Michael J Fox: ‘Every step now is a frigging math problem, so I take it slow’

After living with Parkinson’s for 30 years, the actor still counts himself a lucky man. He reflects on what his diagnosis has taught him about hope, acting, family and medical breakthroughs

The last time I spoke to Michael J Fox, in 2013, in his office in New York, he was 90% optimistic and 10% pragmatic. The former I expected; the latter was a shock. Ever since 1998, when Fox went public with his diagnosis of early-onset Parkinson’s disease, he has made optimism his defining public characteristic, because of, rather than despite, his illness. He called his 2002 memoir Lucky Man, and he told interviewers that Parkinson’s is a gift, “albeit one that keeps on taking”.

During our interview, surrounded by the memorabilia (guitars, Golden Globes) he has accrued over the course of his career, he talked about how it had all been for the best. Parkinson’s, he said, had made him quit drinking, which in turn had probably saved his marriage. Being diagnosed at the heartbreakingly young age of 29 had also knocked the ego out of his career ambitions, so he could do smaller things he was proud of – Stuart Little, the TV sitcom Spin City – as opposed to the big 90s comedies, such as Doc Hollywood, that were too often a waste of his talents. To be honest, I didn’t entirely buy his tidy silver linings, but who was I to cast doubt on whatever perspective Fox had developed to make a monstrously unjust situation more bearable? So the sudden dose of pragmatism astonished me. Finding a cure for Parkinson’s, he said, “is not something that I view will happen in my lifetime”. Previously, he had talked about finding “a cure within a decade”. No more. “That’s just the way it goes,” he said quietly. It was like a dark cloud had partly obscured the sun.

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Ma Rainey’s Black Bottom review – Chadwick Boseman glorious in his final film role

The movie version of August Wilson’s story of the blues, starring Boseman and a tremendous Viola Davis, is a ferocious opera of passion and pain

A detonation of pure acting firepower is what’s on offer in this movie version of August Wilson’s 1982 stage play. Declarative and theatrical it might be, but it’s also ferociously intelligent and violently focused, an opera of passion and pain. We see African-American musicians hanging around a white-owned Chicago studio one stiflingly hot day in the 1920s, waiting for the legendary blues singer Gertrude “Ma” Rainey to show up with her entourage so they can cut an album. The lead track is expected to be her live hit, Ma Rainey’s Black Bottom, and the drama imagines a certain pushy trumpeter in the band named Levee angling for his own version to be recorded. A simmering argument about how this song is to be arranged and performed forms the basis of a confrontation about race, sex and power.

Viola Davis plays Ma Rainey with tremendous hauteur: Cate Blanchett’s Elizabeth I never arrived at Hampton Court with more magnificent display or more queenly prerogative than Davis’s Rainey making her entrance, with her own lovers and court favourites, sweating at the temperature, her painful feet and the incompetence of the studio chiefs. And Chadwick Boseman gives a moving performance as the fiercely talented but insecure Levee, crucified by a childhood experience of racist violence and dreaming of fronting his own band.

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‘My mother was like a steel fist in a velvet glove’: the real Audrey Hepburn

Her delicate beauty and starring roles made her seem fragile. But having endured an unloving mother and a perilous childhood under Nazi occupation, such an impression belied Hepburn’s remarkable strength, compassion and resolve

“Very alert, very smart, very talented, very ambitious.” That was the director William Wyler’s verdict after watching a screen test for Roman Holiday by a young chorus girl called Audrey Hepburn in 1951. She got the part, won an Oscar and the rest is history. For decades, Hepburn has been adored for her graceful beauty and style. But somehow, the “smart”, “talented” and “ambitious” woman Wyler described never makes it into the books about her enduring charm with titles such as How to Be Lovely: The Audrey Hepburn Way. Now a new documentary, Audrey, gives us a more complex picture of the woman.

Directed by Helena Coan, the film features never-before-seen archive footage of Hepburn alongside intimate interviews with her family and friends. Speaking on Zoom from his home in Italy, Hepburn’s eldest son, Sean Hepburn Ferrer, says his mother’s steeliness is often overlooked. “She was no pushover. You have to fight in Hollywood for every little bit, and she did. But she played the part of the ingenue. And that’s who she was, too. None of us are just one way or another.”

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Naya Rivera drowning: wrongful death lawsuit filed on behalf of Glee actor’s son

Lawsuit alleges boats lacked safety equipment and that there were no warning signs around California lake where she died in July

A wrongful death lawsuit has been filed over the drowning of Glee actor Naya Rivera, who died in July while boating with her four-year-old son on a lake in California.

The suit was filed on Tuesday against Ventura County and managers of Lake Piru over her accidental death on 8 July at the lake north-west of Los Angeles. It was filed on behalf of her son, Josey Hollis Dorsey, by Ryan Dorsey — Rivera’s ex-husband and the boy’s father and guardian — and also on behalf of her estate.

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Home Alone at 30: how the unlikely Christmas comedy has endured

No one could have predicted that a simple family film would have been such a box office smash in 1990 or that it would remain a favorite decades after

To the news of Disney’s plans to produce a remake of holiday classic Home Alone, director of the genuine article Chris Columbus had words sharper than a toy car on a bare foot. “It’s a waste of time, as far as I’m concerned,” Columbus said in a recent interview with Insider commemorating the 30th anniversary of the film’s release. “What’s the point? I’m a firm believer that you don’t remake films that have had the longevity of Home Alone. You’re not going to create lightning in a bottle again. It’s just not going to happen.”

Related: My favourite Christmas film: Home Alone

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Joker ‘a betrayal’ of mentally ill people, says David Fincher

Mank director rails at the risk-averse production strategy of major Hollywood studios

Mank director David Fincher has described Todd Phillips’ Oscar-winning Joker as “a betrayal” of mentally ill people.

In an interview with the Daily Telegraph, Fincher was reflecting on Joker’s surprise success at the box office in a wide-ranging attack on the risk-averse production strategy of the major Hollywood studios. Saying that studios “don’t want to make anything that can’t make them a billion dollars”, he also suggested that occasionally “challenging” material can get support, if there is solid previous evidence of commercial potential.

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Free willy: are film and TV finally growing up about male nudity?

Belgian film Patrick showcases the average male form, setting it apart from movies that often present it as comedy or combat

In terms of an attention-grabbing tagline, the Belgian movie Patrick had me at “Naturist campsite handyman loses his hammer”. Don’t expect anything saucy, though: Patrick, out on digital platforms on Friday, is a spare, sombre character study, set in a woodland community where everybody happens to be naked. After a few minutes, you stop noticing, even though the film occasionally embraces the absurdism, especially in a fight scene between two angry naked men in a flimsy mobile home.

Related: The Guide: Staying In – sign up for our home entertainment tips

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Ethan Hawke on regrets, race and surviving Hollywood: ‘River Phoenix was a big lesson to me’

Hawke could have been a superstar to rival Leonardo DiCaprio or Matt Damon. But, as he turns 50, the actor is thinking more about the dangers he avoided than the opportunities he turned down

“Do you mind if I do something not attractive?” Ethan Hawke asks. In a vintage T-shirt, with his hair in a half-ponytail, he looks every inch the artsy Brooklyn dad that he is. “I’m starving. Would it be very rude if I eat lunch? I’ll try to be neat and orderly about it.” We’re talking by video chat and I tell him I’ll forgive his lunch if he forgives the noise of kids and dogs in my background. “Never apologise for kids. My two younger ones are Zoom schooling now, so I’m hiding in my office where the dogs are, so we’re even,” he says, tucking into his takeaway.

On the day of our interview, Hawke’s 50th birthday is a week away; if that makes those of us who remember him as a smooth-cheeked schoolboy in Dead Poets Society feel old, imagine how Hawke feels. “Forty-nine sounds a lot younger than 50,” he says with self-mocking mournfulness. Will he celebrate? “My older kids are coming over, so I’ll do a dinner with the six of us, which is about as much fun as we can have these days,” he says.

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Steve McQueen: ‘It’s rebel music that moves me’

The director on the reggae-fuelled house parties he witnessed as a child - lovingly recreated in his new film, Lovers Rock – and how their raw energy shaped his taste in music

Reggae music is the beating heart of Steve McQueen’s Small Axe series, which traces Black British experience from the late 1960s to the early 1980s. In the 1970s, when the characteristically defiant Bob Marley song that gives the series its title was released, McQueen’s aunt, Molly, used to regularly sneak out of her family house in Shepherd’s Bush, west London, on weekend nights to go to “blues parties” – all-nighters usually held in someone’s house.

Back then, the blues party was a staple of West Indian immigrant life in England, a makeshift club-cum-shebeen, usually held in someone’s front room or basement, where, as the night progressed, the sweet smell of ganja merged with the lingering aromas of West Indian home cooking. As an escape from her strict, religious upbringing, Molly would dance until dawn to roots reggae, sweet-sounding “lovers rock” and floor-shaking dub instrumentals.

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Matrix party ‘disguised as film shoot’ to bypass German Covid rules

Keanu Reeves among 200 people at studio party where guests came as extras, says report

German health authorities say they plan to speak to the studio where the latest Matrix film was shot after a party allegedly attended by the Hollywood actor Keanu Reeves was held to mark the end of filming, despite coronavirus restrictions.

About 200 people were at the party disguised as a film shoot, with the guests invited to come as extras in an apparent attempt to bypass health regulations, according to the German tabloid Bild.

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‘It was just a bunch of thugs’: how Collective uncovered a web of state corruption in Romania

A tenacious team of sports journalists and a persistent whistleblower turn this documentary into a newsroom drama as thrilling as All the President’s Men

Collective begins with profoundly upsetting footage filmed by clubbers on their phones of the fire that broke out in 2015 at a crowded Bucharest nightclub, Colectiv. A Romanian band is singing angrily – “Fuck all your wicked corruption. It’s been there since our inception” – before stopping abruptly to ask if anyone has a fire extinguisher. What appeared to be a striking firework display above the heads of the musicians turns out to be a fire, and within seconds flames have engulfed the building and teenagers are running for their lives.

It is a shocking sequence, but it is not the most disturbing element of an extraordinary documentary that reveals a staggering degree of corruption running through Romania’s health system. The fire left 27 dead and 180 injured, but in the weeks that followed another 37 people died from wounds that should not have been life-threatening, many killed by infections picked up in hospital.

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From Burna Boy to Beyoncé: how black culture is embracing its African roots – video

In recent years, Africans on the continent and in the diaspora have become leading voices in black culture – in music, film, fashion, social media, comedy and even our memes. When Grace Shutti was growing up, black culture usually referred to African Americans. But from Beyoncé's visual album, Black is King, to Marvel's Black Panther and musician Diddy executive producing the Nigerian pop star Burna Boy's album, the shift to embrace African art has been seismic. Grace investigates how this came about

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Katharine Hepburn’s 20 best films – ranked!

With the Hollywood legend’s classic romcom The Philadelphia Story turning 80 next month, here is our critic’s rundown of her finest performances

Katharine Hepburn is exactly the kind of star who should be in a Frank Capra picture. This presidential election drama was a great talking point in its day – not least because it daringly made mention of real-life contenders of the time such as Thomas Dewey and Robert Taft. Hepburn plays Mary Matthews, the estranged wife of an industrial tycoon (Spencer Tracy) who is running for office on the Republican ticket, a campaign secretly bankrolled by his wealthy mistress (Angela Lansbury). Mary agrees to return to his side because of his manifest idealism, but wobbles as he appears to get slowly sucked in to the cynical political world.

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Wild Mountain Thyme trailer blamed for Irish accent emergency

Storm of paddywhackery cliches in promo for Hollywood film stuns critics – and even the leprechaun museum

A trailer is all that Ireland has seen of Hollywood’s latest romantic comedy, but that has been enough to declare an Irish accent emergency.

Wild Mountain Thyme stars Emily Blunt and Jamie Dornan as star-crossed lovers – and farmers – on an emerald isle posing as Ireland.

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‘She made music jump into 3D’: Wendy Carlos, the reclusive synth genius

She went platinum by plugging Bach into 20th-century machines, and was soon working with Stanley Kubrick. But prejudice around her gender transition pushed Wendy Carlos out of sight

This summer, an 80-year-old synthesiser pioneer suddenly appeared online. She had been silent for 11 years, but now something had appeared that she just wouldn’t tolerate. “Please be aware there’s a purported ‘biography’ on me just released,” wrote Wendy Carlos on the homepage of her 16-bit-friendly website, a Siamese cat and a synthesiser behind her portrait. “No one ever interviewed me [for it], nor anyone I know,” she went on. “Aren’t there new, more interesting targets?”

Given that Carlos is arguably the most important living figure in the history of electronic music, it’s remarkable that Amanda Sewell’s Wendy Carlos: A Biography is the first book about her. This is the musician who pushed Robert Moog to perfect his first analogue synthesiser, from which pop, prog, electronica and film music flourished. Her smash-hit 1968 album Switched-On Bach made the Moog internationally famous and became the second classical album ever to go platinum in the US. Then came her extraordinary soundtracks for A Clockwork Orange, The Shining and Tron. She made an ambient album five years before Brian Eno did, and jumped from analogue machines to do leading work in digital synthesis, but worried that her status as one of the first visible transgender artists in the US would overshadow it.

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The show the military couldn’t stop: Luca Guadagnino on We Are Who We Are

His new TV series about wild goings-on at an army base near Venice horrified the US Department of Defense. Did it also cost him his relationship? The Call Me By Your Name director reveals all

Lockdown was a nightmare for Luca Guadagnino. His dad died, his partner left and his myriad film projects had to be put in mothballs. As soon as restrictions were lifted, he jumped in his car and drove south from Milan, along empty motorways, right through the May night. He realises now he was in search of home.

Guadagnino, true to form, immortalised the trip on his iPhone and the resulting film is a lovely thing: part travelogue, part elegy, rattling around the director’s old village in Sicily. At one point Guadagnino stands outside his former house and inhales the smells from the open window – humidity, old grapes – like Proust with his madeleine. He wonders what kind of world the pandemic has left behind. He asks friends and colleagues for advice and support. “For a forest to stay healthy,” one tells him, “it has to periodically burn down.”

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Stanley Kubrick and Kirk Douglas wanted Doctor Zhivago movie rights

Director wrote to Boris Pasternak in late 1950s, previously unpublished material reveals

It is one of the greatest British films of all time, directed in 1965 by David Lean with an A-list cast that included Julie Christie, Omar Sharif and Alec Guinness. But the epic adaptation of Doctor Zhivago, Boris Pasternak’s classic love story set against the Russian revolution, might never have happened if a planned US production had got there first.

James Fenwick, a British film historian, has discovered that two of cinema’s most revered film-makers – Hollywood star Kirk Douglas and director Stanley Kubrick – had tried in vain to acquire the movie rights earlier, in the late 1950s.

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Gabriel Byrne: ‘It’s an obscenity to tell innocent children they’re going to hell’

The actor’s autobiography confronts the abuse he experienced at the hands of the church. But he has just as much contempt for Hollywood – and US presidents from Obama to Trump

Forget the pollsters. If you wanted to know the outcome of last week’s US election, you just had to ask Gabriel Byrne. I did, a month ago. I wish I had gone to the bookies.

Byrne was in London on the way back to his farm in Maine, where he lives with his wife and three-year-old daughter. It’ll be wafer thin, he said, Biden’s margin is miles slimmer than anyone predicts. He called it in 2016, too.

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Johnny Depp says he has been asked to resign from Fantastic Beasts franchise

Actor has announced he will be exiting the Harry Potter prequel series after losing his libel case over allegations of assault towards ex-wife Amber Heard

Johnny Depp is set to exit the Fantastic Beasts franchise after being asked to resign by Warner Bros.

The actor announced the decision in a statement on Instagram, one that comes just days after he lost his libel case against the Sun over claims he abused his ex-wife Amber Heard.

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