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    Nicole Kidman on Lucille Ball in ‘Being the Ricardos’

    There are valuable lessons Nicole Kidman has learned each time she plays a real-life figure: How that person was misapprehended by society at the time. How that era of history is more like the present day than she realized. And, crucially, how to maintain her balance while traipsing barefoot through a vat of grapes.Recounting her preparations to play Lucille Ball, the star of “I Love Lucy,” Kidman suggested that her methodical efforts to learn Ball’s enduring 1956 grape-stomping routine were not fully sufficient when it came time to re-enact it on camera.“I had only practiced on a floor,” Kidman said with a gentle earnestness. “The one thing I didn’t count on was that there were going to be real grapes. They’re actually really slippery, just so you know.”In “Being the Ricardos,” a comedy-drama written and directed by Aaron Sorkin, Kidman plays Ball in a story spanning a week at “I Love Lucy,” where she and her husband Desi Arnaz (Javier Bardem) fight to incorporate Ball’s pregnancy into the series, fend off accusations that Ball is a Communist and arrive at a fateful point in their marriage.The movie, which is in theaters and on Amazon Prime, includes some recreations of famous “I Love Lucy” scenes. But it is ultimately a story of discovery, for the TV star and for the woman playing her.Kidman, 54, is an Academy and Emmy Award-winning actress, and she is once again a contender for year-end accolades for her performance in “Being the Ricardos.” But she tends to second-guess herself and said she had scant confidence in her comedic abilities.Through her approach to “Being the Ricardos,” Kidman has found more connection than she expected to Ball, another actress who was pigeonholed and underestimated in her day. Their life stories and talents may not fully overlap, but they both understood the necessity of humor to fulfilling their individual goals.As Kidman said, “I’ve got to be funny, and funny’s hard.”A scene from “Being the Ricardos” with, from left, Alia Shawkat (as an “I Love Lucy” writer), Kidman and Nina Arianda (as co-star Vivian Vance).Glen Wilson/AmazonOn a visit to New York earlier this month, before the Omicron surge, Kidman was sitting in a downstairs lounge at a boutique Soho hotel, her fingers ornamented with intricate rings as she sipped a ginger shot.Kidman said that “I Love Lucy” reruns were a hazy background element from her childhood, and that she leaned toward shows like “Bewitched’ and “The Brady Bunch.”What to Know About ‘Being the Ricardos’The Aaron Sorkin-directed drama looks at one very bad week in 1953 for Lucille Ball and Desi Arnaz, played by Nicole Kidman and Javier Bardem.Review: The not-so-funny side of the “I Love Lucy” stars is the focus of Sorkin’s lively, chatty, somewhat odd and insistently depoliticized biopic.Remembering Lucille: How does Nicole Kidman’s Lucy compare to the real Lucille Ball? A writer recalls his first disorienting meeting with the comedian.Best-Picture Race: ​​Our columnist thinks “Being the Ricardos” is among six contenders with the strongest chances to win the Oscar.Failure on Broadway: In 1960, Lucille Ball fulfilled an old dream: a stint on Broadway. It did not go well.She could point to the occasional comic performance on her résumé, in a dark satire like “To Die For” or a family film like “Paddington,” though she had to be reminded that there was some physical clowning in “Moulin Rouge,” too. (“There was, that’s right!”) Even on a somewhat sardonic series like HBO’s “Big Little Lies,” Kidman said, “It’s Reese Witherspoon and Laura Dern who are very funny. I just say to them, I’ll be your straight woman.”And she has no illusions that she was the most logical candidate for the role of Ball or even the first actress sought to play her.At its inception several years ago, “Being the Ricardos” was contemplated as a TV mini-series, according to Lucie Arnaz, the actress and daughter of Lucille Ball and Desi Arnaz, and an executive producer on the movie.Cate Blanchett was attached, but by the time Sorkin became involved and the project was set up at Amazon as a film, the actress was no longer available. “It just took too long and we lost her,” Arnaz said in an interview. “I was devastated.” (A press representative for Blanchett declined to comment.)As other stars were contemplated, Arnaz said, “None of them made me happy. It was always like, who’s the flavor of the month? Who’s got the hot movie of the minute?”But when Kidman emerged as a possibility, Arnaz said, she was intrigued. “I thought that’s good — we should only be looking at Australian actresses for this,” she joked.Kidman said that Blanchett’s previous involvement did not diminish her interest. In show business, Kidman said, “I feel like there’s a sacred pact among us all — whoever gets something, that’s where it was meant to land.”She was aware of a backlash online from fans who opposed her casting, some of whom wanted the role to go to the “Will & Grace” star Debra Messing. “I’m not on the internet and I definitely don’t Google myself,” Kidman said. “But things trickle through.”(Arnaz said Messing “just wants to be that person so bad,” but added, “We weren’t doing that. We weren’t trying to be that person.” A press representative for Messing declined to comment.)She was not deeply versed in Ball’s life when she was first approached, but Kidman said she could imagine the freedom in portraying that slapstick queen: “The way she moves and falls, every part of her physicality, you go, oh, I can be an absolute doofus playing her.”Kidman said the role of Lucy interested her because “the way she moves and falls, every part of her physicality, you go, oh, I can be an absolute doofus playing her.”Jody Rogac for The New York TimesStill, after signing onto “Being the Ricardos” with some gusto, Kidman said she began to get cold feet. Her reluctance, she said, was partly about the pace of Sorkin’s dialogue-dense screenplay and partly about making the movie during the pandemic.But on a fundamental level, Kidman said that comedies do not come easily to her — not as a genre and not as acting opportunities. “I don’t get cast in them,” she said. That might be the result of a career spent in dramas, or, “it might be my personality, too.”Reflecting on her upbringing in Australia, Kidman said, “I was the kid that was not allowed to go on the beach during the middle of the day, because I was so fair and I was going to burn. So I would sit in a room and I wouldn’t watch TV — I’d read.” A youth spent with Dostoyevsky, Flaubert and Tolstoy “doesn’t necessarily make you a comedian,” she said.If she’s going to take on a role with any comic qualities now, Kidman said, “I need to be pushed and cheer-leaded in that area.”Sorkin was persuasive, Kidman said, and she was buoyed by past experiences landing a funny line in stage plays here and there. “It’s pretty wow when you say something and a whole theater laughs,” she said. “I can understand getting addicted to that.”What the film really required, Kidman said, was for her to play Lucille Ball (as depicted in Sorkin’s script) and not Lucy Ricardo. “Lucy’s a character — that’s not Lucille,” she explained. “Lucille is extraordinary because she was knocked down, got back up and just doggedly kept at things.”The more she reflected on the screenplay and learned about Ball’s life, Kidman said, the more she saw a multifaceted person who gave her many emotions to play.In Ball’s marriage to the philandering, alcoholic Arnaz, Kidman said, “She loved a person who loved her but couldn’t give her want she wanted most.” Pointing to the fizzled film career that eventually led Ball to “I Love Lucy,” she said, “She was really funny but she wanted to be a movie star.”Kidman stopped short of drawing direct parallels between Ball’s life and her own, but Lucie Arnaz wholeheartedly embraced the comparisons.Arnaz said that like her mother, Kidman “had been married before — she understood divorce and trying to raise your children in the spotlight. She understood a husband who had an addiction problem.” (Kidman’s husband, the singer Keith Urban, has been treated in the past for drug and alcohol abuse.)Kidman threw herself into the physical preparations for the role and worked closely with a dialect coach, Thom Jones, to develop the voices she would use for Lucille Ball and Lucy Ricardo.As Jones explained, “Lucy is Lucille extreme. When Lucille played Lucy, she did a broad, exaggerated version of herself and pitched her voice higher.”Lucie Arnaz said her mother and Kidman had some things in common, like being divorced and trying to raise children in the spotlight. Glen Wilson/AmazonBall’s natural speaking voice was deeper and huskier from years of smoking, though Kidman was not necessarily striving for perfect mimicry. “We wanted her to grab at the essence of Lucille and get that across,” Jones said. “If you’re doing an impersonation, you’re going to be too aware of your outside and not be able to fill your inside as an actor.”Kidman ran lines with her mother, a lifelong “Lucy” fan, though it’s not clear how helpful this was to her overall process. “She’d say, ‘You got this word wrong,’ and I’d go, ‘Mom, just let me get to the end of the sentence before you correct me.’ Rule No. 1, don’t learn lines with your mom.”She also studied personal audio recordings that Arnaz shared with her, and worked with a movement coach while learning to duplicate several “I Love Lucy” routines, though only a handful appear in the film.Kidman has already received nominations for several honors, including a Golden Globe and a Critics Choice Award, for “Being the Ricardos,” but her performance remains an occasional source of insecurity for her.She seemed surprised to be told about an October teaser trailer for the film that only fleetingly showed her face in a span of about 75 seconds, and that prompted some viewers to ask why Amazon appeared to be hiding Kidman.Asked if she was aware of the teaser or the strategy behind it, Kidman said, “I don’t know how to answer that, you know? I don’t handle the promotional part of it. Maybe they were just scared of showing me.”She drew a breath before adding, “Bummer.”Whatever other notices she receives for “Being the Ricardos,” Kidman will always have the experience of standing on a facsimile of the “I Love Lucy” set, performing Ball’s material from the show and hearing the laughter of scores of extras hired to play the show’s studio audience.Kidman offered a single word to describe how she felt in that moment: “Fantastic.” Then, as if to demonstrate some of the skills she’d picked up on the film, she waited a beat and said: “They were made to laugh, by the way.” More

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    Nicole Kidman Skipped Quarantine in Hong Kong. Residents Were Angry.

    The actress, in Hong Kong to film a series about wealthy expatriates, was allowed to skip a coronavirus quarantine. Residents saw the exemption as deeply unfair, and it became a point of debate among lawmakers.When Nicole Kidman flew into Hong Kong to film a television series about wealthy expatriates, residents could not help noticing some of the perks at hand: a private jet, a personal driver and, most important, a pass out of mandatory quarantine.Some of them saw a case of life imitating art, or the power of celebrity, or at least a public relations misstep amid a pandemic.But either way, many people in the Chinese territory regarded the Australian actress’s end-run around coronavirus rules — some of the strictest in the world — as a symbol of the unfairness that pervades a city known for its soaring inequalities. On Friday, the rare exemption was a point of debate on the floor of the city’s legislature.“Now that you have created a precedent, does that mean that all foreign movie stars will be exempted when they fly to Hong Kong to film movies?” Michael Tien, a pro-establishment lawmaker, asked Sophia Chan, the health secretary. “If not, can you explain why Nicole was superior to everyone else? Even though I like her a lot.”Ms. Kidman went shopping in central Hong Kong two days after she flew in from Sydney, Australia, on a private jet, The South China Morning Post reported. The government later confirmed that she and four crew members had been allowed to bypass a rule that required vaccinated travelers from Australia to quarantine in a hotel for a week. (The time was increased to two weeks on Friday.)A Hong Kong regulation allows a top city official to grant quarantine exemptions to people whose work is deemed “in the interest” of the city’s economic development. The Commerce and Economic Development Bureau said on Thursday that Ms. Kidman’s exemption allows her to carry out “designated professional work” that is seen as necessary to the local economy.But in a city where the borders have been closed to nonresidents for much of the pandemic — and where some inbound travelers are still required to quarantine in hotels for three weeks — Ms. Kidman’s exemption has not gone over well.A view of Hong Kong skyline from Tsim Sha Tsui. Severe inequality in the financial hub has long been a complaint for many residents.Lam Yik Fei for The New York TimesSeveral critics have noted that Ms. Kidman is in Hong Kong to film “Expats,” an Amazon Prime Video series based on “The Expatriates,” a 2016 novel by Janice Y.K. Lee that satirizes affluent Westerners in the financial hub. Others contrasted her freedom to travel with conditions in Australia, observing that she visited an upscale Hong Kong clothing boutique just as Sydney went back into lockdown. (One Hong Kong journalist reported that Ms. Kidman’s driver had parked a Range Rover illegally in a crosswalk while waiting for her to shop.)Spokespeople for Ms. Kidman did not immediately respond to a request for comment on Friday. Some of the photos of her Hong Kong trip show her wearing a mask in public, as most people there have been doing since Covid-19 first emerged in the neighboring Chinese mainland.Some Hong Kongers see the Amazon show as being produced at an unfortunate time, with some residents fleeing a crackdown on dissent that has ensnared opposition politicians, university students and others who supported the city’s widespread antigovernment protests of 2019.Many residents have long complained about Hong Kong’s inequalities, and territory leaders have faced other public backlashes for setting different Covid rules for the rich and the poor.In May, the government quietly announced a plan to exempt corporate executives from quarantine, but it later put the plan on pause.About the same time, officials backtracked on a contentious order that would have required migrant domestic workers to be vaccinated. But the government went ahead with a plan to subject those workers to a second round of compulsory coronavirus testing, even though the first round had turned up only three cases among 340,000 people. More

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    ‘The Prom’ Review: Showbiz Sanctimony, and All That Zazz

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘The Prom’ Review: Showbiz Sanctimony, and All That ZazzRyan Murphy takes on the Broadway hit “The Prom,” with help from Meryl Streep, Nicole Kidman and Keegan-Michael Key.The bright (small) lights of Indiana meet Angie Dickinson glam: Nicole Kidman and Jo Ellen Pellman in “The Prom.”Credit…Melinda Sue Gordon/NetflixDec. 10, 2020, 7:00 a.m. ETThe PromDirected by Ryan MurphyComedy, Drama, MusicalPG-132h 10mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Early in Ryan Murphy’s “The Prom,” a Broadway flack starts reading the reviews of a newly opened show about Eleanor Roosevelt, “Eleanor!” The gang’s all here, including the self-adoring stars, Dee Dee Allen (Meryl Streep) and Barry Glickman (James Corden). The drinks and laughs are flowing, and everyone is as lit as their bedazzled outfits. And then the flack starts reading the notice from The New York Times (hiss, boo). “This is not a review you want when you have crappy advance sales,” he bleats. “This is going to close us.”In his review of “The Prom” on Broadway, my Times colleague Jesse Green amusingly reassured readers that this wouldn’t happen, deeming it “a joyful hoot.” It won’t happen with the movie, which is based on the show, for other reasons. “The Prom” starts streaming on Netflix on Friday, which means no amount of cheers or jeers will matter. On Netflix, the movie will sit alongside thousands of other titles, subject only to mysterious algorithms and sheltered from both critics and the box office. Its canny mix of nostalgia and idealism, old-fashioned conservatism and new-age liberalism will hit the spot for some, even if its vision of American unity is hard to recognize right now.In its broad outlines, the story — a show-people lark wed to a morality tale about a teenage lesbian’s triumph — seems unchanged. Called out as unlikable narcissists (who can’t even make a hit), Dee Dee and Barry decide to rehabilitate their tainted reputations with celebrity activism. With their overripe second bananas, the archly named Angie Dickinson and Trent Oliver (Nicole Kidman and Andrew Rannells), they travel to an Indiana town, intent on taking up (uninvited) the cause of the heroine, Emma (Jo Ellen Pellman), a high schooler who’s been barred from bringing her girlfriend to the prom.The theme and the story’s arc emerge when Dee Dee et al. descend on the town, waving placards and trumpeting indignation. “We are here from New York City and we are going to save you,” Barry announces to Emma, who’s embedded in a meeting filled with parents and other students. This joke is soon repeated, as often happens in this movie, where every rose is gilded and every laugh squeezed until it’s dry. “Who are you people?” asks the mother (a misused Kerry Washington) leading the homophobic charge. “We are liberals from Broadway,” Trent says, assuring that Team New York will fall on its smug face while securing its own redemption.The tolerance message in “The Prom” is sincere, no matter how satirically delivered. And it’s easy to imagine that onstage the whole thing came off as charming (as a friend insisted), a quality not in Murphy’s paint box. (The charm of his TV series “Glee” sprang from the youth of his cast and the musical genre itself.) Murphy likes to go big and lightly bonkers, and his aesthetic is best described as Showbiz Expressionism: it’s splashy and ostensibly excessive without being threatening. In contrast to, say, the shocks of John Waters, for whom tastelessness is a revolt (aesthetic, political), Murphy’s excesses are tastefully vulgar strokes rather than a value.The story unwinds with histrionics and homilies, jazz hands and twinkle toes, overly busy camerawork and hookless lung bursters. (Matthew Sklar wrote the music and Chad Beguelin wrote the lyrics and, with Bob Martin, the screenplay.) Some of the songs are cheeky (“we’re gonna help that little lesbian/whether she likes it or not”); others are as earnest as a daily affirmation (“life’s no dress rehearsal”). Taken together, they create a parallel narration that makes swathes of dialogue superfluous. “If you’re not straight,” Emma sings early on, “then guess what’s bound to hit the fan.” Later, she sings “nobody out there ever gets to define/the life I’m meant to lead.”Pellman doesn’t look remotely like a teenager, but her melancholic sweetness is appealing and she has a quality of stillness that creates a much-needed oasis amid Murphy’s insistent din. It helps that, in contrast to her famous co-stars, she hasn’t been directed to oversell every note, whether musical or emotional. With her open face and pretty soprano, she turns her character into a recognizable adolescent and lets you see — and feel — Emma’s yearning, her hurt and belief that something better, more soul-nurturing, waits beyond the prejudices and provincialism of her town. Like Dorothy and countless others, Emma dreams of her place over the rainbow.She gets it, with assistance from her soon humbled, ultimately victorious New York helpers (and the warm presence of Keegan-Michael Key as the principal). How this all goes down is as predictable as expected except that, in the year 2020, it’s also more fantastical than “The Wizard of Oz” at its trippiest. Here, all it takes for bigots to accept Emma and L.G.B.T.Q. rights is for Trent to call them out as hypocrites who should — in a sublimely narcissistic move — be more like their fabulous, righteous interlopers. In other words, if the haters would open their tiny, hard hearts, everything would be fine. You don’t have to be a cynic to know that is a crock. You just need to be an American.The PromRated PG-13 for who knows? Musical theater? Glitter? Running time: 2 hours 10 minutes. Watch on Netflix.AdvertisementContinue reading the main story More