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Elvis: Tom Hanks opens up about his movies: From the ‘hooey’ to the ‘genuinely good’ | Culture

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At the 2020 Golden Globes, actor Tom Hanks joked with the press about how he always plays the good guy in movies. “My current plan is, I’m about to go to Australia to work with Baz Luhrmann,” he said, in reference to the Australian director who had cast him in an Elvis Presley biopic. “The plan is, I’m playing Colonel Tom Parker, and silence all your stupid questions about why will I never play a bad guy.”

Two years later, ahead of Elvis’s theatrical release, Hanks confessed that Colonel Tom Parker is not all bad. “All you can say is that he’s wrong, not evil,” he said in an interview with The New York Times. It could be said that even when Tom Hanks plays the role of a manipulator, he brings out the most human side of the character, so that even a greedy talent manager can be relatable.

It’s what he’s been doing for most of his career. Compared to chameleon actors, he is an old-fashioned star, one of those celebrities where character and performer are indistinguishable. Hanks has often been compared to James Stewart, an actor who played the trusty neighbor who everyone could identify with. Both Hanks and Stewart represent the common man, the average citizen at his most idealistic and positive. The viewer identifies with them, they aspire to be like them.

In more cynical times, this squeaky-clean image is seen with a certain condescension. While their patriotism and nostalgia are viewed as reactionary and conservative. Being the ideal son-in-law and the perfect father seems less interesting than being an antihero.

But in times of moral crisis, the archetypes of “the good guy” and “the bad guy” have been subverted. Bill Cosby, the father of America, turned out to be a monster; Kevin Spacey, the character actor, a satyr. But Tom Hanks has a bombproof public image. There are no complaints about “inappropriate behavior” on set, no disgruntled colleagues criticizing him, no economic or moral scandals. He has been married to director Rita Wilson since 1988 and there has been nothing scandalous about their marriage beyond the fact that one of their four children is a little prone to conflict. It would seem that Hanks is, despite everything, just what he seems: a decent guy, a great actor who knows how to be humble and is self-deprecating at a time when honesty and integrity are not only desirable but subversive.

Tom Hanks in 1980 promotional photo for 'Bosom Buddies.'
Tom Hanks in 1980 promotional photo for ‘Bosom Buddies.’Walt Disney Television Photo Archives (ABC)

This career of milestones was built and defined little by little. Hanks started acting when he was very young and had not mastered the art, very much in the style of 1980s cinema. Today he is a flawless but realistic hero. Let’s review Tom Hanks’ career through some of his most iconic films and through his own words.

Bachelor Party (1984)

With a humility rarely seen in Hollywood, Hanks acknowledged that his first big hits would have been just as successful without him. “I can’t take credit for the success of Splash and Bachelor Party’s being hits, other than having been in the right place at the right time and having got the job,” he said in an interview in Playboy in 1989.

Big (1988)

Penny Marshall’s film about a 13-year-old boy who suddenly asks to become an adult and succeeds was his first critical and commercial success, it landed him his first Oscar nomination and confirmed him as a box-office star capable of leading ambitious projects (Harrison Ford and Robert De Niro had been considered for the part). At the time, he explained its appeal: “It’s a genuinely good movie that I think is really honest and touches the consciousness.”

The Bonfire of the Vanities (1990)

For the film adaptation of Tom Wolfe’s novel, Hanks’ character in The Bonfire of the Vanities was turned into a nice guy. The result was a fascinating fiasco that is still discussed in podcasts today. Hanks was not shy to criticize the film, or his role in it: “It’s one of the crappiest movies ever made!” he told Oprah Winfrey. “I was going contrary to everything about the character and even the screenplay, but I kept telling myself, ‘No, no, no – there’s a way I can get into this.’”

Tom Hanks promoting 'Philadelphia' at the Berlin Film Festival.
Tom Hanks promoting ‘Philadelphia’ at the Berlin Film Festival.Ronald Siemoneit (Sygma via Getty Images)

Philadelphia (1993)

Hanks got his first Oscar for playing a lawyer who was fired for having AIDS at a time when the disease carried tremendous social stigma. In the documentary The Celluloid Closet (1995), Tom Hanks spoke about the impact of the film on the perception of the disease: “My screen persona is pretty non-threatening,” he explained. “And because of that, this idea of a gay man with AIDS was not scary […] partly because little Tommy Hanks is playing the role.” However, he recently told The New York Times that he wouldn’t take the same role today. “Could a straight man do what I did in Philadelphia now? No, and rightly so,” he told The New York Times. “The whole point of Philadelphia was don’t be afraid. One of the reasons people weren’t afraid of that movie is that I was playing a gay man. We’re beyond that now, and I don’t think people would accept the inauthenticity of a straight guy playing a gay guy.”

Forrest Gump (1994)

Forrest Gump was one of the highest-grossing films of its year and won numerous awards at the Oscars (Hanks took home his second award for Best Actor). But the movie also had many detractors, with critics calling it overly sentimental and far inferior to Pulp Fiction, its main competitor at the Oscars. This is how Hanks addresses the debate: “The problem with Forrest Gump is it made a billion dollars. If we’d just made a successful movie, Bob [Zemeckis, the director] and I would have been geniuses. But because we made a wildly successful movie, we were diabolical geniuses.

“Is it a bad problem to have? No, but there are books of the greatest movies of all time, and Forrest Gump doesn’t appear because, oh, it’s this sappy nostalgia fest. Every year there’s an article that goes, ‘The Movie That Should Have Won Best Picture’ and it’s always Pulp Fiction,” he says, which he calls “a masterpiece without a doubt.”

Tom Hanks with the Oscar for Best Actor, which he won for his role in 'Forrest Gump.'
Tom Hanks with the Oscar for Best Actor, which he won for his role in ‘Forrest Gump.’Barry King (Getty Images)

That Thing You Do! (1996)

Hanks’ directorial debut came from a script he wrote while promoting Philadelphia and Forrest Gump. “I had talked about myself for a year straight so I started writing to maintain some sort of creative sanity,” he told Deadline magazine. Years later, when he was asked his opinion about the film, he replied: “I love it.” Even though it wasn’t as well-received as his other movies, he defines it as the best filming experience of his life.

Saving Private Ryan (1998)

In Spielberg’s epic World War II movie, the director himself seemed to be conflicted about putting Hanks in morally gray situations, but the actor could not be dissuaded. “Steven Spielberg said, ‘I don’t think I want to see [Hanks’ character] John Miller fire his gun and kill Germans.’ I told him: ‘I’m sorry, Steven. You’re not going to get me all the way over here and turn me into some other guy just because you don’t want Tom Hanks to kill soldiers.’”

You’ve Got Mail (1998)

Nora Ephron, Tom Hanks and Meg Ryan reunited after the success of Sleepless in Seattle (1993) in a new version of The Shop Around the Corner, a 1940 film starring James Stewart. The comparison between Hanks and Stewart was not lost on the actor. “But I decided to disregard that concern,“ he said in an interview with Entertainment Weekly. “I mean, you’ll never see me remake Mr. Smith Goes to Washington or It’s a Wonderful Life. But Shop Around the Corner is very different. This is a very young Jimmy Stewart. This is Jimmy Stewart before Jimmy Stewart was Jimmy Stewart.”

Tom Hanks at the Cannes Film Festival to present ‘The Da Vinci Code.’
Tom Hanks at the Cannes Film Festival to present ‘The Da Vinci Code.’Pool BENAINOUS/CATARINA/LEGRAND (Gamma-Rapho via Getty Images)

The Da Vinci Code (2006)

In the interview with The New York Times, Tom Hanks spoke honestly about The Da Vinci Code and its sequels Angels & Demons (2009) and Inferno (2016). “God, that was a commercial enterprise,” Hanks said. “Yeah, those Robert Langdon sequels are hooey. The Da Vinci Code was hooey.”

He continued: “Those are delightful scavenger hunts that are about as accurate to history as the James Bond movies are to espionage… All we were doing is promising a diversion.”

Hanks said that he has no problem with franchises, as long as they deliver at the box office. “There’s nothing wrong with good commerce, provided it is good commerce,” he said. “By the time we made the third [film, Inferno], we proved that it wasn’t such good commerce.”

“Let me tell you something else about The Da Vinci Code,” he added. “It was my 40th-something birthday. We were shooting in the Louvre at night. I changed my pants in front of the Mona Lisa! They brought me a birthday cake in the Grand Salon! Who gets to have that experience?”

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Egypt: Excavating the archives of the man who uncovered Tutankhamun’s tomb | Culture

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Howard Carter and an Egyptian worker remove a fragment of the deathbed from Tutankhamun’s tomb in February, 1923.
Howard Carter and an Egyptian worker remove a fragment of the deathbed from Tutankhamun’s tomb in February, 1923.Griffith Institute

It is rare to travel north in search of Tutankhamun. The young Pharaoh’s tomb is actually to the south, in Luxor, Egypt, as is his mummy, while the vast majority of artefacts buried with him – the famous “wonderful things” that include treasures such as the gold mask – have traditionally had their home at the Egyptian Museum in Cairo. But there is another treasure linked to Tutankhamun, less glittering but also fascinating, in the shape of the archives of the late Howard Carter, the archaeologist who discovered the tomb.

The documents compiled by Carter include maps and plans, detailed records of the thousands of artefacts – 5,300 to be exact, photographs, drawings, slides and both personal and excavation diaries, as well as other materials, such as private letters, telegrams and press clippings, all of which give the discovery context and are an exceptional source of information.

Donated to the center for Egyptology at Oxford University’s Griffith Institute by Carter’s favorite niece and heir, Phyllis Walker who died in 1977, the collection is now the subject of a timely exhibition at Oxford’s Bodleian Library, with additional material from other sources such as the Metropolitan Museum in New York.

Open until February 5, 2023, Tutankhamun: Excavating the Archive, invites visitors to “see beyond” the golden treasures of the young Pharaoh and explore the complexity of the discovery as it unfolded. A celebratory centenary exhibition, it recalls the moment on November 26, 1922, when Carter and his sponsor Lord Carnarvon looked into the tomb for the first time, breaking a seal that had held for over 3,000 years and beginning the excavation of the only untouched ancient Egyptian royal burial site to be found in the Valley of the Kings.

The exhibition features Carter’s first written mention of the find in one of the Lett’s Indian and Colonial Rough Diary pocket notebooks he used to record his activities during the eight months he spent each year in Egypt: “First steps of tomb found,” he scrawled in pencil, conveying irrepressible enthusiasm. The entry takes up the entire page for Saturday, November 4, 1922. It was the fourth day into the last sponsored excavation, as Lord Carnarvon had finally decided to stop paying for the concessionary rights to the Valley of the Kings.

The exhibition goes into the details of the sensational find and how it developed for better and worse, with recognition of the fact that Carter and Carnarvon lied in order to smuggle several small objects out of Egypt. It also explains how the discovery coincided with the proclamation of Egypt’s independence from Britain and the change in the country’s policy regarding its antiquities; and it mentions the infamous “curse” associated with the tomb. Significantly, it acknowledges the shortcomings of European colonial archaeology during that era and hails the essential role of the overlooked Egyptian professionals and laborers in the investigation.

The Egyptians, including many child laborers, appear in numerous photos of the excavation without being identified, reducing them to little more than exotic extras. They were rarely mentioned, and their role was underestimated in official reports. Now, archival research “is making it possible to restore the Egyptians’ role in the excavations,” and to “address the error.”

Donkeys instead of cabs

The exhibition also flags up the neglected role of the women who participated in the venture, such as Minnie, the wife of photographer Harry Burton, author of the famous photos of the excavation, who helped her husband and kept a personal diary that is a valuable source of information. In one passage, she recalls the excitement of visiting the tomb while it was being emptied and how Carter sent a donkey to fetch her home like someone might send a cab.

Carter’s drawing of fragments of carts from Tutankhamun’s tomb.
Carter’s drawing of fragments of carts from Tutankhamun’s tomb. Griffith Institute

Coming to Oxford with the sole purpose of seeking out Tutankhamun lends the city an incongruous air of Egypt, even if arriving by bus rather than donkey. The kites spotted en route over the English countryside bring to mind the birds that fly over the pristine skies of Luxor, which are represented in pharaonic temples and tombs as divine creatures. These same birds are also present in Carter’s paintings, such as the 1895 watercolor of a falcon in the chapel of Anubis in the temple of Hatshepsut at Deir el-Bahari. Carter was an excellent draughtsman who came to archaeology precisely because of his artistic ability.

Tutankhamun’s sarcophagus.
Tutankhamun’s sarcophagus.AMR NABIL (AFP)

The Bodleian exhibition occupies the treasury room of the library and is small, like Tutankhamun’s tomb, but equally full of documentary wealth, though it requires immersion and the determination of an archaeologist to extract the information from the 20-odd showcases fittingly shrouded in gloom and mystery.

In a preamble, data is given on the reign of the young Pharaoh. For example, it is emphasized that his death was unexpected, and his burial consequently improvised, which explains many of its unusual characteristics. It is also mentions that the tomb remained substantially intact despite being visited by thieves shortly after first being sealed – they did not gain access to the mummy and the tomb was again rearranged and resealed so that what Carter encountered was virtually untouched. While it is written on a vaulting that the body of Tutankhamun is still in the sarcophagus, it was, in fact, removed from the stone coffin years ago and is exhibited in the same enclosure, but in a modern heated urn installed in the antechamber.

Obsession with the tomb

The tour begins with the climax of the discovery noted in Carter’s diary, before delving into the background of the discoverer himself, who was a complex personality who never married and had no children. A photo shows him at the age of 19, the same age as Tutankhamun when he died. An 1892 letter from the great Egyptologist Flinders Petrie, who took him to Egypt, offers this insight: “His interest is in painting and natural history (…) He is of no use to me as an excavator.”

There is then a space dedicated to “the long search” – a period that began after a proclamation in 1913 by excavation sponsor Theodore Davis that the Valley is exhausted; enter Carnarvon, who hired Carter, as he was obsessed with the idea that there was still a tomb to be found. It is thrilling to actually see a map drawn by Carter’s own hand with the excavations between 1917 and 1922, when the tomb was not yet located, lying concealed beneath the remains of the ancient workers’ huts from the neighboring tomb of Ramses VI. And then, the great moment of the discovery and the first actual foray into the tomb, around four o’clock in the afternoon on November 26, by Carter, Carnarvon, his daughter and several others.

A page from Carter’s excavation diary contains the account of that Great Moment in his own handwriting. The hole in the door, the candle inserted, and Carnarvon asking: “Can you see anything?” The answer, Carter noted, was not the famous “yes, wonderful things” which he later claimed in subsequent records, but the less dramatic “yes, it’s wonderful.”

It was the beginning of an amazing scientific adventure that would last until December 1932, the 10 years it took to empty the tomb. Carnarvon died on April 5, 1923, without seeing the opening of the sarcophagus and the mummy of Tutankhamun, which was not examined until November 11, 1925. A letter from Carter to Egyptologist Alan Gardiner describes some of the emblematic artefacts observed in the antechamber: carts, beds with strange animal shapes, two life-size figures of guardians… “So far, it is Tutankhamun,” he writes.

Three Egyptian workers dismantle the wall between the antechamber and the burial chamber in Tutankhamun’s tomb.
Three Egyptian workers dismantle the wall between the antechamber and the burial chamber in Tutankhamun’s tomb. HARRY BURTON

Burton’s photos displayed in the exhibition are “the most famous archaeological images ever taken,” and these, together with the drawings of the different rooms of the tomb and the artefacts as they were discovered transport us to the key moments of the discovery. The exhibition also explains the conservation challenges faced by the archaeologists and the solutions they came up with to preserve the objects. Then there is documentation of the complex system of rails used to transport the tomb’s contents in wagons to the river to be shipped to the museum.

Particularly moving is a large portrait of an anonymous Egyptian boy photographed in 1927 by Burton wearing one of Tutankhamun’s necklaces, demonstrating how it would have been worn. Years later, Hussein Abd el Rasul, a member of the local Qurna family, identified himself as the sitter. The exhibition points out that “many stories have been told about the image and who the boy was and his role in the excavation.”

A group of Egyptian schoolchildren stopped in front of the photo the other day listening very attentively to the explanations of their teachers. Despite the lack of recognition for the Egyptians who worked on the tomb’s excavation, some names have nevertheless been salvaged thanks to the gratitude Carter expressed in his writings, such as the name of the foreman, Ahmed Gerigar and his colleagues Gad Hassan, Hussein Abu Awad and Hussein Ahmed Said.

Drawing by Carter of the artefacts located in the antechamber of Tutankhamun’s tomb.
Drawing by Carter of the artefacts located in the antechamber of Tutankhamun’s tomb.Griffith Institute

Besides criticizing the patronizing attitude toward the Egyptians involved in the excavation, the exhibition flags up the pursuit of profit, especially Lord Carnarvon’s. It suggests that the origin of the famous curse on those tampering with the tomb mentioned in a delightful yellowed telegram in 1923 to “Carter Tutankhamun Thebes” from Dublin warning that if trouble continues he must reseal the tomb, was partly revenge by certain media angered by the aristocratic Carnarvon’s exclusive contract with The Times.

Curses and criticism aside, public excitement at the find was such during the 1920s that it inspired a boardgame and a rash of songs. Meanwhile, the archive, which continues to be enriched and has been digitized for open access (www.griffith.ox.ac.uk), is invaluable to the study of the tomb’s material, a work that Carter left unfinished.

For those whose appetite for “wonderful things” is not yet sated, the Ashmolean Museum close by houses an extraordinary collection of Egyptian antiquities, such as the large statues of the god of fertility Min who appears excited at the sight of a sensual bust of Antinous, Hadrian’s lover who drowned in the Nile; an impressive stone head of a crocodile; the precious coffins and the mummy of the Theban priest Djed-djehuty-iuef-ankh and the Amarna pieces, which are closely linked to Tutankhamun as they represent his family, Akhenaten, Nefertiti and the princesses, as well as to people and places he saw during his lifetime. The ostraca collection compiled by Gardiner, who collaborated with Carter, is also on display there.

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Hollywood: They have it all, and take it on the road, too: These are the luxury RVs of the stars | Culture

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RVs have long been considered a fairly modest means of travel, an option that combines transportation and accommodation and that allows you to enjoy a more affordable vacation – bearing in mind that the comforts that they offer have little or nothing to do with those of a five-star hotel. However, this image has evolved in recent years, and the alternative of touring the world with your house in tow is gaining more and more followers, including some movie and music stars. Some use them for tourism and others to move between cities while they promote something or as a dressing room during shootings or tours, but they all have a few things in common: their enormous dimensions, their luxurious amenities and their million-dollar price tags.

At the beginning of July, all the details of Dolly Parton’s mansion on wheels were released. More than an RV, this one is a bus. Dubbed Suite 1986, it is 45 feet long and Dolly has traveled more than 300,000 miles and visited more than 60 American cities in it. It houses all kinds of luxuries and personal belongings of the country music star — a display case for her wigs, a wide bed with pink velvet sheets, or a Parisian-inspired dressing table, among other things — and it is available to rent from $10,000, with a two night minimum stay. The Dollybus is part of the hotel complexes offered under the Dollywood label, the universe created in her image and likeness, which also includes a theme park inspired by Disney’s Hollywood Studios in Florida, numerous hotels and spas and a water park.

Another celebrity who likes to have a traveling home is Jennifer Lopez. The Bronx Diva owns a 1,200-square-feet trailer that is valued at $2 million and, like Parton’s, is also available to rent, for between $400 and $850 a night, when the singer is not using it. Its name is Baby Girl and, judging by the pictures, it has it all: in two spacious floors you can find amenities like a huge leather sofa, furniture made from materials like granite or marble, and all kinds of image and audio technologies, including everything from large TVs to state-of-the-art audio setups. An exclusive design by Anderson Mobile Estates, an American company specializing in this type of high-end vehicle, completely customizable to the customer’s taste.

The same company built Will Smith’s RV, known as The Heat, which the actor purchased in 2000 to use while filming. It is 55 feet long, has two floors and it is valued at 2.5 million dollars. It includes a projection room with a 100-inch screen and

capacity for thirty people, an ample lounge, a bathroom with sauna, first-rate materials like granite and leather, and technological devices everywhere.

Leonardo DiCaprio’s RV does not fall far behind: it is 52 feet long, with four modules that can be extended to further expand the space. Of course, it includes all the necessary amenities, with eccentric details like two fireplaces and a large recycled glass shower valued at more than $40,000.

Justin Bieber’s RV also has its fair share of eccentricities. In 2020, the Canadian singer purchased for $2.5 million a bus turned luxurious mansion that he takes on his tours and that he himself showed off in the American edition of GQ Magazine. Equipped to the last detail, it offers wonders such as underfloor heating, ceilings with LED lights, a steam shower, and an infrared sauna.

Other celebrities, after years of traveling with their house in tow, have decided to part with theirs. That is the case of Tom Hanks. The legendary actor auctioned off his RV last year: the trailer that was his home during the shooting of movies like Forrest Gump or Apollo 13 was sold for $235,200, an almost trivial figure when compared to those of his colleagues.

Among so much luxury on wheels, Chris Hemsworth’s RV is also surprising for its modest dimensions. It was made by the Australian company Lotus Trooper, and it is equipped for all kinds of terrain. Despite its limited size, it includes things like Italian leather sofas and a designer kitchen; with this vehicle, the actor who brings Thor to life in the Marvel Cinematic Universe likes to enjoy family getaways, as he himself has shown on his social media.

Whether it is to go on road trips or as a place to rest between concerts or shootings, it is clear that the biggest music and movie stars cannot resist the opportunity to take all the comforts of home anywhere they go, preferably in rolling eccentricities that reinvent a concept popularized in the 1960s by the hippie movement – and look more fit for a Transformers movie than for an actual highway.

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Writer Salman Rushdie attacked while giving a speech in New York | USA

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Indian-born writer Salman Rushdie was attacked on Friday while giving a lecture in Chautauqua County, a town of about 140,000 inhabitants in western New York state. The first images of the event that have been shared on social networks show Rushdie on the floor, being attended by attendees and emergency services.

New York state police announced in a press release that the writer suffered an apparent stab wound to the neck, and was transported by helicopter to an area hospital. His condition is not yet known. An Associated Press reporter witnessed a man storm the stage at the Chautauqua Institution and begin punching or stabbing Rushdie as he was being introduced. The 75-year-old author was pushed or fell to the floor, and the man was restrained. The assailant has been arrested.

Rushdie’s book The Satanic Verses has been banned in Iran since 1988, as many Muslims consider it blasphemous. A year later, on February 14, 1989, Iran’s late leader, Ayatollah Ruhollah Khomeini, issued a fatwa calling for Rushdie’s death. The theocratic Iranian regime also offered a reward of more than $3 million for anyone who killed the writer, who holds dual British and US citizenship.

Author Salman Rushdie in 2010.
Author Salman Rushdie in 2010.David Levenson (Getty Images)

Iran’s government had long since distanced itself from Khomeini’s decree, but anti-Rushdie sentiment has persisted. In 2012, a semi-official Iranian religious foundation raised the reward for Rushdie’s death from $2.8 million to $3.3 million.

Rushdie, an English-language writer and perennial contender for the Nobel Prize in Literature, downplayed that threat then and said there was “no evidence” that people were interested in the reward. That year, Rushdie published a memoir, Joseph Anton, about the fatwa.

The 75-year-old author achieved international fame with the novel Midnight’s Children, which was published in 1980 and won him the Booker Prize, the UK’s most prestigious literary prize, the following year. The book sparked controversy in India for allegedly derogatory remarks towards the then prime minister of the country, Indira Gandhi.

With an overflowing imagination, his style has been compared to the magical realism of Gabriel García Márquez and Carlos Fuentes, among others. He himself has recognized on numerous occasions his important links with Latin American literature. His latest book Quixote (2020) adapts Cervantes’ classic to the situation that the United States under the Donald Trump administration.

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