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    Dick Van Dyke, Approaching 99, Dances in Coldplay’s Latest Video

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    In the clip, which was filmed in October, Van Dyke sings, dances barefoot and offers meditations on aging, family and love.Dick Van Dyke, the lithe and witty nonagenarian whose career spans more than seven decades, has added yet another role to his lengthy résumé: music video star.Dancing barefoot in the backyard of his Malibu, Calif., home, Van Dyke, 98, is the focus of Coldplay’s latest music video, “All My Love.”Van Dyke, who starred on “The Dick Van Dyke Show” from 1961 to 1966 and danced his way through “Mary Poppins” 60 years ago, pulls out some of his signature dance moves while the band’s frontman Chris Martin plays an upright piano.The video, directed by Spike Jonze and Mary Wigmore, was filmed in October. A directors’ cut that lasts more than seven minutes came out on Friday; a shorter version will be released Dec. 13 on Van Dyke’s 99th birthday.Van Dyke, who is introduced with a title card noting that he was born in 1925, gamely pokes fun at his age, including when a voice asks him to close his eyes and think of the people who meant something to him. He does, and then opens them. “I’m too old for this — I’ll pass out and go to sleep,” he says, adding, with a mischievous chuckle, “I’ll take a nap!”Martin said Thursday on “Jimmy Kimmel Live!” that it was his and Jonze’s idea to cast Van Dyke in the video. Martin said that he and Van Dyke are neighbors, and that they had met several years ago.“This really may be the most fun thing I’ve ever done,” Martin said of the video. “It makes me so grateful. It’s a big deal for me.”In the video, photographs of Van Dyke’s family and from his long career — including a picture with Mary Tyler Moore, his co-star on the “The Dick Van Dyke Show,” and “Mary Poppins” memorabilia — flash on the screen. Van Dyke, in a suit and tie but no shoes, dances and shows of some of his old comic moves.Many scenes show his wife, Arlene Silver, and his family gathered around him. And at times he grows thoughtful, meditating on aging, family and love. “I’m acutely aware that I’m, you know, could go any day now but I don’t know why it doesn’t concern me,” Van Dyke says. “I’m not afraid of it. I have that feeling, totally against anything intellectual, that I’m going to be all right.”Van Dyke adds that he had been lucky to be able to “play and act silly” for a living. More

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      ‘Chitty Chitty Bang Bang’ Windmill Is for Sale in England

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      The property, which was the home of Dick an Dyke’s character in the 1968 film, is listed for 9 million pounds, or $11.4 million.A historic windmill in the English countryside that appeared alongside Dick Van Dyke and a magical flying car in the 1968 movie “Chitty Chitty Bang Bang” has gone up for sale.The black-and-white Cobstone Mill, in Buckinghamshire, England, just outside London, is part of a property that also includes a main house, about 37 acres of land and a swimming pool. It could be yours for 9 million pounds (about $11.4 million).The mill is thought to have been built around 1816 and was used to grind cereal until 1873, according to Savills, the real estate firm selling the property. Before the windmill could be used as a movie location it needed substantial renovations. The property had been damaged by a fire and, according to local media reports at the time, squatters had been living in it.In the film, which was loosely based on a children’s book by the James Bond creator Ian Fleming, the windmill served as the home for Mr. Van Dyke’s character, a nutty, widowed inventor named Caractacus Potts, who lives with his children, Jeremy and Jemima. Together with his love interest Truly Scrumptious, played by Sally Ann Howes, and his car, named Chitty Chitty Bang Bang for its distinctive engine sounds, they journey to the land of Vulgaria to battle the tyrant Baron Bomburst.The windmill survived this encounter with Van Dyke’s character’s latest invention. Hughes Warfield/United Artists Britain, via ShutterstockBut the windmill’s film industry connections didn’t end there.In 1971, the actress Hayley Mills bought the property at auction with her husband, Roy Boulting, a film director. Ms. Mills wrote about the first time she saw the property in her 2021 memoir, “Forever Young.”“I recognized it at once as the children’s home in ‘Chitty Chitty Bang Bang’ and it was love at first sight,” she wrote, envisioning her and her husband watching their child play in the afternoon sun, even though the property was “utterly impractical.”Mr. Boulting then surprised her by buying it at auction for 30,000 pounds (about $38,000). “It was crazy, completely, marvelously crazy,” she wrote. While she hoped the windmill would become her dream home in the country, and while she started renovating the property to make it livable, the windmill’s renovations weren’t finished, according to the autobiography, and the couple later divorced.The property was later owned by David Brown, an English industrialist and a former owner of the automaker Aston Martin. In the 1980s, the property was sold to the current owner, according to Stephen Christie-Miller, one of the realtors on the listing.“It’s such a landmark when you drive through the valley,” Mr. Christie-Miller said, “It dominates.”The windmill is a Grade II-listed building, which means it’s considered of national importance and is legally protected from being demolished or significantly altered without special permission.Though the price tag is steep, there has been interest in the property, Mr. Christie-Miller said, especially for the usually slow month of August during which many prospective buyers are on vacation.“So many people know it,” he said, adding that he was planning to show the windmill to two potential buyers on Wednesday and had already showed it to one couple who were, he said, “very keen.”Since peaking in August last year, house prices in Britain have begun to drop. Last month, prices fell 3.8 percent compared with a year earlier, according to Nationwide Building Society, the steepest annual drop in more than a decade.Between the windmill and the house, the property has six bedrooms and four bathrooms, according to the listing. The windmill’s sails were restored in the past 18 months, according to Savills.With views over the nearby countryside, “the windmill itself would be a lovely place to have an office,” Mr. Christie-Miller said, but added, “not that you’d get any work done.”It’s not just “Chitty Chitty Bang Bang” fans who might be excited. The windmill looks over the village of Turville, where scenes from the 1990s English sitcom “Vicar of Dibley” were filmed.Mr. Christie-Miller said the listing stands out in his 40-year career. “It comes up once in a generation,” he said. “It was last on the market in 1988. The next person will probably own it for another 30 years.” More

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      The Toasts Are Mimed, but the Kennedy Center Honors Return

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      The pandemic made the ceremony, honoring Debbie Allen, Joan Baez, Garth Brooks, Midori and Dick Van Dyke and airing on TV Sunday, like no other.WASHINGTON — A handful of dignitaries made toasts without glasses in front of thousands of empty plush red seats, before a masked stagehand in white gloves quickly wiped down the microphone and lectern. Actual drinks had to wait for the safety of an outdoor terrace and a distanced reception.A brief photo line was moved from the Kennedy Center’s grand entrance hallway to a wing offstage, where a half dozen photographers stood in front of mementos from previous productions. In an opera house designed to hold more than 2,000 people, roughly 120 masked attendees had their temperatures checked with wrist scans before slipping through a nondescript backstage door to witness a short, scaled-back fragment of the 43rd Kennedy Center Honors.Joan Baez arrived with Dr. Anthony S. Fauci, the infectious disease expert. Joshua Roberts/ReutersThe ceremony was delayed, and transformed, but the show went on. Instead of receiving their ribboned medals at the usual ornate dinner at the State Department, this year’s honorees — the violinist Midori, the actor Dick Van Dyke, the country singer Garth Brooks, the singer and activist Joan Baez, and the actress, producer and choreographer Debbie Allen — were given them onstage in the center itself.The ceremony, usually held and televised in December, was moved to May, and split over several days. Then the organizers and producers began stitching together a mixture of recorded at-home tributes and in-person performances across the center to be broadcast on CBS at 8 p.m. on Sunday, June 6.If the Kennedy Center Honors had to be stripped of much of its glamour this month to accommodate rapidly changing coronavirus health guidelines, the subdued ceremony offered a chance for the honorees to help usher in the reopening of the nation’s cultural institutions after a grueling year for the arts.“Coming out of this very dark time of the pandemic, being able to see the arts coming back into our lives again, live, in person,” made the ceremony particularly special, Midori said at a news conference ahead of the ceremony. “This is also encouragement for me, as well as a motivation to be able to continue to connect with others, to collaborate, to create.”And even a reduced capacity, socially-distant honor was still cause for celebration.“I can’t be more thrilled,” Van Dyke, 95, proclaimed to reporters. “How I got here, I don’t know, and I’m not going to ask.”Dick Van Dyke said he was thrilled to get the honor: “How I got here, I don’t know, and I’m not going to ask.” He shared a moment with the violinist Midori. Joshua Roberts/ReutersThe arts industry remains among the most devastated by the pandemic, with the restrictions that kept theaters closed for more than a year to stem the spread of the virus just now beginning to lift in New York, Washington and other artistic centers. For the Kennedy Center, the Honors ceremony serves as the biggest fund-raiser of the year, usually attracting a conglomerate of lawmakers, federal officials, donors and artistic elite for a week of festivities.Compared to the average haul of $6 million to $6.5 million in donations, this year’s ceremony is brought in about $3.5 million, according to organizers. The Kennedy Center faced a partisan backlash in 2020 after receiving $25 million in the $2.2 trillion stimulus law, but still cutting pay for some staff members, including National Symphony Orchestra musicians.Like many awards ceremonies of the pandemic era, the center relied on technology to help accommodate virtual viewers, including a website for donors that streamed some of the segments and tributes, as well as backstage clips from previous ceremonies.Gloria Estefan was the host of the ceremony.Paul Morigi/Getty ImagesGarth Brooks and his wife, Trisha Yearwood.Andrew Caballero-Reynolds/Agence France-Presse — Getty ImagesBut the decision to allow a small group of donors, guests and reporters attend the medallion ceremony and a few in-person, outdoor tributes was a tentative return to normalcy at the Kennedy Center campus after officials canceled all performances last year.The center was dotted with remnants of a 2020 season that never was: an art exhibition still on display celebrated the centennial of women’s suffrage in 2020, and there was a display of costumes for operas that were never held.“There was never actually much serious conversation about not doing it — for us, literally for the last 14 months, we’ve really been taking it one day at a time,” said Deborah F. Rutter, the center’s president, in an interview. “This is about artists creating something out of limitations.”But organizers were determined to barrel forward with a small ceremony, however delayed and however limited, to preserve the tradition of honoring a handful of artists for lifetime achievements. Plans repeatedly changed with shifting federal guidance and health guidelines, and top officials, in offering opening remarks, joked about the number of times they conferred with the honorees about how to make the ceremony feasible.Yet the five artists — some of whom had participated in previous ceremonies as part of tributes — appeared moved by not only the recognition of their life’s work, but a far more intimate celebration that allowed them to spend time with each other and their loved ones, instead of being shuttled separately between events.“We’ve been hanging out,” Allen said, calling it a “cohesive, lovely part” of being part of the group. Brooks added that “we got to move at our own pace,” something that allowed him to “leave here as a fan of these people more than a fellow honoree.” (At one point, as Brooks helped him down a staircase, Van Dyke cheerfully hummed the “Bridal Chorus.”)If the pandemic made this a most unusual year for the awards, in at least one area things seemed to return to normal: President Biden held the traditional reception for the honorees at the White House, something former President Donald Trump did not do during his four years in office.Baez said she sang a verse of the civil-rights anthem “Ain’t Gonna Let Nobody Turn Me Around” in the Oval Office, and she repeated it for reporters, her unmistakable soprano echoing in the empty opera house.“It feels like we’re coming out of a dark tunnel, and there’s the possibility again for arts and culture,” she said. (Baez arrived to the medallion ceremony on the arm of Dr. Anthony S. Fauci, the head of the National Institute of Allergy and Infectious Diseases, whom she invited after the pair struck up a friendship earlier this year.)Chita Rivera chatted with Debbie Allen and Dick Van Dyke. Joshua Roberts/ReutersThe event also offered the small audience a chance to see the skeleton of the medallion ceremony, hosted by Gloria Estefan, a previous honoree.The crackle of stage directions over a headset momentarily pierced a few bars of pizzicato, as Yo-Yo Ma, the cellist and 2011 honoree, offered a solo performance as the lone in-person tribute for the ceremony.Recorded tributes also meant that the five artists could be surprised along with a televised audience when the show is broadcast. The filmed salutes were slated to include performances from students Midori and Allen have mentored, songs from “Mary Poppins” and “Chitty Chitty Bang Bang” for Van Dyke, and renditions of “We Shall Overcome” and “Friends in Low Places” for Baez and Brooks respectively.The honorees emphasized the need to continue investing in the arts as the country begins to move beyond the pandemic, with Allen promising to “keep my hands on the plow with our young people.”Brooks, visibly emotional as he spoke about the medal around his neck, said he had been “looking at it as a finish line” until Midori had reflected on the award as a motivation to continue creating and collaborating with others.“Because of you, it’s a beginning,” he said.Now the Kennedy Center will try to make up for lost time: it aims to produce its 44th ceremony in December for another slate of honorees. That one, officials hope, will be staged before a full-capacity audience. More