into cattle cars, and traveled for days without food and water, to the towns of Lukow and Miedzyrzec, in the Lublin region of Nazi-occupied Poland. From there, they were mostly deported to the Treblinka extermination camp.“When you see it, you want to scream to these people run away, go, go, go,” Stigter said. “We know what happens and they obviously don’t know what starts to happen, just a year later. That puts a tremendous pressure on those images. It is inescapable.”Stigter stumbled across the footage on Facebook in 2014 and found it instantly mesmerizing, especially because much of it was shot in color. “My first idea was just to prolong the experience of seeing these people,” she said. “For me, it was very clear, especially with the children, that they wanted to be seen. They really look at you; they try to stay in the camera’s frame.”A historian, author and film critic for a Dutch national newspaper, NRC Handelsblad, Stigter worked on this film, her directorial debut, for five years. She started it after the International Film Festival Rotterdam invited her to produce a short video essay for its Critic’s Choice program. Instead of choosing a feature film, she decided to explore this found footage. After making a 25-minute “filmic essay,” shown at the Rotterdam festival in 2015, she received support to expand it into a feature film.“Three Minutes: A Lengthening” never steps out of the footage. Viewers never see the town of Nasielsk as it is today, or the faces of the interviewees as talking heads. Stigter tracks out, zooms in, stops, rewinds; she homes in on the cobblestones of a square, on the types of caps worn by the boys, and on the buttons of jackets and shirts, which were made in a nearby factory owned by Jews. She creates still portraits of each of the 150 faces — no matter how vague or blurry — and puts names to some of them.An image from the home movie showing Moszek Tuchendler, 13, on the left, who survived the Holocaust and became Maurice Chandler. He was able to identify many other people in the footage of the town where he grew up.United States Holocaust Memorial MuseumMaurice Chandler, a Nasielsk survivor who is in his 90s, is one of the smiling teenage boys in the footage. He was identified after a granddaughter in Detroit recognized him in a digitized clip on the Holocaust museum’s website.Chandler, who was born Moszek Tuchendler, lost his entire family in the Holocaust; he said the footage helped him recall a lost childhood. He joked that he could finally prove to his children and grandchildren “that I’m not from Mars.” He was also able to help identify seven other people in the film.Kurtz, an author and journalist, had discovered a tremendous amount through his own research, but Stigter helped solve some additional mysteries. He couldn’t decipher the name on a grocery store sign, because it was too blurry to read. Stigter found a Polish researcher who figured out the name, one possible clue to the identity of the woman standing in the doorway.Leslie Swift said that the David Kurtz footage is one of the “more often requested films” from the Holocaust Museum’s moving picture archives, but most often it is used by documentary filmmakers as stock footage, or background imagery, to indicate prewar Jewish life in Poland “in a generic way,” she said.What Kurtz’s book, and Stigter’s documentary do, by contrast, is to explore the material itself to answer the question “What am I seeing?” over and over again, she said. By identifying people and details of the life of this community, they manage to restore humanity and individuality.“We had to work as archaeologists to extract as much information out of this movie as possible,” Stigter said. “What’s interesting is that, at a certain moment you say, ‘we can’t go any further; this is where it stops.’ But then you discover something else.” More

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    ‘Mrs. Doubtfire’ on Broadway Is Pausing to Avoid Closing

    The musical’s producer, eager to avoid a permanent shutdown amid the virus surge, is attempting a self-imposed nine-week hiatus.In a startling illustration of the financial damage a resurgent pandemic is causing on Broadway, the producer of a new musical adaptation of “Mrs. Doubtfire” has decided to close down his show for nine weeks, saying he sees no other way to save the production.Kevin McCollum, a veteran Broadway producer whose previous credits include “Rent” and “Avenue Q,” said he would close the musical comedy beginning Jan. 10, with a plan to reopen on March 14. The move will cost 115 people their jobs for that period; McCollum said he is committed to rehiring those who want to return.“My job is to protect the jobs long-term of those who are working on ‘Mrs. Doubtfire,’ and this is the best way I can do that today,” he said in an interview. “I can’t just sit idly by when there’s a solution, albeit unprecedented and painful. I can’t guarantee anything, but at this moment this is the most prudent thing I can do with the tools I have.”McCollum said that if he does not attempt the hiatus, the show would run out of money and be forced to close within three weeks. And there is plenty of reason to believe that is not hyperbole: Five Broadway shows in December decided to close earlier than anticipated, including the musicals “Ain’t Too Proud,” “Diana,” “Jagged Little Pill” and “Waitress,” as well as the play “Thoughts of a Colored Man.”McCollum’s move, which will enable the production to stop paying salaries and most other expenses, is a novel Broadway response to the Omicron surge, but has a parallel in London, where Andrew Lloyd Webber has shuttered his new “Cinderella” musical for at least seven weeks. (It is slated to reopen Feb. 9.)“Mrs. Doubtfire,” like all Broadway shows, has been battered by the coronavirus pandemic. The production, in development for years and capitalized for $17 million, had gotten through just three preview performances in March 2020 when Broadway shut down; it was closed for 19 months before resuming previews in October, and then opened in December, bolstered by a nearly $10 million grant from the Small Business Administration.The show opened to tepid reviews — and a pan in The New York Times — but sales were nonetheless promising, McCollum said, until the Omicron variant, which was detected in New York just days before the opening, caused a spike in coronavirus cases. (The Broadway League has stopped reporting show-by-show box office grosses, making it difficult to track a production’s ups and downs with any precision.)As coronavirus cases spread among Broadway workers, “Mrs. Doubtfire” had to cancel 11 performances during the normally lucrative holiday season, continuing to pay workers while losing all box office revenue. And then, McCollum said, the show, like many others, faced a high number of consumers canceling their tickets at the last minute because of concerns about safety, confusion about what was still open and difficulty complying with vaccination rules. (“Mrs. Doubtfire” is a family-friendly show, so it is particularly affected by the evolving vaccine mandates for children.)“You’re asking me to plant a sapling in a hurricane,” McCollum said.So long as “Mrs. Doubtfire” is open, its expenses are about $700,000 a week, whether or not performances actually take place, because employees are paid even if a performance is canceled. And expenses have recently risen because of increased testing, along with additional costs associated with keeping a show going when staff members test positive.McCollum said the show grossed about $900,000 from Dec. 27 to Jan. 2, which was more than its running costs but less than the $1.3 million he had expected for the holiday week. He added he was expecting the show’s weekly grosses to drop below $400,000 following the holidays — always a soft time for Broadway, and now even more so. He said he is hopeful that by March the pandemic will have eased and tourism and group sales will strengthen.The Coronavirus Pandemic: Key Things to KnowCard 1 of 4The global surge. More

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    12 Things Our Critics Are Looking Forward to in 2022

    ‘Better Call Saul’ returns, Cecily Strong stars in a one-woman show, and Faith Ringgold gets an overdue retrospective.As a new year begins in uncertain times (again), our critics highlight the TV, movies, music, art, theater, dance and comedy that promise a welcome distraction.Margaret LyonsThe End of ‘Better Call Saul’Bob Odenkirk stars as Jimmy McGill in AMC’s “Better Call Saul,” which returns for its final season this spring.Greg Lewis/AMC, via Associated PressI’ll be sad forever when “Better Call Saul” is over, so part of me is actually dreading the sixth and final season. I never want to say goodbye to Jimmy or Kim — but man, am I dying to see them again. By the time “Saul” returns on AMC this spring, it will have been off the air for two full years. (Bob Odenkirk, its star, recovered from a heart attack that occurred on set this year.) If there was ever a show that knew how to think about endgames, it’s this one, among the most carefully woven dramas of our time. Of course, thanks to “Breaking Bad,” we know exactly where some of these characters are headed but not how they get there or how they feel about it or whom they’ll hurt along the way. Hurry back! But also, go slow.Salamishah TilletA ‘Downton Abbey’ Sequel Travels to FranceThe sequel “Downton Abbey: A New Era” is partly set in the South of France; from left, Harry Hadden-Paton, Laura Carmichael, Tuppence Middleton and Allen Leech.Ben Blackall/Focus FeaturesOK, so yes, it was weird that my friends Sherri-Ann and Amber and I were the only Black people in the theater when we saw the movie “Downton Abbey” in 2019. At the time, we agreed that despite the absence of people of color in the theater and onscreen, we still found delight in the grandeur — the clothing, the castle, the cast of characters, especially the Dowager Countess of Grantham, Violet Crawley, marvelously played by Dame Maggie Smith. Now that we’ve set our calendars to March 18, 2022, for the sequel, “Downton Abbey: A New Era,” I’m looking forward to seeing how the franchise tries to reinvent itself on the cusp of a new era, the 1930s, and how it fares in the current racial moment. (A Black female face pops up in a trailer.) Partly set in the South of France after the Dowager Countess learns she has inherited a villa there, the movie sends the upstairs Crawley clan and their downstairs employees off on another adventure, with another wedding. While Julian Fellowes, the creator of “Downton,” has a new show, “The Gilded Age,” premiering on HBO in January — which seems to be a bit more thoughtful in its take on race, class and identity — here’s hoping that this sequel to “Downton” takes a bow in grand Grantham style.Jesse GreenCecily Strong in a One-Woman ShowCecily Strong, left, and the director Leigh Silverman; Strong is starring in “The Search for Signs of Intelligent Life in the Universe” at the Shed.Caroline Tompkins for The New York TimesJane Wagner’s 1985 play “The Search for Signs of Intelligent Life in the Universe” was custom-made for the chameleonic gifts of her life partner (and, later, wife), Lily Tomlin. Who else could have inhabited its 12 highly distinct characters — among them a runaway punk, a bored one-percenter and a trio of disillusioned feminists — with such sardonic sympathy? When Tomlin won a 1986 Tony Award for her work, it seemed to seal the idea that the performer and the play were forever one. But in the kind of casting that makes you smack your head with delight, Cecily Strong takes up Tomlin’s mantle in a revival directed by Leigh Silverman at the Shed, expected to open on Jan. 11. Strong — whose “Saturday Night Live” characters include Jeanine Pirro, the Girl You Wish You Hadn’t Started a Conversation With at a Party and, most recently, Goober the Clown Who Had an Abortion When She Was 23 — seems like another custom fit, nearly four decades later.Jon ParelesAfrofuturism at Carnegie HallSun Ra Arkestra will perform its galactic jazz as part of the Afrofuturism festival that starts in February.Nate Palmer for The New York TimesStepping outside its own history as a bastion of Western classical music, Carnegie Hall will be the hub of a citywide, multidisciplinary festival of Afrofuturism: the visionary, tech-savvy ways that African-diaspora culture has imagined alternate paths forward. Carnegie’s series is expected to start Feb. 12 with the quick-cutting, sometimes head-spinning electronic musician Flying Lotus. (One challenge might be the main hall’s acoustics.) Shows at Zankel Hall include the galactic jazz of the Sun Ra Arkestra with the cellist and singer Kelsey Lu and the spoken-word insurgent Moor Mother (Feb. 17); the flutist Nicole Mitchell leading her Black Earth Ensemble; and the clarinetist Angel Bat Dawid with her Autophysiopsychic Millennium (Feb. 24); the African-rooted hip-hop duo Chimurenga Renaissance and the Malian songwriter Fatoumata Diawara (March 4); and the D.J., composer and techno pioneer Carl Craig leading his Synthesizer Ensemble (March 19). There’s far more: five dozen other cultural organizations will have festival events.Anthony TommasiniThe Metropolitan Opera Rethinks VerdiThe set model for a new production of Verdi’s “Don Carlos,” which is expected to open at the Metropolitan Opera in February.Metropolitan OperaVerdi’s “Don Carlos” may not be a flawless opera. But it’s a profound work; I think of it as Verdi’s “Hamlet.” Written for the Paris Opera, it nodded to the French grand style and included epic scenes and massed choruses. But at its 1867 premiere, it was deemed overly long and ineffective. Verdi revised the opera several times, making cuts, translating the French libretto into Italian, leaving a confused legacy of revisions. The Metropolitan Opera is giving audiences a chance to hear the work as originally conceived in its five-act French version, which many consider the best. Yannick Nézet-Séguin, who has led superb Met performances of the Italian adaptation, will be in this pit for this new production by David McVicar. The starry cast, headed by the tenor Matthew Polenzani in the title role, includes Sonya Yoncheva, Elina Garanca, Etienne Dupuis, Eric Owens and John Relyea. When performances begin on Feb. 28, be prepared for a five-hour show with two intermissions; I can’t wait.Mike HaleTrue-Crime, Starring Renée ZellwegerRenée Zellweger is starring in the true-crime mini-series “The Thing About Pam,” premiering March 8 on NBC.Ryan Pfluger for The New York TimesThis winter brings more than the usual number of big stars taking time out for the small screen, like Uma Thurman (“Suspicion”), Christopher Walken (“Severance”) and Samuel L. Jackson (“The Last Days of Ptolemy Gray”). The one that piques my interest the most is Renée Zellweger, taking on only her second lead television role in “The Thing About Pam,” premiering March 8 on NBC. Zellweger can be hit or miss, but her hits — “The Whole Wide World,” “Chicago,” “Judy” — keep her in the very top rank of American actresses. Here she plays Pam Hupp, who is implicated in multiple deaths and is currently serving a life sentence for one of them, in a true-crime mini-series whose showrunner, Jenny Klein, was a producer on solid TV offerings like “The Witcher” and “Jessica Jones.”Jason FaragoAt 91, Faith Ringgold Gets a RetrospectiveA retrospective of the work of Faith Ringgold opens at the New Museum in February and will include “Dancing at the Louvre: The French Collection Part I, #1,” from 1991. Faith Ringgold/ARS, NY and DACS, London, via ACA GalleriesWhen the Museum of Modern Art opened its expanded home in 2019, its most important Picasso suddenly found itself with a new companion: a tumultuous, panoramic painting of American violence that Faith Ringgold painted in 1967. Ringgold, born 91 years ago in Harlem, has never been an obscure figure: Her art was displayed in the Clinton White House as well as most of New York’s museums; her children’s books have won prizes and reached best-seller lists. But she has had to wait too long for a career-spanning retrospective in her hometown. The one at the New Museum, which opens Feb. 17, will reveal how Ringgold intertwined the political and the personal: first in her rigorously composed “American People” paintings, which channeled the civil rights movement into gridded, repeating, syncopated forms; and then in pieced-fabric “story quilts” depicting Michael Jackson or Aunt Jemima, and geometric abstractions inspired by Tibetan silks and embroideries. The show comes with a major chance for rediscovery: the first outing in over two decades of her “French Collection,” a 12-quilt cycle that recasts the history of Paris in the 1920s through the eyes of a fictional African-American artist and model.Maya PhillipsA Viking Prince Seeks RevengeAlexander Skarsgård in a scene from “The Northman,” a story about a Viking prince who seeks revenge for his murdered father, directed by Robert Eggers.Focus FeaturesRobert Eggers has directed only two feature films, and yet he’s already known as a maker of beautifully strange, critically acclaimed movies. “The Witch,” from 2016, was followed three years later by the grim and perplexing “The Lighthouse.” Both established Eggers as a stylistic descendant of the Brothers Grimm, a crafter of macabre fables that descend into torrents of madness. Which is why I’m excited to see his third feature film, “The Northman,” expected to premiere on April 22, about a Viking prince who seeks revenge for his murdered father. Steeped in Icelandic mythology, the story is based on the tale of Amleth, the inspiration for Prince Hamlet, my favorite sad boy of English literature. Eggers wrote the screenplay with the Icelandic poet Sjón, so we can surely expect an epic with epic writing to match. There’s also a stellar cast, including Alexander Skarsgård, Nicole Kidman, Ethan Hawke, Anya Taylor-Joy, Willem Dafoe — and Björk as a witch. I’d watch for that alone.Gia KourlasTransformation, Via Tap and Modern DanceA still from Ayodele Casel’s “Chasing Magic”; from left, Anthony Morigerato, John Manzari, Casel and Naomi Funaki.Kurt CsolakThere are times, however rare, when a virtual dance can be just as stirring as a live one. Ayodele Casel’s joyful and galvanizing “Chasing Magic,” presented by the Joyce Theater in April, was just that. Now the tap dancer and choreographer unveils a new version of the work, directed by Torya Beard, for the stage — an actual one — starting Tuesday, barring any Covid cancellations. And the following month, “Four Quartets,” an ambitious evening-length work by the modern choreographer Pam Tanowitz, lands at the Brooklyn Academy of Music (Feb. 10-12). Based on T.S. Eliot’s poems, the production features live narration by the actress Kathleen Chalfant, music by the Finnish composer Kaija Saariaho and a set by Brice Marden; in it, Tanowitz continues her exploration of the relationship between emotion and form. It’s true that one is tap; the other, modern dance. What do they have in common? Both have much to say and to show about the transporting, transformative power of dance.Isabelia HerreraThe Rapper Saba Explores TraumaSaba, a rapper from Chicago, will release a new album, “Few Good Things,” on Feb. 4.Mat Hayward/Getty ImagesDiaristic and quietly intense, Saba, a rapper from Chicago, is the kind of artist who navigates grief with a cool solace. In 2018, his record “Care for Me” considered this theme in the aftermath of the murder of his cousin and collaborator, who was stabbed to death a year earlier. Out on Feb. 4, his next album, “Few Good Things,” confronts equally gutting life challenges: the anxiety of generational poverty and the depths of survivor’s guilt. It reprises Saba’s slithering and poetic flows, which breathe out a profound sense of narrative. The beats are still buttery, jazzy and meticulously arranged. But this time around, there is more wisdom — a recognition that living through trauma means finding gratitude and affirmation in the moments you can.Jason ZinomanComedian Taylor Tomlinson on TourThe comedian Taylor Tomlinson in her Netflix special “Quarter-Life Crisis,” from 2020; a new one is in the works.Allyson Riggs/Netflix“Quarter-Life Special,” the debut stand-up special from Taylor Tomlinson, introduced a young artist with real potential. Tomlinson tautly evoked a clear persona (cheerful but not the life of the party; more like, as she put it, “the faint pulse of the pot luck”) and told jokes marked by a diverse arsenal of act outs and manners of misdirection. She covered standard territory (dating, sex, parents, kids) with enough insight and dark shadings to get your attention. Most excitingly, every once in a while, she let her thought process spin out into deliriously unexpected directions, like the story that led her to imagine a test for sadness conducted by the police. “Instead of a breathalyzer,” she explained, “they have you sigh into a harmonica.” This Netflix special made a splash, but it would have probably been a bigger one if it didn’t come out in March 2020. One pandemic later, she has another hour ready, and another Netflix special on the way. She’s now performing it on tour, which is expected to stop in New York in January at Town Hall and then the Beacon Theater. More

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    Deaths in 2021: Headline Names Against the Backdrop of Pandemic

    Aaron, Sondheim, Dole and Didion. But the loss of Colin Powell from the virus spoke most directly to the moment the world is in.Hank Aaron was gone. So were Stephen Sondheim, and Bob Dole, and Cicely Tyson, and Larry King, and Joan Didion. Prince Philip, two months short of 100, was buried with all the royal pomp one would expect. But in a year that saw the deaths of a host of figures who helped shape our era in decades past, none spoke more to the still-perilous present moment than that of Colin Powell.His death came not just against the backdrop of a global pandemic in its second unrelenting year, but also as another casualty of it. And his case spoke to the vagaries of an elusive, mutating virus that has laid siege to the world. He had been vaccinated, after all, and was under the best of care at Walter Reed, and still he succumbed, his 84-year-old immune system compromised by multiple myeloma.Kenneth Lambert/Associated PressGeneral Powell joined a death toll that has surpassed 800,000 in the country he long served, both in the military and in the halls of government, and four million worldwide. He was probably the most prominent victim of Covid-19 in 2021, but there were others of influence who fell to it too.Ron Wright, a Texas conservative, in February became the first member of the House of Representatives to die of the virus. The author Donald Cozzens, a former priest who challenged the Catholic Church on its protection of child-molesting clerics, was another Covid victim, as was the music producer Chucky Thompson, a power behind hip-hop and R&B. And no fewer than four American talk-radio hosts, all having the ears of millions on the political right, died of the virus after dismissing the idea of getting vaccinated against it, echoing the message of their most prominent radio peer, Rush Limbaugh, who had compared the virus to the common cold. He died in February, too, of lung cancer.Plenty of luminaries in the obituary pages escaped the virus, of course, dying of more conventional but no less grievous maladies. But they had at least one thing in common: In a year when no one could get out from under the pall of the pandemic, they died in the midst of it, never to see its end.Back over on Capitol Hill, still staggered by the sacking of Jan. 6, respects were paid to some of its stalwarts: Harry Reid, the former Senate majority leader and former boxer whose mild public manner disguised a fierce legislative pugilist and tactician; Carl Levin, the Michigan Democrat who, peering skeptically over the top of his gold-rimmed eyeglasses, interrogated corporate America; John Warner, the genteel Virginia Republican forever identified as Elizabeth Taylor’s No. 6; Walter Mondale, the liberal Minnesota senator turned vice president whose White House ambitions were buried in a Reagan landslide; Carrie Meek, the first Black person elected to Congress from Florida since Reconstruction; and, of course, Mr. Dole, the Kansas Republican who carried his wounds from World War II into a half-century of public service under the very dome that soared above him as his body lay in state just weeks ago.Harry Reid in 2014, when he was the Senate majority leader. A former boxer, he became a fierce legislative pugilist and tactician.Stephen Crowley/The New York TimesSenator Dole was the last of his war generation to win a major party’s presidential nomination, in 1996, and his passing at 98 was another reminder that his former brothers and sisters in arms are a dwindling cohort. Even the youngest of those who fought at the Battle of the Bulge or at Iwo Jima and who still survive have now entered their 90s, their former commanding officers mostly long gone. But one company leader who did hang on until this year was Dave Severance. He led the Marine unit that raised that now-hallowed American flag over Iwo Jima itself in 1945. He was 102.Warriors for a CauseThe world at large lost a host of dignitaries whose battles were in the political arena. One was F.W. de Klerk, the South African president who tore down the barriers of apartheid erected by his Afrikaner forerunners, a white power structure that collapsed in no small part because a fellow Nobel Peace Prize honoree, Archbishop Desmond Tutu, had pounded at it from the pulpit. Farther north, one of apartheid’s nemeses, Kenneth Kaunda, a founding father of African independence and the first president of a liberated Zambia, died at 97, having so dominated his country for 27 years that some supporters had viewed him as a minor deity.Roh Tae-woo at his inauguration as president of South Korea in 1988. With a stern eye, he oversaw his country’s transition from dictatorship to democracy.The Asahi Shimbun/Getty ImagesHalf a world away, two former strongmen who led South Korea in back-to-back regimes in the 1980s and ’90s died within a month of each other: first, in October, Roh Tae-woo, a former general who oversaw, with a stern eye, his country’s transition from dictatorship to democracy; then, in November, Chun Doo-hwan, the bloodstained dictator who had seized power in a coup and later handpicked his friend Mr. Roh to succeed him.In Argentina, a country long in the grip of dictatorship, the charismatic Carlos Saúl Menem, the beneficiary of the first peaceful transfer of power there from one constitutionally elected party to another since 1916, died at 90, having presided over an astonishing economic recovery in his 10-year rule, 1989-99, only to tumble from grace, pulled down by corruption.In the Middle East, there were Abolhassan Bani-Sadr, who tried but failed to resist the rise of religious radicalism as the first president of the Islamic Republic of Iran; Ahmed Zaki Yamani (though he died in London), the schmoozing, globe-trotting Saudi oil minister who became a player in the rise of Persian Gulf states to stratospheric heights of wealth; and A.Q. Khan, the so-called father of Pakistan’s nuclear bomb.Dr. Khan’s work left no doubt that his country had acquired weapons of mass destruction. But had Saddam Hussein’s Iraq? Yes, proclaimed Donald Rumsfeld (an assertion echoed by his colleague General Powell in the George W. Bush White House). Time would prove him and others in the administration wrong, but not before, as defense secretary, Mr. Rumsfeld had helped push the United States into another invasion, after Afghanistan, and into another war.Others who died this year had fought on entirely different fronts. Simple but courageous acts of defiance by both Martha White and Lucille Times in the Deep South of the 1950s, predating and presaging Rosa Parks, led to bus boycotts that in turn gave momentum to the civil rights movement and to warriors for the cause like Bob Moses. He endured brutality and jail in trying to register voters in Mississippi, where he “was the equivalent of Martin Luther King,” the historian Taylor Branch said.Margaret York had pushed open a door that had long been shut to women, becoming the highest-ranking woman in the Los Angeles Police Department (while inspiring a feminist version of a buddy cop show, “Cagney & Lacey”).LaDonna Brave Bull Allard in 2017. She led resistance in North Dakota to what she called “the black snake,” an underground pipeline that threatened tribal burial grounds. Jens Schwarz/laif/ReduxLaDonna Brave Bull Allard lived up to her name by establishing a “resistance camp” in North Dakota to block what she called “the black snake,” an underground pipeline that in its thousand-mile slithering would, she claimed, veer too close to sacred Native American burial grounds, one holding the remains of her son. The camp became the catalyst for a global protest movement that embraced issues of tribal sovereignty, environmental justice and more.And Madeline Davis became the first openly lesbian delegate to a national political convention in the United States, rising to speak before Democrats in Miami Beach in 1972 to argue, unsuccessfully, for an anti-discrimination plank in the party’s platform. “I am a woman and a lesbian, a minority of minorities,” she told what few delegates remained at the time, for it was 5 a.m. before her turn at the podium came. “Now we are coming out of our closets and onto the convention floor.”Some took the call for equal rights to athletic arenas. The Olympic gold-medal sprinter Lee Evans raised a Black fist from the winners’ platform in Mexico City to protest racism in the strife-torn America of 1968. Lee Elder’s mere presence at the 1975 Masters in Augusta, Ga., was symbolic enough — as the first Black golfer ever to compete in the tournament, and doing so in face of death threats.And Joan Ullyot, a competitive runner herself, became a powerful voice for women who sought to compete in marathons, producing research that irrefutably debunked assertions that women were not built for it and then pressing the International Olympic Committee to include a women’s marathon in the Games. The first was in 1984.Arenas and StagesElsewhere in sports, the coaching ranks took an unusually heavy toll. The N.F.L. lost, among others, John Madden, whose winning decade with the Oakland Raiders was just a prelude to a more sensational run as the most colorful of TV color commentators and a video-game king, and Marty Schottenheimer, the winner of 200 regular-season games with four N.F.L. franchises. College football lost Bobby Bowden, the architect of a powerhouse at Florida State; college basketball lost John Chaney, who led Temple’s Owls to 17 N.C.A.A. tournaments.John Madden in 2006. His Hall of Fame career coaching the Oakland Raiders was a prelude to a sensational run as a color commentator and video-game king.Matt Sullivan/ReutersAnd if baseball managers in the dugout can be lumped with head coaches on the sidelines, then a final tip of the cap must be paid to the irrepressible Tommy Lasorda, who had, as he liked to say with only slight hyperbole, bled Dodger blue.Henry Aaron’s death, of course, generated big headlines, accompanied by tales of his home run heroics and the racial animus they aroused among those who couldn’t countenance the idea of a Black man outslugging Babe Ruth. But other stars, too, fell, their exploits now sports lore: the ferocious Sam Huff of the football Giants; the acrobatic forward Elgin Baylor of the Lakers; the lightning-quick Rod Gilbert (“Mr. Ranger”), who dazzled hockey fans at Madison Square Garden. In auto racing, the brothers Bobby, 87, and Al Unser, 82 — born into the sport’s most illustrious family in the same decade — died seven months apart in the same calendar year.Performers of a different mold had left their imprint on stages and screens portraying anyone but their actual selves, yet we mourned their passing all the same as if we knew them. Christopher Plummer was Georg von Trapp, of course, in “The Sound of Music,” but also too many other characters to count in his rich seven decades as an actor — from King Lear to Sherlock Holmes to General Chang, the one-eyed Klingon in “Star Trek VI.”Cicely Tyson in 1973. She’s remembered as the unconquerable wife of an imprisoned Louisiana sharecropper in “Sounder” and the indomitable title character in “The Autobiography of Miss Jane Pittman.” Dennis Oulds/Central Press/Getty ImagesCicely Tyson was indelibly two characters: Rebecca, the unconquerable wife of an imprisoned Louisiana sharecropper in “Sounder,” and the seen-it-all title character in “The Autobiography of Miss Jane Pittman,” who survived into the civil rights era, to age 110, recalling her memories of slavery.Olympia Dukakis will forever be Rose, Cher’s sardonically wise mother in “Moonstruck”; Helen McCrory, the blue-blooded witch Narcissa Malfoy in a clutch of Harry Potter films; Cloris Leachman, the flighty landlady of Mary Richards in “The Mary Tyler Moore Show”; Hal Holbrook, a one-man-show Mark Twain; Michael K. Williams, the swaggering, openly gay hoodlum of “The Wire”; and Ed Asner, who else but Lou Grant?You could also say that Larry King was a performer, hosting talk shows on radio and TV seemingly forever, but he never played anyone but his loquacious, inquisitive and ingratiating self. Ditto Jackie Mason and Mort Sahl: stand-ups performing as themselves — or at least very funny versions of themselves. (Their fellow jokester Norm Macdonald was an exception, as comfortable alone on a stage as he was in a “Saturday Night Live” sketch or his own sitcom.)The proscenium stage knew no greater loss in 2021 than that of Stephen Sondheim, who, if he rarely took a curtain call bow from one, could nevertheless bask in the applause of a grateful theater world enriched by his music and lyrics.Stephen Sondheim in 1990. His music and lyrics enriched the theater world.Fred R. Conrad/The New York TimesAnd where performance is nothing but wordless drama (or sometimes comedy) in exhilarating motion, there were farewells to the magnetic Jacques d’Amboise, who may have done as much as anyone to popularize ballet in America, and the daring ballerina Patricia Wilde — both of them eternally linked to the great choreographer George Balanchine of New York City Ballet.The classical music stage, and the orchestra pit, were bereft with the deaths of James Levine, the maestro of the Metropolitan Opera whose brilliant career was darkened in the end by a sex scandal, and two of opera’s most illustrious singers in the last half of the 20th century: the virtuosic Slovak soprano Edita Gruberova and the German-born mezzo-soprano Christa Ludwig, a radiant fixture at the Met for years.A Drummer and a RapperIn a vastly different musical sphere, Charlie Watts, the solemnly aloof drummer of the Rolling Stones, became the second member of that age-defying band to die, at 80 (after Brian Jones a half-century ago). Mary Wilson was the second to do so among Motown’s original three Supremes (after Florence Ballard). Michael Nesmith left just one of the four Monkees still standing (Micky Dolenz). And with the death of Don Everly seven years after that of the younger Phil, the Everly Brothers will survive now only in their hit recordings of yesteryear.The drummer Charlie Watts in 1965. He was the second member of the age-defying Rolling Stones to die.George Wilkes/Hulton Archive/Getty ImagesMore fresh in memory were the explosive lyrics of the rapper Earl Simmons, a.k.a. DMX, who had channeled the mean streets of his boyhood Yonkers into No. 1 albums and onto the stage before pumped-up thousands. He was just 50.Chick Corea, a jazz pianist at heart, found a new audience by infusing his music with rock. And the flutist, composer and bandleader Johnny Pacheco, one of a raft of Latin musicians to die this year, spread salsa far and wide as its unofficial ambassador.If Mr. Pacheco was intent on expanding a genre, Larry McMurtry, in the world of letters, was out to subvert one — the western — by scrapping the cowboy and outlaw mythologies of dime-store novels in favor of unvarnished stories like “Lonesome Dove” and “The Last Picture Show.”Anne Rice, meanwhile, was revivifying a moribund branch of the book world — the Gothic horror tale — with stories of vampires. Beverly Cleary was a virtual children’s-book cottage industry as she found unlikely drama and mystery in middle-class America. And no one could dissect any and all aspects of American life with a more exacting eye than Joan Didion, though the unsparing journalism of Janet Malcolm could give her a run for her money (even while questioning the very ethics of journalism itself).Janet Malcolm in 1981. Her unsparing journalism examined American life even while questioning the very ethics of journalism itself. Nancy Crampton via Malcolm familyThe world said goodbye to them all, but in 2021 any death reported in the obituary columns was always set against that bigger story that never seemed to leave the front page. It was a disorienting phenomenon for the second year: noting the passing of this famous person or that one, from cancer or heart attack or the infirmities of old age, in the midst of a plague — a scourge that continued to take one life after another from all corners of the world while leaving everyone else, or almost everyone else, masked up and wondering if they’d ever get theirs back.Inevitably, despite the skeptics and the deniers, we turned to the scientists, knowing that they’re the ones who must finally give us the weapons to get us out of this. Many trailblazers from that community died in 2021, among them Nobel Prize winners who helped unlock the secrets of the universe (Toshihide Maskawa’s eureka moment, in understanding why the Big Bang didn’t destroy said universe, came in the bathtub) and explorers, like E.O. Wilson, who uncovered clues to human nature in the biosphere.E.O. Wilson found clues to human nature in his explorations of the biosphere.Hugh Patrick Brown/Getty ImagesBut there were also those whose time in the labs had more practical goals. One was Helen Murray Free, who helped develop a simple paper strip that when dipped in urine made it easier to detect diabetes — a revolution in diagnostic testing. Millions have benefited.And there was Andrew Brooks, a Rutgers researcher who, in the early dark days of the pandemic in 2020, came up with the first saliva test for the coronavirus, a breakthrough that was rolled out after getting emergency approval from the federal government. This was before there were vaccines and before testing protocols were revised once the airborne nature of the virus was fully understood. But as the governor of New Jersey said at the time, Dr. Brooks’s contribution to the cause “undoubtedly saved lives.”We’ve continued to turn to the Dr. Frees and the Dr. Brookses, and they’ve responded with alacrity with vaccines and treatments. But as the pandemic races on, the entreaty to them remains the same, still urgent but hopeful: Please, do more. More