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    Al Pacino Is Still Going Big

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    Al Pacino has been one of the world’s greatest, most influential actors for more than 50 years. He’s audacious. He’s outrageous. He’s Al Pacino, and I’m pretty sure you know what that entails.Listen to the Conversation With Al PacinoA conversation with the legendary actor about, well, everything.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio AppSo I’d like to talk about some aspects of him that merit fresh discussion. Did you know, for example, that he is cinema’s greatest-ever swearer? (This is fact, not opinion.) He delights in those words. He lustily chomps on them. This zest for delivering colorful language, I suspect, is a source of the criticism that he has become a scenery-chewer. Which isn’t nearly the whole picture. Fans of his layered, subtle work in “The Godfather” or “Dog Day Afternoon” need to immediately see more recent films like “The Humbling” or “The Insider” or “Manglehorn” to understand his enduring range. But also, the parts of Pacino movies where Pacino goes big are always the best parts of Pacino movies! Did anyone want him to underplay Satan in “The Devil’s Advocate”?Though he can go small and internal, Pacino’s ability to really emote is one of his singular gifts. That’s why, secretly, the best Pacino is crowd-pleasing Hollywood movie star ’90s Pacino. Given the revolutionary work he did in the ’70s, this is akin to claiming that the key work of a critically acclaimed, groundbreaking band occurred after it went pop. But ’90s Pacino is when his gargantuan skill, volcanic charisma and joyful desire to entertain all coalesced magically.“Hoo-ah!”The first time I ever consciously noticed a Pacino performance was also the first time I ever consciously saw an actor in a movie and thought, That’s good acting. It was 1990, I was only 8 years old and I’d just seen Pacino play the grotesque gangster Big Boy Caprice in “Dick Tracy.” (Don’t scoff. Pacino earned an Oscar nomination for the part.) Hidden under garish makeup and a hunchback, Pacino was kinetic and uninhibited and, most of all, believable in a way that registered to even a child. That lusty emotionality and passionate exuberance — his sense of being truly alive to each moment in his character’s life — is what Pacino brought with such distinction to his movies in that period, which was also the period when I grew from a child to a young man.Pacino’s engagement with his art was a model for how passionately — and variously — you could engage with the world. He has always been brilliant at playing cops and criminals like Big Boy. But he has also played biblical kings, cockney sociopaths, sharkish salesmen, a short-order cook and a Gucci. He’s done Mamet and Brecht and Shakespeare. (His majestic, tragic Shylock was the best theatrical performance I’ve ever seen.) He has played Phil Spector, Jimmy Hoffa, Jack Kevorkian, Joe Paterno, Roy Cohn and, on two occasions, versions of himself. He did it in the artfully self-reflexive documentary “Looking For Richard,” then in the somewhat-less-artful Adam Sandler vehicle “Jack and Jill.” Has he always been perfect? No. He strives for something riskier and more alive than perfection. Is he always perceptive, free, unmissable? God, yes. More

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      in Movies

      Saoirse Ronan Has Lived, and Acted, Through a Lot

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      “I wish I could live through something,” says the teenage title character in the 2017 movie “Lady Bird,” yearning for a life beyond suburban Sacramento.The actor playing her, Saoirse Ronan, had, at that point, already lived through enough for several lives. Then 23, she’d been acting since she was 9, and had already garnered two Oscar nominations. “Lady Bird,” Greta Gerwig’s debut as a solo director, would earn Ronan a third. Another followed, in 2019, for her role as Jo March in Gerwig’s “Little Women.”This year, Oscars buzz surrounds Ronan once again, thanks to her leading roles in Nora Fingscheidt’s “The Outrun,” which opens in theaters Friday, and Steve McQueen’s “Blitz,” out Nov. 1st.Ronan’s career reads as a series of evolutions, pushing into new territory with every role — over the years, she has also played a 1950s Irish immigrant in New York, a child assassin, a vampire, Lady Macbeth and Mary, Queen of Scots. Now 30, with over two decades of experience in front of the camera, the Irish actress has committed herself in “The Outrun” to a character containing multitudes: a woman raised in a remote island community, who returns to recover from her addiction to alcohol.In “The Outrun,” Ronan’s character, Rona, returns home to the Orkney Islands in Scotland to recover from her alcohol addiction.Martin Scott Powell/Sony Pictures Classics“It was so much more than just making a film for me,” Ronan said, in a video interview from New York. She described an experience that was both physically and emotionally demanding: “I think actors are sponges, you’re able to open yourself up to everything around you.” For “The Outrun,” that meant swimming in the icy sea, delivering lambs on-camera and going deep into the psyche of a woman in crisis.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      When John Amos Had Enough of the ‘Good Times’

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      The actor, whose death was announced this week, made it known he didn’t like the direction the hit show was going. His character was then killed off.It was the role John Amos had worked toward his entire acting career. For three seasons, to many accolades and impressive ratings, Amos played the patriarch, James Evans Sr., on “Good Times.” The character was hardworking, earnest and serious-minded — traits largely unseen in Black television characters up to that point in the mid-1970s. And “Good Times” was a hit, part of a string of sitcom successes from the executive producer Norman Lear.But suddenly, Amos was no longer a part of the cast. The groundbreaking show explained the absence to viewers by having Evans die in an offscreen car accident while preparing the family for a move to Mississippi.“Damn! Damn! Damn!” the actress Esther Rolle, who played Evans’s wife, Florida, famously lamented while mourning his death.“Good Times” rumbled on for another three seasons without its fatherly anchor, and with diminishing viewership each season until it concluded in 1979.The actor’s actual death, at the age of 84, was made public on Tuesday although he died in August. The lag between his death and the announcement has widened a longstanding rift between his two children, Shannon Amos and K.C. Amos His daughter, Shannon, said that she had only learned of her father’s death through media reports.“This tragic news has left us in shock and heartache,” Shannon Amos said in a statement attributed to her, close friends and family members. “We are deeply concerned that our father may have been neglected and isolated during his final days.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Ken Page, Who Starred in ‘Cats’ and Voiced Oogie Boogie, Dies at 70

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      His career on Broadway spanned decades. But he has probably best known for providing the voice of the boogeyman in “The Nightmare Before Christmas.”Ken Page, whose extensive Broadway career included standout roles in “The Wiz” and “Cats,” but whose rich baritone voice reached its widest audience as Oogie Boogie in the perennial hit animated movie “The Nightmare Before Christmas,” died on Monday at his home in St. Louis. He was 70.His death was confirmed by Dorian Hannaway, a longtime friend. She did not cite a cause.Mr. Page, a St. Louis native, arrived on the New York theater scene in 1975 as the understudy, and later the replacement, in the role of the Lion in “The Wiz.” The next year, his showstopping rendition of “Sit Down, You’re Rockin’ the Boat” as Nicely-Nicely Johnson in a revival of “Guys and Dolls” brought him his first acclaim.Mr. Page revisited the role of Old Deuteronomy, which he had originated on Broadway. in the St. Louis Municipal Opera Theater’s 2010 production of “Cats.”The Muny“Sometimes it really does happen. Sometimes the fairy tale comes true,” Clive Barnes of The New York Times wrote in 1976. “It happened on Wednesday night at the Broadway Theater to a young unknown, Ken Page.”His many other Broadway credits included the original Broadway productions of “Cats,” in which he played the dignified Old Deuteronomy, and “Ain’t Misbehavin’,” the musical revue built around songs written or recorded by Fats Waller. Offstage, he was probably best known for voicing Oogie Boogie, the infamous boogeyman in Henry Selick and Tim Burton’s 1993 stop-motion classic, “The Nightmare Before Christmas.” It was a role that Mr. Page would revisit often, in video games and at Halloween celebrations.According to a statement released by his agent, Mr. Page was preparing for upcoming appearances as Oogie Boogie when he died.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      John Amos, a Star of ‘Good Times’ and ‘Roots,’ Is Dead at 84

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      He was the patriarch in one of the first sitcoms with an all-Black cast and an enslaved African as a grown man in the blockbuster TV mini-series.John Amos, who played a stern patriarch on “Good Times,” America’s first sitcom featuring a two-parent Black family, and who had a starring role in “Roots,” the slavery narrative that became America’s most watched show in the late 1970s, has died in Los Angeles. He was 84.His publicist, Belinda Foster, confirmed the death on Tuesday, saying he had died on Aug. 21. She did not specify the cause or say why the announcement of his death was delayed.Mr. Amos’s acting career spanned more than five decades, with his breakthrough coming in 1970 on the CBS comedy “The Mary Tyler Moore Show,” playing Gordy, the weatherman on a local television news program working alongside Ms. Moore’s Mary Richards, an associate producer. After three seasons, Mr. Amos left for “Good Times,” a Norman Lear production and a spinoff of the producer’s sitcom “Maude.” Chronicling the trials and tribulations of a Black working-class family living in the Chicago projects, “Good Times,” which ran from 1974-79, also on CBS, never shied away from the gritty realities of life in public housing, touching on topics like racial bigotry, drug abuse and poverty — but all with a sense of humor.Mr. Amos played James Evans Sr., a fierce disciplinarian with a tender heart who took on odd jobs to support his wife, Florida Evans (Esther Rolle), his sons Michael (Ralph Carter) and J.J. (Jimmie Walker), and his daughter, Thelma (Bern Nadette Stanis).Mr. Amos and Esther Rolle in a scene from “Good Times.” The show accrued high ratings and was notable for its all-Black cast.CBS Photo Archive/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Kris Kristofferson: A Life in Pictures

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      Kris Kristofferson, who died on Saturday at 88, was most revered for his songwriting, favoring an aphoristic style that surveyed the many detours a life could take. By the time he broke through, at nearly 34 years old, Kristofferson had swerved off prescribed courses a number of times. The son of an Air Force major general and a socially conscious mother, he’d been a Rhodes Scholar, an Army helicopter pilot and a family man before going all in on music in 1965, a decision that splintered his family and left him scuffling for money.“I was working the Gulf of Mexico on oil rigs. I’d lost my family to my years of failing as a songwriter. All I had were bills, child support, and grief,” Kristofferson once said of writing “Me and Bobby McGee” in the late 1960s. “I was about to get fired for not letting 24 hours go between the throttle and the bottle. It looked like I’d trashed my act. But there was something liberating about it. By not having to live up to people’s expectations, I was somehow free.”By the time success came in 1970 — as Ray Price’s cover of his song “For the Good Times” reached the Top 40 on the pop chart, and Johnny Cash’s version of “Sunday Morning Coming Down” became a No. 1 country hit — Kristofferson had experienced love, loss and hard times, all of which gave his career a hard-earned sagacity as it expanded over the next 50 years.Here are some snapshots from his life and career.Kris Kristofferson, an Oxford-educated Army helicopter pilot, turned down a teaching job at West Point to pursue songwriting in Nashville.Al Clayton/Getty ImagesKristofferson, in 1970 or 1971, in a Nashville hotel room listening to a reel-to-reel tape recorder after his appearance on “The Johnny Cash Show.”Al Clayton/Getty ImagesKristofferson in 1970, the year two songs he wrote — “For the Good Times” and “Sunday Morning Coming Down” — became hits for other artists.Al Clayton/Getty ImagesIn the liner notes of his 1971 album, “The Silver Tongued Devil and I,” Kristofferson described his music as “echoes of the going ups and coming downs, walking pneumonia and run-of-the-mill madness, colored with guilt, pride, and a vague sense of despair.”Don Paulsen/Michael Ochs Archives, via Getty ImagesKristofferson with Janis Joplin in the summer of 1970, shortly before her death in October of that year. Her version of “Me and Bobby McGee,” penned by Kristofferson, went to No. 1 on the Billboard Hot 100 chart in 1971.John Byrne Cooke Estate/Getty ImagesKristofferson starred opposite Barbra Streisand in Frank Pierson’s 1976 remake of “A Star Is Born.”Max B. Miller/Fotos International and Archive Photos, via Getty ImagesKristofferson and Streisand in a publicity photo from “A Star Is Born.” He won a Golden Globe Award for his performance.Screen Archives/Getty ImagesStreisand and Kristofferson at a preview of “A Star Is Born” in New York City in December 1976. She cast Kristofferson as the male lead in the film after seeing him onstage at the Troubadour in West Hollywood, Calif.Suzanne Vlamis/Associated PressKristofferson performing with Olivia Newton-John and Rod Stewart at a UNICEF benefit in New York City in 1979. His work in the 1980s and ’90s would venture into social justice and human rights.Ron Galella/Ron Galella Collection, via Getty ImagesKristofferson, center, with from left, Candice Bergen, Rita Coolidge, Willie Nelson and Burt Reynolds after a performance at the Bottom Line in New York City in 1979. Kristofferson and Coolidge, who were married for much of the 1970s, released three duet albums before divorcing in 1980.Associated Press/Associated PressKristofferson and Isabelle Huppert, with whom he appeared in the film “Heaven’s Gate” (1980), at the Cannes Film Festival in 1981.Associated PressKristofferson with Don King, commentating during a fight between Larry Holmes and Muhammad Ali in 1980. Kristofferson, a Golden Gloves boxer in college, was a lifelong fan of the sport.Randy Rasmussen/Associated PressKris Kristofferson and Jane Fonda at the premiere of the film “Rollover” in Los Angeles in 1981.Nick Ut/Associated PressWith Willie Nelson on the set of the film “Songwriter” in 1983.John Bryson/Getty ImagesFrom left, Nelson, Waylon Jennings, Johnny Cash and Kristofferson performing as the Highwaymen in 1985 at Nelson’s Fourth of July picnic in Austin, Texas.Beth Gwinn/Getty ImagesKristofferson, left, with Jackson Browne and Bonnie Raitt in San Francisco in 1989, performing in protest of the war in El Salvador. Tim Mosenfelder/Getty ImagesKristofferson comforted Sinead O’Connor after she was booed at Madison Square Garden in New York in 1992. “It seemed to me very wrong, booing that little girl,” he later said. “But she was always courageous.”Ron Frehm/Associated PressFrom left, Kristofferson, Victoria Williams, Suzanne Vega, Vin Scelsa and Lou Reed backstage at the Bottom Line in New York City in 1994.Ebet Roberts/Redferns, via Getty ImagesKristofferson joined Streisand onstage in London in 2019 for their duet “Lost Inside of You.” “He was as charming as ever, and the audience showered him with applause,” she wrote on social media after his death.Dave J Hogan/Getty ImagesKristofferson with Charlie McDermott in Vermont in 2005, during a break in the filming of “Disappearances.”Toby Talbot/Associated PressKristofferson performing with Nelson at a concert for Nelson’s 70th birthday in 2003. James Estrin/The New York TimesKristofferson performing at the Stagecoach Festival in Indio, Calif., in 2007. He retired from performing during the Covid-19 pandemic.Heidi Schumann for The New York Times More

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      Kris Kristofferson’s Stories Were Wonderfully Larger Than Life

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      The singer, songwriter and actor, who died on Saturday at 88, found his way into situations and tales that underscored his role as a conscience for country music.Kris Kristofferson was a man to whom myth attached easily.Did he once take control of a National Guard helicopter so he could land it at Johnny Cash’s house to present him with some songs to consider recording? (He sure did, though Johnny apparently wasn’t home.) Did he not know that Janis Joplin, whom he’d been dating, had recorded his song “Me and Bobby McGee” just a few days before her death? (He didn’t; the track, released posthumously, became her lone No. 1 hit.) Did he once confront Toby Keith, country music’s jingoist in chief, about his performative bluster and ask him, “Have you ever taken another man’s life and then cashed the check your country gave you for doing it? No, you have not.” (Depends whose account you believe.)Beginning in the mid-1960s, when he arrived in Nashville as an aspiring songwriter, Kristofferson, who died Saturday at 88, evolved into something of a communal conscience for the town, and the country music business, while also helping to usher it into conversation with the rest of popular music.He was best known as a songwriter, with compositions that bridged folky earthiness with a jolt of literary flair. When sung by some of the biggest country stars of the era — Cash, Ray Price, Roger Miller, Ray Stevens, Bobby Bare — they inexorably moved the genre away from polished and poised singers in sports coats toward thornier territory closer to the folk revival of the 1960s.The protagonists of Kristofferson’s best songs were downtrodden victims of their own poor decisions — “Sunday Mornin’ Comin’ Down,” the best-known version of which was sung by Cash, finds the singer struggling to find “my cleanest dirty shirt” the morning after a Saturday night bender. “Once More With Feeling,” written with Shel Silverstein and sung by Jerry Lee Lewis, tells the story of a relationship that’s run out of gas through the pleas of a man desperate to be deceived, even for a moment: “Darling, make believe you’re making me/Believe each word you say.”“Me and Bobby McGee” — initially recorded by Miller, but rendered indelible by Joplin — was the tale of two drifters who drift away from each other, anchored in the oft-repeated secular proverb, “Freedom is just another word for nothing left to lose.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Gavin Creel, Tony-Winning Musical Theater Actor, Dies at 48

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      He won the award playing a Yonkers feed store clerk in “Hello, Dolly!” and was also nominated for roles in “Thoroughly Modern Millie” and “Hair.”Gavin Creel, a sly and charming musical theater actor who won a Tony Award as a wide-eyed adventure seeker in “Hello, Dolly!” and an Olivier Award as a preening missionary in “The Book of Mormon,” died on Monday at his home in Manhattan. He was 48.His death was confirmed by his partner, Alex Temple Ward, via a publicist, Matt Polk. The cause was metastatic melanotic peripheral nerve sheath sarcoma, a rare form of cancer, which Mr. Creel learned he had in July.Mr. Creel was a well-liked member of the New York theater community whose death comes as a shock, given his age. He had been performing on Broadway for two decades, mostly in starring roles, and just last winter his physical and vocal agility, as well as his charisma and curiosity, were on display in a memoiristic show he wrote and performed Off Broadway called “Walk on Through: Confessions of a Museum Novice,” about learning to love the Metropolitan Museum of Art.Mr. Creel during his Broadway debut in 2002 when he played Jimmy Smith in “Thoroughly Modern Millie” opposite Sutton Foster as Millie Dillmount.Sara Krulwich/The New York TimesA superior singer with a sunny tenor, Mr. Creel made his Broadway debut and received his first Tony nomination in 2002 as the suave salesman Jimmy Smith in the original production of “Thoroughly Modern Millie,” starring opposite Sutton Foster, who played the title character, a spunky social climber named Millie Dillmount.He went on to find success in a string of Broadway revivals, playing the straight son of a gay couple in “La Cage aux Folles” (which opened in 2004); the leader of a tribe of hippies in “Hair” (2009); a womanizing clerk in “She Loves Me” (2016); a callow clerk in “Hello, Dolly!” (2017); and both a prince and a wolf in “Into the Woods” (2022).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      ‘Days of Our Lives’ Actor, Drake Hogestyn, Dies at 70

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      Mr. Hogestyn was best known for playing John Black on the daytime soap opera and appeared in more than 4,200 episodes over 38 years.Drake Hogestyn, who played John Black, the sturdy and fiercely loyal character who by turns was a spy, private investigator and mercenary, for nearly 40 years on the long-running soap opera “Days of Our Lives,” died on Saturday, a day shy of his 71st birthday.Mr. Hogestyn had pancreatic cancer, according to a statement from his family shared by the show. He died in Los Angeles, according to a publicist for the show, Andrea McKinnon.In 1986, Mr. Hogestyn first appeared on “Days of Our Lives,” which premiered in 1965 on NBC and follows various characters in the fictional Midwestern town of Salem. For a few years, he played another character, Roman Brady, but came to be known best for his role as John Black.Mr. Hogestyn appeared in more than 4,200 episodes of the soap opera and became a fan favorite for his portrayal as the rugged, raspy-voiced and often heroic character who had the skills of an intelligence agent, a police officer and a private investigator.The character was also known for being married to Dr. Marlena Evans, a psychiatrist and the town’s de facto matriarch, played by Deidre Hall. In 2005, the actors won a Soap Opera Digest Award for Favorite Couple.“It’s, like, I’ll always love her,” Mr. Hogestyn said, at a gathering for the show’s fans in 2004, of the characters’ enduring romance.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More