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      Marsha Hunt, Actress Turned Activist, Is Dead at 104

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      She seemed well on her way to stardom until her career was derailed by the Hollywood blacklist. She then turned her attention to social causes.Marsha Hunt, who appeared in more than 50 movies between 1935 and 1949 and seemed well on her way to stardom until her career was damaged by the Hollywood blacklist, and who, for the rest of her career, was as much an activist as she was an actress, died on Wednesday at her home in Los Angeles. She was 104.Her death was announced by Roger C. Memos, the director of the 2015 documentary “Marsha Hunt’s Sweet Adversity.”Early in her career, Ms. Hunt was one of the busiest and most versatile actresses in Hollywood, playing parts big and small in a variety of movies, including romances, period pieces and the kind of dark, stylish crime dramas that came to be known as film noir. She starred in “Pride and Prejudice” alongside Greer Garson and Laurence Olivier in 1940, and in “The Human Comedy” with Mickey Rooney in 1943. In later years, she was a familiar face on television, playing character roles on “Matlock,” “Murder, She Wrote,” “Star Trek: The Next Generation” and other shows.But in between, her career hit a roadblock: the Red Scare.Ms. Hunt’s problems began in October 1947, when she traveled to Washington along with cinematic luminaries like John Huston, Humphrey Bogart and Lauren Bacall as part of a group called the Committee for the First Amendment. Their mission was to observe and protest the actions of the House Un-American Activities Committee, which was investigating what it said was Communist infiltration of the film industry.Many of those who made that trip subsequently denounced it, calling it ill-advised, but Ms. Hunt did not. And although she was never a member of the Communist Party — her only apparent misdeed, besides going to Washington, was signing petitions to support causes related to civil liberties — producers began eyeing her with suspicion.Ms. Hunt, second from left, with other members of the Committee for the First Amendment in Washington in October 1947. (Among the others pictured are John Huston, Humphrey Bogart and Lauren Bacall, center, and Danny Kaye, sixth from right.) Her political activism led movie studios to stop offering her work.Associated PressHer status in Hollywood was already precarious when “Red Channels,” an influential pamphlet containing the names of people in the entertainment industry said to be Communists or Communist sympathizers, was published in 1950. Among the people named were Orson Welles, Pete Seeger, Leonard Bernstein and Marsha Hunt.By then, she had won praise for her portrayal of Viola in a live telecast of “Twelfth Night” in 1949. At the time, Jack Gould of The New York Times called her “an actress of striking and mellow beauty who also was at home with the verse and couplets of Shakespeare.” Her star turn in a 1950 revival of George Bernard Shaw’s “Devil’s Disciple,” the second of her six appearances on Broadway, had been the subject of a cover article in Life magazine. Yet, the movie offers all but stopped.In 1955, with little work to keep her at home, Ms. Hunt and her husband, the screenwriter Robert Presnell Jr., took a yearlong trip around the world. As a result of her travels, she told the website The Globalist in 2008, she “fell in love with the planet.”She became an active supporter of the United Nations, delivering lectures on behalf of the World Health Organization and other U.N. agencies. She wrote and produced “A Call From the Stars,” a 1960 television documentary about the plight of refugees.She also addressed issues closer to home. In her capacity as honorary mayor of the Sherman Oaks area of Los Angeles, a post she held from 1983 to 2001, she worked to increase awareness of homelessness in Southern California and organized a coalition of honorary mayors that raised money to build shelters.Ms. Hunt with Franchot Tone, left, and Gene Kelly in the 1943 movie “Pilot No. 5.”Metro-Goldwyn-Mayer (MGM), via IMDbMarcia Virginia Hunt (she later changed the spelling of her first name) was born in Chicago on Oct. 17, 1917, to Earl Hunt, a lawyer, and Minabel (Morris) Hunt, a vocal coach. The family soon moved to New York City, where Ms. Hunt attended P.S. 9 and the Horace Mann School for Girls in Manhattan.A talent scout who saw her in a school play in 1935 offered her a screen test; nothing came of the offer, but that summer she visited her uncle in Hollywood and ended up being pursued by several studios. She signed with Paramount and made her screen debut that year in a quickly forgotten film called “The Virginia Judge.”She was soon being cast in small roles in a dizzying array of films. In “Easy Living” (1937), starring Jean Arthur, she had an unbilled but crucial part as a woman who has a coat fall on her head in the last scene. Bigger roles soon followed, especially after she joined Hollywood’s largest and most prestigious studio, MGM, in 1939.In 1943, she was the subject of a profile in The New York Herald Tribune that predicted a bright future. “She’s a quiet, well-bred, good-looking number with the concealed fire of a banked furnace,” the profile said. “She’s been in Hollywood for seven years, made 34 pictures. But, beginning now, you can start counting the days before she is one of the top movie names.”It never happened. In the aftermath of the blacklist, however, she began working frequently on television, appearing on “The Twilight Zone,” “Gunsmoke,” “Ben Casey” and other shows. She remained active on the small screen until the late 1980s.Her only notable movie in those years was “Johnny Got His Gun” (1971), an antiwar film written and directed by Dalton Trumbo, also a victim of the Hollywood blacklist, in which she played a wounded soldier’s mother.Ms. Hunt at her home in Los Angeles in 2007. She began working frequently on television in the wake of the Hollywood blacklist and continued acting until the late 1980s.Nick Ut/Associated PressMs. Hunt’s marriage to Jerry Hopper, a junior executive at Paramount, ended in divorce in 1945. The following year, she married Mr. Presnell. Their marriage lasted until his death in 1986. She is survived by several nieces and nephews.Ms. Hunt’s commitment to political and social causes did not diminish with age.In a 2021 interview with Fox News, she dismissed the notion that celebrities should avoid speaking out on political issues (“Nonsense — we’re all citizens of the world”) and explained what she considered to be the essential message of the documentary:“When injustice occurs, go on with your convictions. Giving in and being silent is what they want you to do.”Peter Keepnews contributed reporting. More

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      Gabrielle Union on Her Anti-Gay Mother in ‘The Inspection’

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      At the Toronto premiere, she spoke of playing a homophobic mother as “the challenge of a lifetime” because it represents everything she stands against in reality.After nearly 30 years of working in Hollywood, Gabrielle Union is used to facing slings and arrows. Still, when she opens up Twitter and sees people attacking her trans daughter, Zaya Wade, it hits differently.Or, as Union put it to me Thursday night at the after-party for “The Inspection,” which opened the Toronto International Film Festival: “You can say whatever about me — normally, I’m going to come with these fists, or I’m going to read you for filth. But when it’s your child, it’s a whole different ballgame.”As the loving parent of a trans teenager, Union and her husband, the former N.B.A. player Dwyane Wade, have become outspoken role models for parents of L.G.B.T.Q. children. “People are listening to me,” Union said, “and I have a responsibility to try to reach those parents if I can.” But in “The Inspection,” Union plays her total opposite: Inez, a flinty, chain-smoking prison guard whose homophobia is so deeply ingrained that she kicks her son out of the house at age 16 for being gay.“None of our children are disposable, but trying to shove that down and bring Inez forward was the challenge of a lifetime,” Union said after the film’s premiere, adding, “This is the most important work I’ve ever done.”The film, which is based on the writer-director Elegance Bratton’s own life story, follows Ellis (Jeremy Pope), who has spent years living on the streets of New York since his mother severed all ties with him. Desperate to turn his life around, Ellis enlists in the Marines and faces a hellish boot camp made even worse by the homophobic hazing from his fellow recruits. Still, Ellis perseveres, hoping that if he makes it through, that triumph can begin to repair the rift with the mother he still deeply loves.Union is best known for films like “Bring It On” and “Bad Boys II,” and though she rarely plays roles like the glammed-down, obstinate Inez, who is so disgusted by her son that she puts newspaper down before allowing him to sit on her couch, Bratton told me Union was always his first choice for the part.“In the Black community, she’s an icon,” Bratton said at the after-party. “I’ve always thought of her as the Black Charlize Theron, and I’m like, ‘Where are the parts to justify how I feel about her?’”Still, he confessed to an ulterior motive for casting her. Ever since Bratton was kicked out of his mother’s house as a teenager, “a huge part of what’s driven me is the idea of being unavoidable to people who don’t want to see me.” With the cultural cachet Union carries, Bratton hopes her presence will make “The Inspection” impossible to ignore.“Beyond her obvious talent, her beauty, and who she is as an activist and a superstar, she is a name that my mother would never be able to avoid,” he said. “Somebody will come to her and say, ‘Hey, Gabrielle Union played you in a movie. And she will see that movie, and I always hoped that when she saw it, it would change things between us.’”Bratton’s mother died while he was putting the movie together, and as he watched Union channel her on set, things often got so emotional that Union would come to the monitor and comfort him after a scene.“I say similar things to my own child that I said to Elegance,” Union recalled. “I’m not his mom, but what I can be is a loving adult. So hopefully there was some healing in there.”Did playing the character give Union insight into the people who attack her family on social media? Some, she said.“For Inez, and for a lot of the people I know, the commitment to the American dream — and the complete assimilation in order to be seen as worthy of upward mobility and opportunities — can literally drive you to abandon your own children,” Union said. “The lengths that people will go, to appear worthy to people who wouldn’t spit on you if you were on fire!”The actress continued, “Anything outside of what a very wealthy cis-het white man with power tells you is acceptable or appropriate or reasonable, you’ll cut off your arm if that’s what they tell you to do: ‘You’ve got to talk this way, you’ve got to walk this way, you’ve got to be this way! You’ve got to be straight and Christian! You can’t have sex in any other position other than the same old 6 o’clock with a very specific kind of person!’”And the desire to be seen as perfect in the eyes of the world isn’t worth it, said Union, who mentioned LeBron James, her husband’s longtime friend and former teammate. “Everyone likes to hold him up as an example: Rose out of poverty, single mom and became the best basketball player in the world.” But even with all that power, Union noted, the front gate of his Los Angeles home was still vandalized with a racial slur on the day before he was supposed to take the court in the 2017 N.B.A. finals.The lesson? “You can comport yourself and shape-shift constantly, and it doesn’t matter,” Union said. “So be yourself, and don’t throw away your kids. You think it’s going to get you further? It doesn’t. All you’ve done is lose a piece of you.” More

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      ‘Avatar: The Way of Water’: What to Know Before Watching

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      After 13 years, James Cameron’s sequel, “Avatar: The Way of Water,” is finally opening in December. Here’s everything you need to know.What can be accomplished in 13 years? Given that much time, J.K. Rowling published all seven of the Harry Potter books — and helped turn the first six of them into movies. Taylor Swift cranked out eight studio albums — and rerecorded two of them. The Yankees won the World Series eight times.James Cameron made one film.“Avatar: The Way of Water,” a roughly three-hour sci-fi epic, is a sequel to his 2009 “Avatar,” which shattered box office records and garnered a devoted fan base. (The three Academy Awards — for art direction, cinematography and visual effects — didn’t hurt either.) It’s set for a holiday-season release on Dec. 16 in theaters.If you remember very little about Pandora, here’s a refresher on the “Avatar” plot, the phenomenon it became and the stakes a sequel faces.OK, I just need to make sure before I get my hopes up yet again: This is really, finally, actually happening?Yes.Why did it take so long?The short answer is that the dazzling — and costly — array of visual effects means these films spend forever and a day in preproduction. Also, a majority of the sequel was filmed underwater, and new motion-capture technology had to be developed to accomplish the feat.Thirteen years is a long time, but not long enough for me to have seen the original “Avatar.” Can I watch “The Way of Water” anyway?Well, yes, but it’d be like diving into the “Star Wars” franchise with “The Empire Strikes Back.” How did Han Solo get in that carbonite? And what’s the deal with him and Princess Leia?OK, got it, not optional. So where can I watch “Avatar”?You’ll no longer be able to find it on Disney+ after it was quietly removed from the streaming service in August. You can, however, see “Avatar” in theaters beginning Sept. 23, when Disney will rerelease it with remastered audio and picture.Sam Worthington and Zoe Saldaña in a scene from the original.20th Century FoxI don’t have time to rewatch a nearly three-hour film! Hit me with the highlights.It’s the middle of the 22nd century and humans have depleted Earth’s natural resources, so they are now colonizing a moon known as Pandora, which is home to both the valuable mineral unobtanium and a tribe of 10-foot-tall indigenous blue creatures known as Na’vi, who look like a mash-up of the Blue Man Group, centaurs, professional basketball players and armed supermodels. A group of specially trained humans inhabit genetically engineered Na’vi bodies, known as avatars, to interact with the tribe while their human bodies remain in a remote location.The protagonist is Jake Sully (Sam Worthington), a paraplegic ex-Marine who replaces his identical twin brother in the Avatar Program after his death. Power struggles ensue within the program about what is worth sacrificing to obtain the unobtanium, as well as the value of Na’vi life; within the forest, as Jake tries to convince the Na’vi to accept him as one of their own; and within Jake himself. He grapples with the ethics of what he is doing, which is complicated by the fact that he has fallen for one of the Na’vi women, Neytiri (Zoe Saldaña).After Col. Miles Quaritch (Stephen Lang), the head of the security force for the group mining the unobtanium, destroys the Na’vi’s gathering place, Hometree, and kills many of them, Jake confronts him in his Na’vi form. Quaritch almost kills Jake before Neytiri fatally shoots the colonel with two arrows to the chest. Jake, in love with Neytiri and having gained the trust of the Na’vi, chooses to transfer to his avatar form permanently. The film’s closing shot is of his eyes, waking up on Pandora.The visual effects in the film were a big deal, right?Oh, yes. Reviewers focused as much — if not more — on the images as on the plot, both explaining and lauding the use of performance capture, which was then a newfangled innovation that had been most notably used for Gollum in Peter Jackson’s “Lord of the Rings” films.Wasn’t “Avatar” released in 3-D?Yes, it was shot with a 3-D camera system that gave Cameron an augmented-reality view in real time by integrating the live actors with computer-generated environments in the viewfinder. “Avatar” was one of the films that restarted a fad of 3-D cinematic releases, though you may not have actually seen it in 3-D: Many theaters didn’t yet have 3-D projection systems.What about the film itself? Was it any good?It brought in more than $2.8 billion at the worldwide box office, becoming the highest-grossing movie of all time, not adjusted for inflation. Reviewing the film for The New York Times, Manohla Dargis named it a Critic’s Pick, calling it “glorious and goofy and blissfully deranged.”Both critics and audiences lauded the visuals and immersive world-building, but the story itself — which was familiar to anyone who had seen “Dances With Wolves” or “The Last Samurai” — won far less acclaim, with a large portion of reviewers dismissing it as generic or unoriginal. In her review, Dargis also criticized Cameron’s writing, particularly the dialogue, which she noted veered into “comically broad” territory at times (case in point: “Yeah, who’s bad?” Jake taunts a rhinolike creature).Jake Sully (Worthington) is back for the sequel, in which he’s now a father. 20th Century StudiosIs Cameron writing the sequel, too?Yes, though while he had sole script credit on “Avatar,” he co-wrote “The Way of Water” with Josh Friedman, who wrote the 2005 “War of the Worlds” adaptation that was directed by Steven Spielberg, and is co-writing the forthcoming “Star Trek 4” film.What do we know about “The Way of Water” so far?Cameron, who won an Academy Award for directing “Titanic,” is going back to the sea with the sequel, which is — as you may have guessed from the title — set primarily underwater. It takes place more than a decade after the events of the first film and focuses on Jake Sully and Neytiri and their preteen children. It also introduces a new tribe of reef-dwelling Na’vi known as the Metkayina.Is Zoe Saldaña back?Saldaña, who became a fan favorite for her performance as Neytiri and went on to play the green-skinned Gamora in Marvel’s “Guardians of the Galaxy” films, is back for “The Way of Water,” along with Worthington, Lang, Sigourney Weaver, Joel David Moore and CCH Pounder. Yes, some of their characters are apparently dead, and no, we haven’t figured out how that works yet.They’ll be joined by prominent newcomers, including Kate Winslet (the Na’vi leader Ronal), Cliff Curtis (Tonowari, a leader of the Metkayina clan), Edie Falco (a military officer) and Jemaine Clement (a marine biologist).Will the sequel be shown in 3-D?Yes, but good news for glasses-wearers: You won’t need two sets to take in the film; a newer laser system eliminates the need for special glasses. (Though many theaters, as was the case the first time around, do not yet have the necessary equipment.)Am I going to have to wait 13 more years for “Avatar 3”?Cameron has signed on to make three more sequels, and they’re currently set for release in 2024, 2026 and 2028.But maybe pencil in 2035, 2048 and 2061, just in case. More

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      ‘About Fate’ Review: Love the One You’re With?

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      Thomas Mann’s beguiling performance drives this Emma Roberts vehicle, but the romantic comedy creaks under the weight of its coincidences.A few coincidences can have their charms, but the romantic comedy “About Fate,” directed by Marius Vaysberg and written by Tiffany Paulsen (“Holidate”), creaks under the weight of a pile of improbabilities.Margot (Emma Roberts), a real estate agent, and Griffin (Thomas Mann), a public defender, each greet the day before New Year’s Eve with heightened hopes for their dates with their significant others that night. Their split-screen hopes about a wedding proposal lead us to believe that they are each other’s person. Those who have seen the trailer know better.At dinner, Margot is dumped by her boyfriend, Kip (the martial artist and action star Lewis Tan). The next day they are expected at the wedding of Margot’s judgy sister (a spiky Britt Robertson). Things go only slightly better for Griffin. Sitting nearby at the chain restaurant in Boston where his father and grandfather successfully popped the question, he proposes to his girlfriend, Clementine (a social media maven and model played by Madelaine Petsch). Excited, she cuts him off and insists Griffin do it again at their New Year’s Eve party so she can share the moment with her online following.Fate, or something like it, finds the nice guy accompanying the emotionally messy blonde gal to her sister’s nuptials, pretending to be Kip. Misunderstandings, mayhem and the tug of a deeper affection ensue. It would all be pretty boilerplate, but Mann’s anchoring appeal — his lean into Griffin’s modesty and decency — saves the movie from a sorrier fate.About FateRated R for some randy language and a toss-off line about a sex act. Running time: 1 hour 40 minutes. In theaters and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      ‘End of the Road’ Review: Thrill Ride

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      Queen Latifah and Chris Bridges anchor a predictable thriller that also manages to spin a charming tale of family unity.A family of four traverses an obstacle course of Wild West crime escapades in the charming caper “End of the Road.” Queen Latifah and Chris Bridges anchor the antics as Brenda, a mother of two teenagers, and Reggie, Brenda’s layabout younger brother. Their sibling alliance forms the heart of the movie, and the pair toggle credibly between a combative dynamic and a considerate one.When the movie begins, Brenda has resolved to move the brood from California to Texas following the death of her husband. Her children (Mychala Faith Lee and Shaun Dixon) are bitter about being uprooted from their home. The story takes place during their road trip across the Southwest, but what begins as a quiet journey through the desert spirals into a violent chase after the family become earwitnesses to a grisly motel murder.Despite its thriller structure, this crime story offers little surprise or intrigue. With a brief running time, the movie unspools simply: each beat is predictable, and even the identity of the unseen felon is a mystery easily solved.But this plainness of plot — and a sparsity of the action set pieces that often clog up such movies — ultimately proves a boon to “End of the Road,” leaving space for the director, Millicent Shelton, to nurture a comforting tale of family unity. Shelton also demonstrates a creative eye; check out her use of purple lighting during certain night scenes. Even when the movie wants for tension, it brims with playful style.End of the RoadRated R for drugs and danger. Running time: 1 hour 29 minutes. Watch on Netflix. More

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      ‘Dos Estaciones’ Review: A Tequila Factory’s Story, Sip by Sip

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      A woman tries to keep her family business running in this film that employs dreamlike rhythms and documentary-style realism.There is a startling moment in the soulful Mexican drama “Dos Estaciones” when it shifts from the protagonist to a secondary character. Movies often take detours, yet when they pop into a supporting player’s life or nose around the story’s periphery, it’s usually to expand on the main event. Here, though, the diversion is so imbued by the secondary character’s being, so organic and leisurely, that it feels like the beginning of another movie entirely.I’ve thought a lot about this detour the two times that I’ve watched “Dos Estaciones.” The story centers on María (Teresa Sánchez), who owns a failing tequila factory in Jalisco, Mexico. It takes a while to get a handle on her. She’s stolid, stoic and somewhat ambiguous — from a distance, she could pass for a man — and the writer-director Juan Pablo González doesn’t proffer chunks of explanation. You have to piece María together from where her gaze lands, how she walks, holds her head and stands next to others. You also have to listen to what she says and to the heaviness of her silences.The story tracks María through her day-to-day at the factory, which once belonged to her father. It’s a bright, spacious facility filled with gleaming modern equipment but no longer has enough workers to make it buzz. The reasons for its decline emerge piecemeal throughout the movie in worried references to a disease that’s affecting the agave, in the stack of unpaid bills in María’s office and, crucially, in references to foreign competitors who are threatening her patrimony. When she curses about “gringos” under her breath, it feels personal: González’s family runs the factory used in the movie.Things happen, quietly, and with scrupulous precision, and María’s life slowly fills in. Her truck doesn’t start; she samples tequila; confers with her employees. She’s habitually by herself, or almost — oftentimes some workers bustle nearby. At one point, she goes to a small party where she meets a friendly young woman, Rafaela (Rafaela Fuentes, one of several nonprofessional actors in the cast). Rafaela once worked in another tequila factory and is now looking for work. As the women chat, sliding into a natural, sympathetic vibe, María furtively looks at Rafaela and then offers her a job.As is true throughout the movie, nothing goes as expected. González has made a handful of documentaries, mostly shorts; I imagine that he’s watched his share of art films. The rhythms in “Dos Estaciones” are somewhat slower than those in contemporary industrial cinema, but the movie never drags, and González doesn’t indulge in excessive longueurs or pointless ambiguities. His most notable strategy (aesthetic and political) is to soften the line between fiction and nonfiction, incorporating documentary-style passages into the fiction that enrich its sense of place and of a people — its realism.The first scene is exemplary in this respect. It opens in a field of mature blue agave plants under a vivid blue sky where a man is using a shovel to shave off the large spiky leaves, exposing the heart of the plant, called the piña (Spanish for pineapple). It’s a mesmerizing interlude, partly because the man’s gestures are so exacting and relatively unfamiliar but also because the light and high-contrast colors are beautiful. If this were a different movie, say, a straight documentary, you might expect some exegesis to come next — cue the voice-over — but the scene has the quality of a dream, and it’s inviting.In time, the piñas are tossed into baskets carried by mules, loaded onto trucks and driven to the factory. There, they’re baked in enormous ovens and subsequently fermented, distilled and cask-aged under María’s direction. It can take up to 20 years to make tequila, an artisanal process that González reveals incrementally over the course of the movie. If he gives it so much attention, it’s partly because the manufacturing, in its quotidian textures and difficult work, offers a window onto María herself. With its modest means, painstaking labor and aggressive, industrial competition, it also mirrors this kind of independent artistic cinema.At once specific and expansive, “Dos Estaciones” can be described several ways: as a drama, a character study, a meditative exploration of the ravages of globalization. At the same time, part of the movie’s pleasure is how it avoids facile categorization, like when it takes that detour I mentioned earlier to follow María’s hairdresser, a trans woman, Tatín (Tatín Vera), as she goes out on the town, enjoys a one-night stand, talks about art and later goes shopping. As Tatín shops, she hails townspeople, and you grasp that these streets and this scene — along with the agave, the blazing sun and the rich red earth — describe, better than any genre label could, María, her world and this striking movie.Dos EstacionesNot rated. In Spanish, with subtitles. Running time: 1 hour 39 minutes. In theaters. More

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      An Inscrutable Monarch, Endlessly Scrutinized Onstage and Onscreen

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      Queen Elizabeth II was portrayed in plays and highbrow films, in made-for-TV movies and broad comedies and, of course, in “The Crown.” Many sought to answer the question: What was she like?She was the most opaque of celebrities, a silent film star somehow thriving in a TikTok world. If no one except her closest friends and family knew what Queen Elizabeth was really like, that’s exactly how she wanted it.Her regal reserve, her impassive expressions, her resistance to personal revelation — all of it made the queen, who died Thursday at 96, an irresistible object of imaginative speculation. She was an outline of a woman that people could fill in however they fancied. And fill it in they did. Over the years, Elizabeth was a character in an endless stream of feature films, made-for-TV movies and television series — biopics, satires, dramas, comedies, you name it — as well as in the occasional documentary, play, musical and novel.Her life was remarkable for being long, her reign remarkable for encompassing so much history. But no one was beheaded, no one was plotted against, no one was imprisoned in a tower. Dramas about her predecessors in the job — Elizabeth I, Henry V, Henry VIII, Richard II, to name a few — are full of grand plots and high stakes. Dramas about Elizabeth II were more inward-looking, all trying to address the tantalizing and unanswerable question about her: What sort of person was she?In “The Crown,” three actors played Elizabeth at different ages. From left, Claire Foy, Olivia Colman and Imelda Staunton. From left, Alex Bailey/Netflix; Sophie Mutevelian/Netflix; Alex Bailey/NetflixThe actors who have wrestled with that issue are too many to count. “The Crown” alone needed three different women to portray Elizabeth at different eras of her life: Claire Foy in her early life, Olivia Colman in the middle years, and Imelda Staunton as the queen in winter.Here are some additional highlights of the portrayals of Queen Elizabeth on film and onstage, and occasionally in fiction, over the years.As PrincessIn the 2010 film “The King’s Speech,” a very young Princess Elizabeth was played by Freya Wilson, right.The Weinstein Company, via AlamyElizabeth’s early years were marked by two cataclysmic events: her uncle King Edward VIII’s abdication, in 1936, from the throne, which automatically catapulted her fragile father into the job of king and put her next in the line of succession; and World War II, which took place when she was still a teenager.In “The King’s Speech” (2010), the young Princess Elizabeth, played by Freya Wilson, appears briefly in the backdrop of the drama about the efforts of her father, now King George VI, to overcome his stutter and address the nation with confidence and authority when Britain enters the war, in 1939. (The real-life queen was said to have found the movie “moving and enjoyable.”)“A Royal Night Out” (2015) takes place amid the euphoria of V-E Day in London in 1945. Sprung from Buckingham Palace to mingle, incognito, with the ecstatic crowds, Princess Elizabeth (Sarah Gadon) and her younger sister, Princess Margaret (Bel Powley), indulge in a wild night of drinking, dancing, flirting, wading in a fountain and riding a city bus.Some Key Moments in Queen Elizabeth’s ReignCard 1 of 9Becoming queen. More

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      ‘The Woman King’ and Intimate Moments Amid Epic Action

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      From her debut feature, the rom-com classic “Love and Basketball,” to her most recent action hit, “The Old Guard,” Gina Prince-Bythewood is known for films with rich character introspection amid outward chaos. That touch is evident again this fall even as she widens her cinematic playing field with the fact-based battle epic “The Woman King.”The period film follows a troop of fierce woman warriors, the Agojie, as they defend the West African kingdom of Dahomey from slave traders, domestic and foreign. Led by Viola Davis as General Nanisca, the women live in their own corner of the palace of King Ghezo (John Boyega) in a man-free enclave as they hone their combat skills. Into this environment, Nawi (newcomer Thuso Mbedu), a young girl unceremoniously dumped at the palace, begins training alongside more experienced soldiers played by Lashana Lynch and Sheila Atim.Davis brought the concept to Prince-Bythewood. “When we first met with her, she wept in the room,” Davis said of Prince-Bythewood. “When a director has that level of passion and vulnerability for the work, they’re going to treat it as their child. I understood that this was Gina’s magnum opus in the room.”In a video interview, Prince-Bythewood explained how she went about tackling what would be, logistically, her biggest film yet. These are edited excerpts from that conversation.Tell me about how the scale of this movie was different from things you’ve done before.When I met with Viola and Cathy [Schulman, a producer] to get the job, I said to them, I felt all my work until this point led me to be able to tell this story the right way and give it the epic scale it deserved, to do the action the right way, to showcase these women in the way they deserve to be showcased, given all the things I’ve learned, not only on “The Old Guard” with action but just in storytelling. Do you care about the characters? Do they feel real to you? That’s where every really good movie starts.Viola Davis as a general leading the Agojie into battle. The actress brought the material to the director, who wept when they first met to discuss it.Ilze Kitshoff/Sony PicturesHow did this production come to you?About five years ago, I read that Viola Davis was going to do a film about female warriors, and I said to myself, “Why didn’t they come to me for that?” [Laughs] But then they did; they had come to me as a writer-director, but the script had to be written. I think I was on “Silver & Black” [a superhero project that was ultimately canceled], so I couldn’t take on the writing, but I said, “Please come back to me when you have a script.” You say that a lot, but I really did mean it.And then they came back to me with the script [credited to Dana Stevens from a story by Stevens and Maria Bello]. At that point, “Black Panther” had come out, and I remember reading that the Dora Milaje in “Black Panther” were based on real-life warrior women. People were calling them Black Amazons, and they actually had a real name, which was Agojie — that’s when I first heard about them. As soon as I read the script, I knew in five pages that I had to do this movie. It was just excitement, excitement, excitement, because the story was entrenched in truth and a specific war that happened at a specific time, then led to a bigger war against colonizers. The more I learned about them, the more I got excited about putting this incredible culture — and us — onscreen in a way that we haven’t been able to see ourselves.I’m glad you mentioned the Dora Milaje before I did, because you’re definitely going to hear comparisons to them. How do you take that?I loved “Black Panther.” Loved it. You know, for me, “The Woman King” is where we started, and “Black Panther” is where we can go, so past and future — I think it’s a beautiful connection. I think it’s cool that people can now learn that this doesn’t have to be a fantasy, that we really were these women, we have this innate warrior within us.Based on “The Secret Life of Bees” and “Love and Basketball,” you like introspective character moments, especially with women. How did you achieve such moments within the scale and spectacle of “The Woman King”?I feel like the intimate moments were as important as the big set pieces. Set pieces and action do not matter if you don’t care about the characters. So I love to take the time to allow an audience to understand who people are, where they come from, their relationships with others. The sisterhood of this film was so important, the humanity of these women was so important: I wanted to take the time to establish that so when you see Viola fighting in the Oyo battle, you care. You’ve got to invest that time. I love doing action, but I love doing two people in a scene. [Lynch’s character] Izogie braiding [Nawi’s] hair and talking to her about, “You’re more powerful than you even know” — I get off doing that scene equally as I do doing a big battle scene.Do you find that action surrounding such internal scenes can threaten to overpower them?Great action magnifies who a character is. You can tell so much story within an action scene. But you’ve got to know who Izogie is from the outset and the way she fights. That was fun to create: What is your fighting style, and what does that say about your character? To be able to do that with the actors, that’s all the fun stuff.From left, Thusu Mbedu, Davis and Sheila Atim, who told the director she wished her 12-year-old self could have seen this film.Sony PicturesWhere did you film, and what were some of the challenges of being on location?We shot in South Africa, the majority in Cape Town. We built our entire palace there. But the first two weeks of filming was in KwaZulu-Natal, where we shot a lot of the deep jungle stuff. That was incredible to be in that environment; that’s also where Thuso is from, so the fact that her first movie she got to shoot where she was born and raised was amazing for her.When we got back to Cape Town, Omicron hit us, and that was really tough because we had to shut down for a couple weeks. Scariest thing, we were three weeks into shooting. I didn’t know if we were going to come back. Was Omicron going to keep doing this, or was it going to plateau?Was your fear that you’d have to scrap the film altogether, or just delay it?I thought we were going to have to scrap it.Sticking with South Africa, let’s talk about Thuso. You said this was her first film. What did she bring to the film that you had to have?She auditioned. The moment her face appeared on Zoom, I just cared about her before she even opened her mouth! And then she opened her mouth, and I cared about her even more. She just has this thing, this innate vulnerability, but also she’s a generational talent. She’s so good.She can go toe-to-toe with Viola Davis! Like, who can do that? She did that. Thuso’s so smart about character, she pays attention to everything — detail is so important to her. She’s so passionate and so good. I loved just watching her in scenes.Let’s talk about the fight scenes. The actors did some of their own fighting and stunts in a battle-heavy movie.To each one of them, including Viola, I had to look [them] in the eye and [say], “You’re going to do your own fighting and stunts. Are you willing to do everything you have to to embody these characters?” And everyone said yes. But it’s one thing to say yes, it’s another to really do it, and I’m talking months of work. You have to have an incredible mind-set to do that. The beauty of it is that type of training is part of the rehearsal process. It helps you build character, it helps bond them. But they have such great pride now when they get to see what they did. I mean, that’s really them fighting.It amazes me that there’s this narrative that women aren’t warriors, aren’t tough. These women put themselves through so much to be able to do what they did on set, and in an action film, you should never get injured, but you will get hurt at some point — a stray punch or you land wrong — and all of these women got hurt and would not stop. I love it, because I’m an athlete, and to see that from them was really beautiful.Another thing I think that’s going to be immediately appreciated and a fact that kept coming into my head is: Little girls are going to see all these natural hairstyles, and that is huge.Sheila is the one that said she wishes her 12-year-old self had this film. And, yeah, that’s the thing we’re most excited about: How can this change the way that we see ourselves, especially little girls? Do you get to now grow up and see yourself heroically, and can you take that in for yourself? I’m really hoping that for this film. More