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      At Venice Film Festival, Trapped Women and Controlling Men

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      This year’s lineup includes films from Sofia Coppola, Yorgos Lanthimos and Bradley Cooper in which female characters squirm under the thumbs of egocentric men.The press room at the Venice Film Festival has to be the most beautiful film festival press room in the world. Taking over the third floor of the imposing Palazzo del Casinò, the main atrium is a gargantuan, triple-height space carpeted in soft cream, with columns clad in marble extending up past Murano glass chandeliers, and floor-to-ceiling windows hung with gold-sheened drapes giving way to a sparkling blue sea. On a clear day — which it almost always is — you imagine that, were it not for the curvature of the earth, you could see forever. Or at least to Croatia.It is an eternal contradiction that this lofty space should be peopled with dozens of perspiring journalists hunched over their laptops, hammering away at their keyboards like birds beating their wings against the bars of a particularly gilded cage. Or maybe such dark thoughts in a such a light-filled structure — designed by the architect Eugenio Miozzi in 1938 to embody the monumentalist fantasy of Mussolini’s fascist regime — are a symptom of a festival lineup that, this year, features a profusion of stories about women similarly chafing against the restrictive, but often luxurious, enclosures built by controlling men.Some of these men were towering real-life figures. Penélope Cruz turns in the standout performance in Michael Mann’s “Ferrari” as the long-suffering wife of the Italian motoring magnate (Adam Driver), and Carey Mulligan does much the same as Leonard Bernstein’s wife Felicia in “Maestro,” directed by and starring Bradley Cooper. In both these cases — and arguably to the detriment of both well-made but strangely evanescent films — the portrayal of genius pales in comparison to the portrait of a woman who supported and nurtured that genius, even when it threatened to engulf her. in “Ferrari,” Penélope Cruz plays Laura Ferrari, the wife of the Italian car mogul Enzo Ferrari.Lorenzo SistiOf two memorable scenes in “Maestro,” only one — Bernstein’s performance of Mahler’s “Resurrection” Symphony at Ely Cathedral in 1973 — is about his music. The other is a lacerating domestic argument in the couple’s bedroom, during which, in every shaking nerve, Mulligan embodies the resentment of a bright, ambitious woman whose devotion to and indulgence of her famous spouse has cost her so much of herself.The life-draining capacity of egocentric men is even more strikingly literalized in Pablo Larraín’s mordant, monochrome “El Conde,” in which the Chilean dictator Augusto Pinochet (Jaime Vadell) is recreated as a 250-year-old vampire. In Larraín’s scabrous, grisly alternate history, Pinochet is a decrepit immortal, drowning in self-pity since faking his death to evade justice. And Pinochet’s wife Lucía (Gloria Münchmeyer) is imagined as his equal, or even his better, in sheer perversity; much of the misery the terrorized nation experienced under the dictator is suggested to have been at her behest.But although that gives Lucía, who constantly petitions her husband to bite her so that she too can live out her depravities forever, a degree of apparent agency, that is robbed from her in one brief scene where “The Count,” as he likes to be called, casually trades her off to his obsequious Renfield-style butler (Alfredo Castro). The Count is then free to pursue an affair with a nun, including fantasy play that involves her dressing up as Marie Antoinette. (The Count has been obsessed with the ill-fated Queen of France ever since, in one of the film’s most provocatively gruesome early scenes, he licked the guillotine blade that severed her slender neck.)Marie Antoinette is perhaps the ultimate emblem of decorative married womanhood. And of course, she was the title star of a previous film from Sofia Coppola, whose Venice-competing “Priscilla” is yet another tale of a woman’s tentatively self-engineered escape from the influence of a dominant man.Jacob Elordi and Cailee Spaeny as Elvis and Priscilla Presley in “Priscilla.”Philippe Le SourdBased on, and clearly in deep sympathy with, Priscilla Presley’s memoir “Elvis and Me,” the film follows the famous couple’s relationship, from their first meeting when then-Priscilla Beaulieu (Cailee Spaeny) was just 14 years old and living on a U.S. Army base in Germany, to the moment, almost a decade-and-a-half later, when Priscilla Presley drove through the gates of Graceland for the last time as the house’s mistress.This is unmistakably a Sofia Coppola movie, in its luxuriant feel for fabrics and facades, but as in “Marie Antoinette,” here the surfaces become the substance. It is a story about how, especially to a naïve teenager, the trappings of an outwardly tantalizing lifestyle can be sprung upon you like a trap.During their first tearful goodbye in Germany, Elvis (Jacob Elordi) makes the schoolgirl Priscilla promise to “stay exactly the way you are.” But the banner film investigating the icky desire on the part of some men to keep their womenfolk infantilized is Yorgos Lanthimos’ joyously macabre “Poor Things.” The biggest hit of Venice so far, it is deeply — if twistedly, and often hilariously — concerned with the idea of female emancipation, as Bella, played by a riveting, inventive and highly physical Emma Stone, shucks off the psychological bondage first of her adoptive father (Willem Dafoe) and then of her caddish, pompous lover (Mark Ruffalo).Even the film’s hyperreal aesthetic, in which Lisbon and London are depicted by intricate, steampunky set-builds with lurid computer generated skies and seas, reinforce the concept: The film’s self-consciously airless and artificial universe makes the vigor of Bella’s adventures in sex and self-discovery all the more striking.In “Poor Things,” Emma Stone plays Bella, a woman trying to unburden herself from both her adoptive father and her vain lover.Yorgos Lanthimos/Searchlight PicturesThere are still more women trapped under the thumbs of domineering men dotted throughout the lineup, most notably in two black comedies that both feature contract killers (another feature of Venice 2023, if you also take David Fincher’s “The Killer,” Harmony Korine’s “Aggro Dr1ft” and the Liam Neeson thriller “In the Land of Saints and Sinners” into further account).Richard Linklater’s “Hit Man” stars and is co-written by Glen Powell, who deserves to leap up to major-league stardom on the back of this effervescently amoral exaggeration of a real-life story: Gary, a diffident English professor who moonlights as a fake hit man, finds love getting in the way of his mission when an abused wife, Madison (Adria Arjona), tries to enlist his services. She is driven to it as a means to escape. But the murder-solicitation in Woody Allen’s French-language “Coup de Chance,” is far less morally defensible, prompted by jealousy and again, a loss of control, as the possessive rich-guy Jean (Melvil Poupaud), discovers that his young, vivacious wife (Lou De Laâge) has taken a lover.“Coup de Chance” is, in some respects a return to form for Allen, even if one suspects that some of its breeziness is down to the attractive cast compensating for the staleness of Allen’s recent English-language quippery by mercifully speaking in French. (Native French speakers of my acquaintance tell me that the dialogue, to their ears, sounds similarly unnatural.)But it does feel more current than most of Allen’s recent output, not least in how it syncs up neatly with this Venice edition’s chief preoccupations: hit men and trapped women, and all the poor things who find themselves in plush Central Park or central Paris apartments, in press room palaces or fantastical Lisbon hotels, surrounded by luxury, but longing to be free. More

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      What Would Strikes Do to Oscar Season?

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      The delay of some big titles, like “Dune: Part Two,” has ramifications for coming releases like “May December” and “Killers of the Flower Moon.”Three years after the pandemic forced the majority of Oscar season to take place on Zoom, Hollywood may be facing another circumscribed awards circuit.Dual strikes by SAG-AFTRA and the Writers Guild of America have already had a significant effect on this year’s movie calendar: Studios have opted to push several big theatrical releases like “Dune: Part Two” to 2024, since SAG-AFTRA is prohibiting its members from promoting major-studio films amid the walkout. That same ban could radically reshape the Oscar season landscape, since awards shows and the media-blitz ecosystem built around them depend on star wattage to survive. (The strikes have already prompted the Emmys to move from September to January, and other ceremonies could be delayed, too.)So what will the season look like if the strikes continue into late fall or winter? Expect these four predictions to come to pass.Streamers will be at a major advantage.The post-pandemic theatrical landscape is already difficult enough for prestige titles: Last year, best-picture nominees “The Fabelmans,” “The Banshees of Inisherin,” “Tár” and “Women Talking” all struggled to break out at the box office. Subtract the months of press that the stars of contending films are called upon to do, and the financial forecast for specialty films grows even more dire. If striking actors aren’t available to promote this season’s year-end titles, many studios will think twice about releasing them.Streamers don’t have the same problem, since they worry more about clicks than box office numbers. So far, Netflix, Apple and Amazon have been proceeding full speed ahead with their awards-season slates: Though the actors in streaming films like “Nyad” (with Annette Bening as the long-distance swimmer); “Saltburn” (a thriller about obsession); and “Killers of the Flower Moon” (a historical drama starring Leonardo DiCaprio) may not be free to do much press, there’s ultimately no more effective advertisement for a streamer than simply throwing big pictures of a movie star on the app’s home page.Lily Gladstone and Leonardo DiCaprio in “Killers of the Flower Moon.” Because of the strike, they can’t promote the film.Apple TV+, via Associated PressDirectors are the new stars.The monthslong awards circuit can raise a filmmaker’s profile considerably: Near the end of their seasons, auteurs like Bong Joon Ho (“Parasite”) and Daniel Scheinert and Daniel Kwan (“Everything Everywhere All at Once”) were as recognizable as movie stars, and often just as mobbed at awards shows. Still, if the actors strike continues for several more months, studios will need to rely even more on their directors, since they may be the sole representatives of their films who are available for big profiles, audience Q. and A.s and ceremonies.Well-established auteurs like Martin Scorsese (“Killers of the Flower Moon”) and Christopher Nolan (“Oppenheimer”) will be at a particular advantage here, as will new-school academy favorites like Greta Gerwig (“Barbie”) and Emerald Fennell (“Saltburn”). The latter two have a significant side hustle as actors, which may prove appealing in a season that will lack thespian faces, though their fellow actor-turned-director Bradley Cooper will be in a bit of a bind: How can he promote “Maestro,” his forthcoming Leonard Bernstein movie, if he also stars in it?‘Barbenheimer’ could rule again.The dual release of “Barbie” and “Oppenheimer” proved to be the cinematic event of the summer, as Gerwig’s doll comedy broke box-office records and Nolan’s biopic defied the doldrums that have recently plagued prestige dramas. Both films were already poised to be major awards contenders, but the decimation of the year-end theatrical calendar will only reinforce their dominance.For old-school voters who still prefer to support theatrical releases instead of streaming films, “Barbie” and “Oppenheimer” might as well be running unopposed. The punt of “Dune: Part Two” to 2024 will only further help those two films’ awards cases, as the craft categories where the first “Dune” dominated — like production design, sound, editing and visual effects — are now decidedly up for grabs.“Barbie” may have an advantage with Oscar voters who prefer to support films released in theaters.Warner Bros.Up-and-coming actors may miss out on breakthroughs.Awards season can sometimes feel like a glamorous grind, requiring stars to commit to months of near-constant interviews, actor round tables, audience Q. and A.s, and hotel-ballroom hobnobs. Still, the season is invaluable when it comes to raising an actor’s profile. Up-and-comers become A-listers through their sheer ubiquity, and some of this season’s rising stars will miss out on the career glow-up that’s possible from a prolonged awards press tour: I’m thinking of people like “May December” actor Charles Melton, who nearly steals the movie from its leading ladies, Natalie Portman and Julianne Moore (who play an actress and a Mary Kay Letourneau-like teacher, respectively).Though it would be a fine line to walk, it’s possible that some of the smaller studios may seek interim agreements with SAG-AFTRA that would allow actors to do Oscar-season press. For example, A24 has secured interim agreements with SAG-AFTRA to continue shooting films since it is not among the studios the guilds are striking against. Could the company secure a similar carve-out that would allow the cast of its summer hit “Past Lives” to become awards-show fixtures? If the strikes continue and no such arrangements are possible, Oscar voters may be forced into an unprecedented position: Without all the usual noise that surrounds an awards contender, they’ll simply have to decide whether to nominate a performance based on its merit alone. What a concept! More

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      Venice Film Festival Finds Drama Without Zendaya

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      Day 1 brought challenges but not “Challengers,” the film that had been scheduled to open this usually starry event until it was delayed by the strikes.The sky in Venice wept on Wednesday, for there were no pictures to be taken of Zendaya in couture clambering from a speedboat.No? Too much? Well, it’s hard not to sound melodramatic at a film festival where the movies are big but the mood swings are even bigger. Let me clear my throat, take a swig of this Aperol spritz, and start again …The 80th edition of the Venice Film Festival kicked off on this rainy Wednesday with several big-name auteurs in attendance but few of the stars that this event has come to count on. With dual strikes by the writers and actors guilds forcing a Hollywood shutdown, and the actors forbidden from promoting studio films during the labor action, Venice will inaugurate a fall film season that is still in significant flux.The first day was meant to be turbocharged by the presence of Zendaya, who turned heads here two years ago in a series of stunning dresses while publicizing the first installment of “Dune.” But the shutdown cost Venice the new film she stars in, Luca Guadagnino’s “Challengers,” in which she plays a tennis pro who has to make a romantic choice between two best friends, played by Josh O’Connor and Mike Faist (the cheeky marketing materials tease that on at least one night, she chooses both).Without its lead available to support the film, MGM delayed the release of “Challengers” to spring 2024 and yanked it from the Venice lineup. Taking its place as the festival’s opening-night film was “Comandante,” a World War II film told from the point of view of Italian submariners. While it’s well-shot and full of suspenseful battle sequences, “Comandante” features exactly zero tennis hotties contemplating a threesome, which may hinder its ultimate appeal with a Venice audience that was promised starry romantic high jinks.Though the festival’s artistic director, Alberto Barbera, admitted at a news conference on Wednesday that the likes of Emma Stone (“Poor Things”) and Bradley Cooper (“Maestro”) will not be attending Venice because of the strike, other actors who hail from more independent productions have managed to secure guild waivers, including “Ferrari” star Adam Driver, “Memory” lead Jessica Chastain, and the cast of Sofia Coppola’s “Priscilla.” They’re expected to show up on the Lido this week alongside a posse of high-powered directors that includes David Fincher (“The Killer”), Ava DuVernay (“Origin”) and Richard Linklater (“Hit Man”).Still, the strikes loom large. At Barbera’s news conference, the jury president, the filmmaker Damien Chazelle (“La La Land”), dressed for maximum solidarity, donning a “Writers Guild on Strike!” shirt and a similar button on the lapel of his sport coat. He noted that as of Wednesday, the writers had been on strike for 121 days, with the actors joining them for the last 48 days, and he called on studios to compensate those artists fairly.“I think there’s a basic idea that each work of art has value unto itself, that it’s not just a piece of content, to use Hollywood’s favorite word right now,” Chazelle told reporters, adding that that idea “has been eroded quite a bit over the past 10 years. There’s many issues on the table with the strikes, but to me, that’s the core issue.”Chazelle was joined by the directors Martin McDonagh and Laura Poitras, who both wore shirts supporting the Writers Guild. They are part of a jury that includes the filmmakers Jane Campion and Mia Hansen-Love, among others.“I’m not sure I entirely deserve this spot, but I will do my best to live up to it,” Chazelle said. “I thank Mr. Barbera for his foolishness in letting me try it out.”Though Chazelle has been to Venice a few times before, to debut “La La Land” and his follow-up, “First Man,” he said he still found the place quite surreal. “That fact that you take a boat to a screening, it’s silly,” Chazelle said. “Cinema, to me, is a waking dream and that, to me, is Venice.”See what I said about melodrama? When you’re in Venice, where even the paint peels in the most picturesque way, you just can’t help yourself from indulging. That’s how your columnist felt last night in the rain, mulling over two of the worst disasters to hit Italy in quite some time: St. Mark’s Square was flooded, and there was no Zendaya. But at least the sun will come out tomorrow here, as will the new films by Michael Mann and Wes Anderson. More

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      Venice Film Festival 2023: What to Watch For

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      New films from David Fincher, Sofia Coppola, Ava DuVernay and Michael Mann will make up for the absence of stars kept away by the Hollywood strikes.A year ago, the Venice Film Festival had enough star power to put even celebrity-worshiping Cannes on notice. Highlights were quickly beamed all over the world, including the notorious “Don’t Worry Darling” kickoff that fueled endless speculation about the film’s director, Olivia Wilde, and her stars Florence Pugh and Harry Styles; the news conference where an unexpectedly sagacious Timothée Chalamet predicted imminent societal collapse; and the tearful Brendan Fraser comeback that began on the Lido and culminated in his best actor Oscar win.But without all of those celebrities, can Venice still go viral?The 80th edition of the festival, which begins on Wednesday, will be significantly affected by continuing strikes by the Screen Actors Guild (or SAG-AFTRA) and the Writers Guild of America, since the actors’ union has instructed its members not to do press for any studio movies until the strike against those companies is resolved. That puts Venice in a bind, as it’s regarded as one of the best places for Hollywood to unveil starry awards-season titles. Few major actors will even be permitted to attend this year.The actors’ strike has already cost Venice its original opening-night film, Luca Guadagnino’s sexy tennis romance, “Challengers,” since MGM delayed it from September to spring in the hopes that its lead, Zendaya, will be allowed to promote it several months from now when the strikes might be resolved. (A low-profile Italian film is opening instead.) And I’ve heard of a few more starry fall films that were earmarked for Venice but opted for the Telluride Film Festival instead, since that event is less driven by the photo ops and news conferences that are no longer feasible in Italy.Despite some of those trims, the Venice lineup is still enticing, with an auteur-heavy list featuring directors nearly as famous as their leads. And Venice has proved before that it can adapt to unfavorable limitations: Amid the pandemic in August 2020, the festival opted for a smaller, partly open-air edition that still went on to premiere the eventual winner of the best picture Oscar, “Nomadland.”Emma Stone, left, and Mark Ruffalo in “Poor Things,” from Yorgos Lanthimos. Atsushi Nishijima/Searchlight Pictures, via Associated PressThis year’s program includes two films about assassins-for-hire: David Fincher’s new thriller, “The Killer,” stars Michael Fassbender, while Richard Linklater’s “Hit Man” features the “Top Gun: Maverick” breakout Glen Powell, who also served as a co-writer. I’m curious about the off-kilter comedy “Poor Things,” directed by Yorgos Lanthimos (“The Favourite”) and starring Emma Stone as a sexually curious Frankenstein’s monster. Ditto “Maestro,” Bradley Cooper’s second directorial effort, after “A Star Is Born.” He’s cast himself as the composer Leonard Bernstein, opposite Carey Mulligan as Bernstein’s wife, Felicia, and his decision to wear a prosthetic nose has already set off controversy.Baz Luhrmann’s “Elvis” was a big hit last year, but what will that story look like through Sofia Coppola’s lens? The “Lost in Translation” and “Marie Antoinette” director puts her spotlight on Elvis Presley’s wife with “Priscilla,” featuring Cailee Spaeny as teen bride Priscilla Presley and the “Euphoria” star Jacob Elordi as the singer. Ava DuVernay has adapted the Isabel Wilkerson book “Caste” for her new film, “Origin,” which stars the Oscar nominee Aunjanue Ellis in an examination of racism and systemic oppression. And though Michael Mann has secured a guild exemption that would allow the cast of “Ferrari” to promote it in Venice, I’m curious whether his new film’s press-shy lead, Adam Driver (as the racer-turned-car-magnate Enzo Ferrari), is willing to do a full-blown media blitz for the movie, which the hot indie studio Neon is releasing in theaters on Christmas Day.Two years after the release of his Oscar-winning breakthrough “Drive My Car,” the director Ryusuke Hamaguchi returns to the festival circuit with “Evil Does Not Exist,” which originated as a dialogue-free short and became a feature-length film about ecological collapse. And two months after releasing his feature-length “Asteroid City,” the director Wes Anderson is opting for something shorter with “The Wonderful Story of Henry Sugar,” a 37-minute Roald Dahl adaptation for Netflix.Harmony Korine premiered his biggest film, “Spring Breakers,” at Venice back in 2012, and he’ll return with the mysterious “Aggro Dr1ft,” which stars the rapper Travis Scott and was shot solely using infrared photography. He’s not the only director taking chances: Pablo Larraín, the director of “Jackie” and “Spencer,” has set the divas aside for a moment to make “El Conde,” a black-and-white supernatural fable that reimagines the Chilean dictator Augusto Pinochet as a bloodsucking vampire.And then there are the chances that Venice itself is taking when it comes to three auteurs: It is premiering “Dogman” from Luc Besson, who was accused of sexual assault but cleared by prosecutors; “The Palace” from Roman Polanski, who was convicted of unlawful sex with a minor but fled before he could be sentenced; and “Coup de Chance” from Woody Allen, who has denied sexual abuse accusations by Dylan Farrow, his adopted daughter.Venice will also serve as an elegy of sorts for the director William Friedkin, who died earlier this month and whose final film, the naval drama “The Caine Mutiny Court-Martial,” will premiere posthumously on the Lido. Adapted by Friedkin from the Pulitzer Prize-winning novel by Herman Wouk, it stars Jake Lacy and Kiefer Sutherland. More

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      Leonard Bernstein’s Children Defend Bradley Cooper’s Prosthetic Nose in ‘Maestro’

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      A teaser for the Netflix biopic has ignited a new round of criticism that the family described as a misunderstanding.Leonard Bernstein’s three children came to the defense of the actor and director Bradley Cooper on Wednesday after he drew fresh criticism for wearing a large prosthetic nose in his portrayal of the midcentury American composer and conductor, who was Jewish, in the forthcoming movie “Maestro.”When the makeup was first revealed last year, some questioned the decision by Cooper, who is not Jewish, to play Bernstein, who died in 1990. In the Netflix film, he stars opposite Carey Mulligan as Bernstein’s wife, Felicia Montealegre Bernstein.The debut of a teaser trailer on Tuesday prompted further discussion on social media about both the prosthesis, which critics said played into an antisemitic trope, and about whether an actor who is Jewish should instead have been cast to play Bernstein, the “West Side Story” composer and music director of the New York Philharmonic.David Baddiel, a British comedian and author of the 2021 book “Jews Don’t Count,” cited Cooper as the latest instance of a gentile actor objectionably portraying a real-life Jewish figure. “I’ve talked about authenticity casting not applying to Jews — and what that means — many times,” he wrote on X, formerly known as Twitter. “The only difference here is it’s more — well — on the nose.”In a series of posts on X, the Bernsteins’ three children — Jamie, Alexander and Nina Bernstein — said that Cooper had consulted with them “along every step of his amazing journey.”“It breaks our hearts to see any misrepresentations or misunderstandings of his efforts,” they said of Cooper. “It happens to be true that Leonard Bernstein had a nice, big nose. Bradley chose to use makeup to amplify his resemblance, and we’re perfectly fine with that. We’re also certain that our dad would have been fine with it as well.”They added, “Any strident complaints around this issue strike us above all as disingenuous attempts to bring a successful person down a notch.”Through a representative, Cooper declined to comment. Netflix did not reply to a request for comment.“Maestro” premieres next month at the Venice Film Festival and, in North America, in October at the New York Film Festival. A theatrical release in the United States will follow in November before a December debut on Netflix.In recent years, the question of which actors are eligible to play certain roles has been a hot-button issue in movies, television and theater, with an increasing consensus against actors’ portraying characters from marginalized groups whose traits they do not share.Tom Hanks told The New York Times Magazine last year that in contemporary times he would correctly not be cast as a gay man with AIDS, as he was in the 1993 drama “Philadelphia.” At the 2016 Emmy Awards, the actor Jeffrey Tambor said he hoped to be the last cisgender man to play a transgender character, as he did in the series “Transparent.”Some critics, like Baddiel, argue that there is a double standard when it comes to casting Jewish characters, whose portrayal by gentiles is widely tolerated.Helen Mirren, who is not Jewish, plays the Israeli prime minister Golda Meir in a biopic coming out this month (even as Liev Schreiber, who is Jewish, plays Henry Kissinger in the film, “Golda”). In the recent biopic “Oppenheimer,” the Jewish title character was played by the non-Jewish actor Cillian Murphy. More

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      The Real Star of Bradley Cooper’s Film “Maestro” May Be a House

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      Leonard Bernstein’s country house hasn’t changed much since the composer hosted Stephen Sondheim and Jerome Robbins there. Jamie Bernstein is OK with that.In the early 1960s, after a number of summers renting on Martha’s Vineyard, Jamie Bernstein’s family bought a vacation home on a wooded hill in West Redding, Conn. There, 9-year-old Jamie and her younger brother, Alexander, devised various games of make-believe, chief among them a fantasy that they lived the same sort of low-key, small-town existence as the characters on their favorite television shows.It was a testament to the imaginative gifts of children whose actual home was a duplex apartment across the street from Carnegie Hall, and whose father was the celebrated, heat-seeking “West Side Story” composer and New York Philharmonic conductor Leonard Bernstein.“Once we had this little house, we weren’t going to Martha’s Vineyard and we were much closer to Manhattan, which was probably way more convenient for my parents,” said Ms. Bernstein, 70, the author of the 2018 memoir “Famous Father Girl” and the host of “The NY Phil Story: Made in New York,” a new podcast about the Philharmonic produced by the orchestra and the public radio station WQXR. “It meant that we could go there on the weekends during the regular part of the year.”“The front of the house makes it look very grand,” said Jamie Bernstein, the host of “The NY Phil Story: Made in New York” podcast, who spends weekends at the Fairfield, Conn., house that she and her two siblings inherited from their father, the composer and  Philharmonic conductor Leonard Bernstein. “But it isn’t as grand as it looks.”Allegra Anderson for The New York TimesThen, when her sister Nina was born in 1962, “we were a family of five,” Ms. Bernstein continued. “Plus the nanny and the cook who sometimes came up with us on the weekends. And suddenly the house seemed too small.”A few months later, her mother, Felicia Montealegre Bernstein, an actor and artist, announced that she had just bought a big, new country place. “And I guess I must have asked, ‘Well, how much did it cost?’” Ms. Bernstein recalled. “And my mother said, ‘Oh, I can’t talk about that. It was so expensive I can’t even say it out loud.’ And my brother and I were saying, ‘Oh, come on, how much was it? How much was it?’ We badgered her until finally she whispered, ‘80.’”Her children gasped: “$80 — it cost $80?”In that same whisper, Mrs. Bernstein corrected them: “$80,000.”What in those days seemed a lordly sum bought a former horse farm with a pool, a tennis court and outbuildings on six and a half acres in Fairfield, Conn. Over the years, additional parcels of woodland — almost 12 acres’ worth — were acquired to give the family more privacy and more of an escape from urban cares.“It was marvelous,” Ms. Bernstein said. “We spent many summers here, and almost every weekend during the rest of the year. We all loved it.”Ms. Bernstein shows off a photo of herself as a child flanked by her parents.Allegra Anderson for The New York TimesJamie Bernstein, 70Occupation: Author, filmmaker, podcast hostTaking the cure: “We go to the house to be completely relaxed. It’s like the antidote to New York life.”After Mr. Bernstein’s death in 1990 (Mrs. Bernstein died in 1978), the three children inherited the property. But it is Jamie who is most frequently in residence — pretty much every weekend.As when their parents were alive, the compound is a gathering spot for birthdays and holidays, and for fiercely contested rounds of Anagrams. Lately, it has also served as a set for the upcoming film “Maestro,” a portrait of the Bernsteins’ complicated marriage directed by and starring Bradley Cooper. (Carey Mulligan plays Felicia.)“He wanted an authenticity about how he was evoking our dad and his world,” Ms. Bernstein said of Mr. Cooper. “He was very curious to come up here and visit, and that’s when he decided he wanted to come back and shoot in and around the house. Bradley totally got why this place was so great and how it contains the family DNA.”Indeed, the house, with its graciously proportioned rooms, has barely been altered since the days when it was populated by the senior Bernsteins and their great and good friends — among them, Stephen Sondheim (who did not quite take it in stride when Jamie beat him at Anagrams), Jerome Robbins, Mike Nichols and Richard Avedon (who took the picture of Jamie that sits among a clutch of family photos in the living room).The Steinway baby grand in the living room was a gift to Mr. Bernstein from a childhood piano teacher, Helen Coates, who later became his secretary.Allegra Anderson for The New York Times“When we got older, we realized, ‘Boy, we had a lot of cool people at our house,’” Ms. Bernstein said. “But when we were little, they were just our parents’ friends. To us, they were just Steve and Jerry and Mike and Dick.”It may have been Mr. Sondheim who bought his “West Side Story” collaborator the abacus that sits on a shelf in the dining room — “I can’t guarantee that’s the case,” she said — and it was Mr. Sondheim or maybe Mr. Nichols who bought the fine telescope on the floor nearby.“There was a while there when our parents would have these Christmas parties for all their pals,” Ms. Bernstein said. “And there was a competitiveness about the present-giving that became so oppressive that my mother said, ‘We’re not having these parties anymore.’”The furniture — heavy on rattan, wicker and bamboo — conjures a summer pavilion. So does the dining room, which is anchored by a white-painted table and chairs, and filled with plants. Its entryway, framed by a trellis, adds to the illusion.“Our mother was a kind of brilliant, instinctive decorator,” Ms. Bernstein said. “Everyplace we lived was elegant but comfortable.”She recalled dinners with her father or mother at the head of the table. Under the carpet was a plug for a bell to summon the help, “and my parents would start disappearing,” Ms. Bernstein said. “They would go lower and lower down in their chair, as their foot groped for the buzzer.”The Steinway baby grand in the living room was a gift to Mr. Bernstein from a childhood piano teacher, Helen Coates, who later became his secretary. It was Ms. Coates who determinedly made the winning bid when, in 1949, there was an auction to raise money for the library in Lenox, Mass., and Mr. Bernstein made a painting, supposedly of Salome doing her Dance of the Seven Veils, to aid the cause.The pool was one of the family’s favorite spots. At least one guest has reported seeing the ghost of Ms. Bernstein’s mother, Felicia Montealegre Bernstein, in the garden next to it.Allegra Anderson for The New York Times“Helen acquired it, so that for the rest of time nobody would see it,” Ms. Bernstein said, pointing to her father’s well-meaning work hanging in a corner not far from the piano.“My father,” she added, quite unnecessarily, “was not visually talented.”The recollections that Ms. Bernstein and her siblings have of their childhood at the Fairfield house — family swims; their father carrying a saltshaker to the vegetable garden in the morning to properly season his chosen breakfast; elegant lunches of stuffed tomatoes with homemade mayonnaise on the terrace — have been overlaid by more recent memories. And the next generation, the children of the Bernstein children, now have their own history here and, of course, their own memories.“That,” Ms. Bernstein said, “is the beauty of having a house that stays in the family.”“If some wallpaper is coming unglued, if some fabrics are fading, if some drawer fronts are hanging by a thread and cabinets are stuffed with baffling detritus — well, it’s all part of the family DNA.“We don’t fix things,” Ms. Bernstein conceded. “There is a distinct element of funk in this house now. It’s kind of funky. But we’re kind of funky, too.”For weekly email updates on residential real estate news, sign up here. More

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      The 1947 ‘Nightmare Alley’: A Dark View of Class as Destiny

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      With Tyrone Power in the lead, the first adaptation had to find ways to tell a story of soul sickness that wouldn’t offend censors.At the premiere of his new drama “Nightmare Alley” this month, the director Guillermo del Toro told the audience he had read the 1946 novel by William Lindsay Gresham — the film’s official source material — before seeing the classic 1947 adaptation with Tyrone Power. But there’s no question the first movie was a significant influence on del Toro and Kim Morgan, who wrote the screenplay together. Their parting line comes straight from the original script, by Jules Furthman.Like the update, the 1947 version (available to stream on the Criterion Channel), follows a carnival worker, Stan, eager for higher stakes. Stan (Power, in the role now played by Bradley Cooper) picks up some tricks from a washed-up vaudeville couple, Zeena and Pete, whose former ambitions have been reduced to a small-time fairground routine. Eventually Stan runs off with a co-worker, Molly, and they start a mentalist act targeting Chicago high society.The movie has long been a favorite of repertory programmers and noir festivals. But its enduring appeal is not easy to pin down.You can’t chalk it up to auteurism. The director was the British-born Edmund Goulding (“Grand Hotel”), whom Andrew Sarris, in his pioneering survey of Hollywood filmmakers, “The American Cinema,” placed in the “lightly likable” category: “talented but uneven directors with the saving grace of unpretentiousness.” Sarris noted that even Goulding’s best films, “Nightmare Alley” included, were seldom thought of as his, and pointed out that “Grand Hotel” won best picture without a nomination for direction.Sarris also called Goulding’s career “discreet and tasteful,” but “Nightmare Alley” is hardly that. In an extra on the Criterion Channel, Imogen Sara Smith, author of “In Lonely Places: Film Noir Beyond the City,” notes that Goulding may have had an unexpected affinity for the material. In private life, she says, he “had quite a scandalous reputation,” adding that “he struggled with drinking and drugs, and he was rumored to host wild bisexual orgies.”“Nightmare Alley,” made under the restrictions of the Production Code, would never have been able to show anything that sordid. But it is a dark and cynical film, and it makes a good test case for film noir, a category that resists clear definition. As has often been written, noir is not quite a genre, a mood or a style. “Nightmare Alley” isn’t a mystery or even much of a thriller. But it induces a soul-sickening feeling that courses through your system like the wood alcohol that poisons one of the characters. The sense of fatalism, a noir staple, is pervasive.The original film also isn’t subtle in its depiction of class as destiny. Early on, it’s made clear that Zeena and Pete (Joan Blondell and Ian Keith) have “already been in the big time” but have reverted to their natural place: an unsatisfying life of traveling carnival work, with Zeena performing a mind-reading act while a perpetually soused Pete provides covert assistance. A main attraction of the carnival — and an act that fascinates Stan — is the geek, who appears to bite the heads off chickens. (“I can’t understand how anybody could get so low,” Stan says at the film’s beginning, in an indication both of his confidence and his poor awareness of his station.) When Stan finally meets his match, Dr. Lilith Ritter (Helen Walker, in the role Cate Blanchett plays in the 2021 movie), it’s significant that she’s a psychologist — not just someone who understands how Stan ticks, but a person with money and status, which give her a decisive advantage over Stan as a con artist. (Blanchett’s introduction is another element del Toro borrows more from Goulding’s film than from the text.)Rooney Mara and Bradley Cooper in the same roles Gray and Power played in the first adaptation.Kerry Hayes/Searchlight PicturesWhile the new film has Zeena making advances on Stan, the 1947 adaptation had to be more allusive. There’s a real smolder in a simple moment when Power plants kisses on Blondell’s arm and she returns them with a caress. But for Stan, in the 1947 version more than in the book or the new film, sex seems to be an ancillary interest. “I’ll not even look at another fella. Never,” Molly (Coleen Gray) promises him shortly after they are married. But at the moment she makes that promise, Stan isn’t even looking at her. He’s staring offscreen with stars in his eyes, thinking of the money they’ll make together.The positioning of the actors — with Power slyly grinning and looking away from the prospect of a happy home life — is the kind of touch that suggests Goulding knew what he was doing. The cinematography by Lee Garmes isn’t filled with the smoky, jaw-dropping shots that Garmes did for Josef von Sternberg on “Dishonored” or “Shanghai Express,” but the cluttered, tarp-filled carnival scenery affords him ample opportunities to bathe the actors in menacing shadows. (On rarely screened, flammable nitrate film, Garmes’s images pack an especially silvery chill.) Apart from two street shots in a taxi scene, Chicago is conjured almost entirely through set design, dialogue and rear projection.Ultimately, what makes “Nightmare Alley” enduring may be its suggestion that we’re all susceptible to being taken in — and perhaps even want to be. In both movies, the story builds to a moment when Stan, nearing the bottom of a downward spiral, suddenly comprehends that he’s become a sucker.While del Toro’s update adds details from the novel that wouldn’t have passed censors in 1947 and closes with more of a gut-punch, on a bleaker line (while overelaborating much else), the 1947 version is still the definitive one, leaner and meaner. More

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      ‘Nightmare Alley’ | Anatomy of a Scene

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      Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More