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    Jay Kanter, Agent for Marlon Brando and Marilyn Monroe, Dies at 97

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    Later a studio executive, he was among the last of the power brokers who dominated Hollywood in the latter half of the 20th century.Jay Kanter, whose long career as an agent to the stars — including Marlon Brando, Marilyn Monroe and Grace Kelly — and later as an influential studio executive made him one of the last of the generation of power brokers who dominated Hollywood in the late 20th century, died on Aug. 6 at his home in Beverly Hills, Calif. He was 97.His son Adam Kanter confirmed his death.An acolyte of the superagent Lew Wasserman, Mr. Kanter was renowned as much for the career he led as for the stories people told about him.He was a junior agent at MCA, Mr. Wasserman’s agency, in 1948 when he was asked to retrieve Mr. Brando from the train station.Mr. Kanter took Mr. Brando to his aunt’s house, and the next morning to a meeting with the director Fred Zinnemann, who wanted to cast Mr. Brando in his next movie, “The Men.” Apparently Mr. Kanter made a good impression, because when he suggested that they proceed to MCA to meet some of its agents, he recalled, Mr. Brando replied: “I don’t have to meet anybody. You’re my agent.”Mr. Brando’s Hollywood career was on the verge of stardom. And now, so was Mr. Kanter’s.“Suddenly I was getting all these calls from these heads of studios,” he recalled in a 2017 interview, and within a few years he represented a long line of A-list talent.The Kanter-Brando story became a bit of Hollywood lore, so much so that it provided the inspiration for a 1989 sitcom, “The Famous Teddy Z,” about a Hollywood star who picks out a mailroom clerk (played by Jon Cryer) as his agent.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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      Book Review: ‘My Cousin Maria Schneider,’ by Vanessa Schneider

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      In a troubling new memoir, Vanessa Schneider contends that the sexually explicit 1972 film exploited, and irrevocably hurt, her cousin.MY COUSIN MARIA SCHNEIDER: A Memoir, by Vanessa Schneider. Translated by Molly Ringwald.For many actresses, the path of the ingénue can be treacherous. Celebrated for her beauty and youth, the ingénue is defined almost exclusively by her sexuality. An outsize amount of attention is paid to her looks and her body, little interest to her mind. As she grows older, opportunities diminish. Forced to act younger than her age and compete with newer faces, she eventually discovers that her career has hit a dead end. Among the long list of cautionary tales: Jean Seberg, the darling of French New Wave cinema, who died by suicide at the age of 40; Debra Winger, who shocked Hollywood by retiring at the height of her fame at 40; and, of course, the French actress Maria Schneider.Schneider was only 20 years old when she catapulted to fame after starring opposite Marlon Brando in Bernardo Bertolucci’s 1972 film “Last Tango in Paris.” In its most notorious scene, Brando, who plays a grief-stricken man named Paul, rapes Schneider, who plays a young woman named Jeanne, improvising with butter as a lubricant. Bertolucci and Brando conspired to film the scene, which Schneider claimed wasn’t in the original script, without her consent. Bertolucci later explained his reason for that decision as wanting Schneider “to respond like a girl, not an actress.” Because of its violence and frank treatment of sex, the film was a sensation, confirming Bertolucci’s status as a provocative filmmaker and cementing the comeback of Brando, who for some time had been seen as a Hollywood has-been.For Schneider, it was her “cross to bear,” writes the French journalist and novelist Vanessa Schneider in “My Cousin Maria Schneider,” a slender memoir composed in second person, directly addressed to the actress and elegantly translated from the French by Molly Ringwald. The book, first published in 2018 in France, is both a beautiful eulogy (Schneider died of breast cancer in 2011) and a much-needed corrective — an opportunity to finally set the record straight for an actress long mischaracterized and unfairly judged.The “Last Tango” scene would define Schneider for the rest of her life, explains Vanessa Schneider. Subjected to unrelenting negative publicity and attention surrounding it (a dairy manufacturer once used Schneider’s image on its packaging; a flight attendant served her a pat of butter without prompting), Schneider acted out. She spoke too candidly to the press about her personal life; she dismissed famous directors and actors; she walked off film sets.That Schneider was also addicted to heroin didn’t help, and Vanessa Schneider wonders if the drugs and partying were ways to avoid the spotlight so instantly thrust on the young actress.Growing up, Maria Schneider was unwanted. Her father, the French actor Daniel Gélin, was not involved in her childhood, and her mother, Marie-Christine Schneider, sent Schneider to live with a nursemaid when she was 8. Her mother’s “sex life was never a secret,” writes Vanessa Schneider. “A story often told … is of the time your mother was in bed with a man and called out for you to fetch her diaphragm.” She also reveals that Schneider’s mother “elected not to take the trip from Nice to Paris” for her daughter’s funeral, “saying she was too tired.”Vanessa Schneider’s parents took in Maria as a teenager. From an early age, Vanessa worshiped her older cousin, saving every clipping of her from magazines and newspapers in a red plastic binder. As a result, this memoir is written with a rare sense of intimacy and devotion. It warmly captures the highlights of Maria Schneider’s life: her enduring friendships with Brigitte Bardot and Nan Goldin, her pride in starring in films such as Michelangelo Antonioni’s “The Passenger” and her later advocacy for women in film.It is also, at moments, unsparing, describing Schneider’s struggles with addiction, financial woes and other embarrassing family drama. At one point Vanessa Schneider questions whether her cousin would like such an unvarnished portrayal of her life, and deletes what she’s written. “I often worry that you won’t approve of the story I’m telling, Maria,” she explains. “You won’t like that I’m speaking of the drugs, of your mother and father and brothers.” Yet in this post-#MeToo era, Vanessa Schneider’s evenhanded portrayal of this daring actress of the 1970s is a refreshing one. For once, a young woman is not placed on an impossibly high pedestal, where she is unfairly worshiped for her beauty and then cruelly defiled for our entertainment. Instead, Maria Schneider is presented with both her faults and her charms. In that way, this is a generous account of a rare and complicated cinematic star.Thessaly La Force is a freelance writer and frequent contributor to The New York Times Styles section. Previously, she was the features director at T: The New York Times Magazine.MY COUSIN MARIA SCHNEIDER: A Memoir | By Vanessa Schneider | Translated by Molly Ringwald | 160 pp. | Scribner | $26 More

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      Sacheen Littlefeather and the Question of Native Identity

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      The actress, who died Oct. 2, became famous for a protest at the 1973 Oscars. Now a researcher and Littlefeather’s own sisters dispute her claims that she was Native American. Her defenders say Indian identity is a complex matter.Two days after the death of Sacheen Littlefeather, her estranged sister was angrily scrolling Twitter.She was furious, she said in an interview this week, at the outpouring of praise for Littlefeather, the actress and activist who became famous when Marlon Brando sent her to the 1973 Oscars to refuse his best actor award and denounce Hollywood’s treatment of Native Americans.“I was reading what all these people were saying: ‘Oh, rest in peace and she was a saint, and she sacrificed herself,’” the sister, Rozalind Cruz, said. The sisters had been estranged for about 13 years for a variety of reasons, Cruz said, but at that point she still believed her family had Indian ancestry.Then she saw tweets by the writer Jacqueline Keeler, a citizen of Navajo Nation who has stirred controversy with her efforts to expose what she calls “pretendians.” Keeler was disputing Littlefeather’s claims that her father was White Mountain Apache and Yaqui.Cruz replied to Keeler on Twitter on Oct. 4 that her grandmother was of “Yaqui and Spanish” descent. Cruz herself had tried to enroll in the White Mountain Apache Tribe. But over the next few weeks, Cruz said, Keeler showed her genealogical research that traced her father’s family back to Mexico in 1850 and said there was no evidence of Native ancestry.Cruz and the middle sister of the family, Trudy Orlandi, were both persuaded by the research. Last Saturday, less than a month after their sister’s death at age 75, The San Francisco Chronicle published an opinion column by Keeler under the headline, “Sacheen Littlefeather was a Native American icon. Her sisters say she was an ethnic fraud.”The column unleashed an intense response in Native American circles on social media.Some condemned Littlefeather, saying she had fabricated an identity to promote her Hollywood career. But others strongly objected to Keeler’s investigation, saying it ignored the complicated ways Native identity can be formed, particularly for those who do not meet the formal criteria for tribal membership. Enrollment typically requires proof of tribal ties, often described in terms of one’s percentage of “Indian blood,” or “blood quantum.”“What many people don’t understand about Native existence is that some Natives aren’t enrolled,” Laura Clark, a journalist who is Muscogee and Cherokee, wrote in Variety in response to Keeler’s column.“Some Natives are reconnecting with their tribes,” Clark wrote. “Some Natives don’t have enough ‘Indian blood’ to register because of blood quantum minimums. And some Natives have had their tribes nearly erased to the point that organized citizenship records simply don’t exist.”The Shoshone poet nila northsun, a friend of Littlefeather’s from their college days in the 1970s, said this week that she was not surprised that Keeler had failed to find tribal affiliations in family records.Native Americans, she said, might have hidden their backgrounds to avoid discrimination or were misidentified.“It’s what you feel in your heart, and what your belief system is,” said northsun, who lowercases her name. “Just because she’s not enrolled or can’t be identified in records doesn’t mean she’s not Indigenous.”In an interview on Wednesday, Keeler rejected such assertions, saying she and volunteer researchers had reviewed records for hundreds of Littlefeather’s relatives. None identified as Native American, nor did they live with or marry members of any Apache tribe or anyone identifying as Yaqui, according to a summary of the research she published on Substack.“Could their family have some distant drop of Indigenous blood from hundreds of years ago?” she wrote in the column. “It’s possible; many people of Mexican descent do. But Indigenous identity is more complicated than that. A U.S. citizen of distant French descent does not get to claim French citizenship. And it would be absurd for that person to wear a beret on stage at the Oscars and speak on behalf of the nation of France.”It was not known if Littlefeather had ever tried to enroll in a tribe. The Pascua Yaqui Tribe in Arizona said in a statement that Littlefeather was not an enrolled member of the tribe, and neither were her parents.“However,” the tribe said, “that does not mean that we could independently confirm that she is not of Yaqui ancestry generally, from Mexico or the Southwestern United States.”The White Mountain Apache Tribe in Arizona did not immediately release a statement.Littlefeather was born Marie Cruz in 1946 and said in interviews over the years that her father, Manuel Ybarra Cruz, was White Mountain Apache and Yaqui and had abused her and her mother, Geroldine Cruz, who was of French, German and Dutch lineage.Rozalind Cruz, 65, of Big Arm, Mont., and Orlandi, 72, of San Anselmo, Calif., have strongly disputed their sister’s accounts of their father’s alcoholism and abuse. He died in 1966 at age 44, when Littlefeather was 19.At the 1973 Academy Awards, Sacheen Littlefeather refused the Academy Award for best actor on behalf of Marlon Brando for his role in “The Godfather.”BettmannBy age 26, Littlefeather was fully identifying as Native American when she protested at the Oscars, wearing a buckskin dress, moccasins and hair ties. She spent the next five decades as an activist in the Native American community and was married to Charles Johnston, a member of the Otoe-Missouria Tribe of Oklahoma, who died last year.She became a revered figure for some. In August, the Academy of Motion Picture Arts and Sciences announced that it had apologized to Littlefeather, calling her treatment at the Oscars, where she was booed, “unwarranted and unjustified.”In a statement on Thursday, the Academy Museum, which hosted an event honoring Littlefeather in September, said that it was aware of claims going back decades about her background but that “the Academy recognizes self-identification.”Cruz said that her father, who was deaf and communicated with sign language or a chalkboard, had never told her about Native American relatives.She said she had grown up knowing she had Spanish and Mexican heritage but also believed for most of her life that she was “probably about a quarter” Native American because of her older sister’s professed identity.Cruz said she had even applied last November to become a member of the White Mountain Apache Tribe but was denied because the tribe could not find records to support her claim. But that all changed after her sister’s death. She recalled telling Keeler on the phone: “You’re right. She’s a fraud. She’s a phony.”Some scholars agree, saying Keeler’s research was persuasive.“Keeler proves Littlefeather was a troubled woman who made the stories of others her own,” said Liza Black, an associate professor of history and Native American and Indigenous studies at Indiana University, and a citizen of Cherokee Nation.She said that many Native people understand the complexity of identity because of multiple tribal affiliations, blood quantum restrictions and adoptions, but that “Littlefeather does not fall into any of these true, real and complex Native identities.”Keeler’s research to prove that people are faking Indian identities has prompted blowback from critics who said that her work casts a cloud of suspicion over all Indigenous people.It suggests that “Native people need to create a system where they have to prove who they say they are,” said Andrew Jolivétte, the director of Native American and Indigenous studies at the University of California San Diego, who describes himself as Creole of Opelousa, Atakapa Ishak, French, African, Irish, Italian and Spanish descent.“Why do American Indians have to do that and not other people?” he added.For Keeler, to be Native American or American Indian is to be part of a clearly defined political group that existed before European colonial contact.“We’re not just an identity,” she said. “We are actually a political class. We are citizens of nations. We are sovereign.” Her goal, she said, is to stop non-Indians from profiting off false claims of being Native American.“We want real change and we want real justice, and that’s not going to happen when it all comes down to actors playing us,” she said.For her part, Cruz said she had no regrets.“All I did was, I put a pebble out there,” she said. “And I let the water rip.” More

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      Sacheen Littlefeather, Activist Who Rejected Brando’s Oscar, Dies at 75

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      The actress was booed at the Academy Awards in 1973 after she refused the best actor award on Marlon Brando’s behalf in protest of Hollywood’s depictions of Native Americans.Sacheen Littlefeather, the Apache activist and actress who refused to accept the best actor award on behalf of Marlon Brando at the 1973 Oscars, drawing jeers onstage in an act that pierced through the facade of the awards show and highlighted her criticism of Hollywood for its depictions of Native Americans, has died. She was 75.Her death was announced on Sunday by the Academy of Motion Picture Arts and Sciences. The cause of death was not immediately known.Her death came just weeks after the Academy apologized to Ms. Littlefeather for her treatment during the Oscars. In an interview with The Hollywood Reporter in August, Ms. Littlefeather said she was “stunned” by the apology. “I never thought I’d live to see the day I would be hearing this, experiencing this,” she said.When Ms. Littlefeather, then 26, held up her right hand that night inside the Dorothy Chandler Pavilion in Los Angeles — clearly signaling to the award presenters, the audience and the millions watching on TV that she had no desire to ceremoniously accept the shiny golden statue — it marked one of the best-known disruptive moments in the history of the Oscars.“I beg at this time that I have not intruded upon this evening, and that we will, in the future, our hearts and our understandings, will meet with love and generosity,” Ms. Littlefeather said at the podium, having endured a chorus of boos and some cheers from the crowd.Donning a glimmering buckskin dress, moccasins and hair ties, her appearance at the 45th Academy Awards, at the age of 26, was the first time a Native American woman had stood onstage at the ceremony. But the backlash and criticism was immediate: The actor John Wayne was so unsettled that a show producer, Marty Pasetta, said security guards had to restrain him so that he would not storm the stage.Ms. Littlefeather and Mr. Brando had become friends through her neighbor, the director Francis Ford Coppola.Associated PressShe told The Hollywood Reporter in August: “When I was at the podium in 1973, I stood there alone.”Ms. Littlefeather, whose name at birth was Marie Cruz, was born on Nov. 14, 1946, in Salinas, Calif., to a father from the White Mountain Apache and Yaqui tribes in Arizona and a French-German-Dutch mother, according to her website. After high school, she took the name Sacheen Littlefeather to “reflect her natural heritage,” the site states.Her website said she participated in the Native American occupation of Alcatraz Island, which began in 1969 in an act of defiance against a government that they said had long trampled on their rights.Her acting career began at the American Conservatory Theater in San Francisco in the early 1970s. She would go on to play roles in films like “The Trial of Billy Jack” and “Winterhawk.”Ms. Littlefeather said in an interview with the Academy that she had been planning to watch the awards on television when she received a call the night before the ceremony from Mr. Brando, who had been nominated for his performance as Vito Corleone in “The Godfather.”The two had become friends through her neighbor, the director Francis Ford Coppola. Mr. Brando asked her to refuse the award on his behalf if he won and gave her a speech to read just in case.With only about 15 minutes left in the program, Ms. Littlefeather arrived at the ceremony with little information about how the night would work.A producer for the Oscars noticed the pages in Ms. Littlefeather’s hand and told her that she would be arrested if her comments lasted more than 60 seconds.Then, Mr. Brando won.In the speech, Ms. Littlefeather also brought attention to the federal government’s standoff with Native Americans at Wounded Knee.She later recalled that while she was giving the speech, she had “focused in on the mouths and the jaws that were dropping open in the audience, and there were quite a few.”The audience, she recalled, looked like a “sea of Clorox” because there were “very few people of color.”She said some audience members did the so-called “tomahawk chop” at her and that when she went to Mr. Brando’s house later, people shot at the doorway where she was standing.Last month, Ms. Littlefeather spoke at a program hosted by the Academy called “An Evening with Sacheen Littlefeather,” recalling how she had stood up for justice in the arts.“I didn’t represent myself,” she said. “I was representing all Indigenous voices out there, all Indigenous people, because we had never been heard in that way before.”And when she spoke those words, the audience erupted in applause.“I had to pay the price of admission, and that was OK,” she said. “Because those doors had to be open.”After learning that the Academy would formally apologize to her, Ms. Littlefeather said it felt “like a big cleanse.”“It feels like the sacred circle is completing itself,” she said, “before I go in this life.” More

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      An Oscars Apology for Sacheen Littlefeather, 50 Years After Brando Protest

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      The Apache activist and actress was booed onstage in 1973 after she refused the best actor award on Marlon Brando’s behalf and criticized Hollywood for its depictions of Native Americans.The Academy of Motion Picture Arts and Sciences has apologized to Sacheen Littlefeather, an Apache and Yaqui actress and activist who was booed onstage at the Oscars in 1973 after she refused the best actor award on behalf of Marlon Brando.The Academy said in a statement on Monday that it had apologized to Ms. Littlefeather, 75, in June, nearly 50 years after Ms. Littlefeather pierced through the Academy Awards facade of shiny statues and bright lights in 1973 and injected the ceremony with criticism about Native American stereotypes in media.Her appearance at the ceremony, the first time a Native American woman stood onstage at the Academy Awards, is perhaps one of the best-known disruptive moments in the history of the award ceremony.When Ms. Littlefeather, then 26, spoke, some of the audience cheered her and others jeered. One actor, John Wayne, was so unsettled that a show producer, Marty Pasetta, said security guards had to restrain him so that he would not storm the stage.Ms. Littlefeather said she was “stunned” by the apology in an interview with The Hollywood Reporter. “I never thought I’d live to see the day I would be hearing this, experiencing this,” she said.“When I was at the podium in 1973, I stood there alone,” she added.Ms. Littlefeather also brought attention to the federal government’s standoff at Wounded Knee with Native Americans in the 1973 speech, which she came up with shortly before being called onstage on behalf of Mr. Brando, who was to receive the best actor award for his performance as Vito Corleone in “The Godfather.”Ms. Littlefeather said in an interview with the Academy, which was published on Monday, that she had been planning to watch the 45th Academy Awards on television like everyone else when she received a call the night before the ceremony from Mr. Brando. The two had become friends through her neighbor, the director Francis Ford Coppola. Mr. Brando asked her to refuse the award on his behalf if he won.Ms. Littlefeather arrived at the ceremony with only about 15 minutes left of the official program, wearing a glimmering buckskin dress, moccasins and hair ties. Ms. Littlefeather said she had little information about how the night would work, but Mr. Brando had given her a speech to read if he won.That plan evaporated when a producer for the Oscars saw the pages in her hand and told he she would be arrested if her comments lasted more than 60 seconds, she said.She introduced herself, then explained that Mr. Brando would not be accepting the award because of his concerns about the image of Native American people in film and television and by the government. She paused when a mix of boos and cheers erupted from the audience.“And I focused in on the mouths and the jaws that were dropping open in the audience, and there were quite a few,” she told the Academy. “But it was like looking into a sea of Clorox, you know, there were very few people of color in the audience.”The crowd quieted, and Ms. Littlefeather mentioned the Wounded Knee standoff and then left the stage without touching the golden Oscars statue. She said some audience members did the so-called “tomahawk chop” at her and that when she went to Mr. Brando’s house later, people shot at the doorway where she was standing.“When I went back to Marlon’s house, there was an incident with people shooting at me,” she said. “And there were two bullet holes that came through the doorway of where I was standing, and I was on the other side of it.”Ms. Littlefeather, who was not available for an interview on Tuesday, told the Academy that speaking about these events in 2022 “felt like a big cleanse.”“It feels like the sacred circle is completing itself before I go in this life,” said Ms. Littlefeather, who told The Guardian in June 2021 that she had terminal breast cancer.The former president of the Academy, David Rubin, wrote in the apology to Ms. Littlefeather that the abuse she faced because of the speech was “unwarranted and unjustified.”“For too long the courage you showed has been unacknowledged,” Mr. Rubin wrote. “For this, we offer both our deepest apologies and our sincere admiration.”Mr. Rubin’s letter will be read next month at a program at the Academy Museum of Motion Pictures, “An Evening with Sacheen Littlefeather.”The Academy described it as an event of “conversation, reflection, healing and celebration.” Ms. Littlefeather said in a statement that she was looking forward to the Native American performers and speakers at the event, including Calina Lawrence, a Suquamish singer, and Bird Runningwater, the co-chair of the Academy’s Indigenous Alliance, who is Cheyenne and Mescalero Apache.“It is profoundly heartening to see how much has changed since I did not accept the Academy Award 50 years ago,” she said. “I am so proud of each and every person who will appear onstage.” More

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      Where’d All the Method Acting Go?

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      Elyssa Dudley and Listen and follow Still ProcessingApple Podcasts | Spotify | Stitcher | Amazon MusicIn the 20th century, method acting was everywhere. Actors went to extreme lengths to inhabit the complicated psyche of a character, sometimes making audiences deeply uncomfortable. Think Robert De Niro in “Raging Bull” or Marlon Brando in “Apocalypse Now.” But in 2022, in our heyday of superhero blockbusters and bingeable story lines, the Method seems to be fading away.Wesley invites Isaac Butler — critic, historian and author of “The Method: How the 20th Century Learned to Act” — to dissect the Method. They discuss where it came from, its most legendary practitioners, and whether Hollywood has a place for it today.‘They are absolutely in two different movies’One of the examples of the Method that Wesley and Isaac break down is from “Supergirl” (1984). Helen Slater stars as Supergirl, alongside Faye Dunaway, who plays her archnemesis, Selena.Dunaway’s use of the Method “allows her to be so identifiably different and more intense than everybody else in that movie,” Wesley said. She has a “grand performance of this witch character,” Isaac added. “And she’s just, like, really going for it. And it’s big and embodied and really fun to watch.”In contrast to Dunaway, Slater is “much more unwashed” and has a “just-fell-out-of-the-costume-trailer kind of line delivery,” Isaac explained. It’s like they’re “in two different movies,” he said.Check out their differing performances in the clip below:Hosted by: Wesley Morris and Jenna WorthamProduced by: Elyssa Dudley and Hans BuetowEdited by: Sara Sarasohn and Sasha WeissEngineered by: Marion LozanoExecutive Producer, Shows: Wendy Dorr More