Cinema

The offbeat thriller has won six BAFTAs, including best film and best director for Paul Thomas Anderson.

The dark comedy One Battle After Another has swept the United Kingdom’s top film honours, picking up six BAFTA awards, including best film and best director for Paul Thomas Anderson.

The film beat the Shakespearean family tragedy Hamnet, and the vampire thriller Sinners, to take the top prizes at Sunday evening’s ceremony.

The UK prizes, officially called the EE BAFTA Film Awards, often provide hints about who will win at Hollywood’s Academy Awards, held this year on March 15.

One Battle After Another, an explosive film about a group of revolutionaries in chaotic conflict with the state, won awards for directing, adapted screenplay, cinematography, and editing, as well as for Sean Penn’s supporting performance as an obsessed military officer.

“This is very overwhelming and wonderful,” Anderson said as he accepted the directing prize. “We have a line from Nina Simone that we used in our film: ‘I know what freedom is: It’s no fear’,” the director said. “Let’s keep making things without fear. It’s a good idea.”

Sinners, which has a record 16 Oscar nods, won best original screenplay for writer and director Ryan Coogler, best supporting actress for Wunmi Mosaku, and best original score.

The gothic horror story Frankenstein won three awards each, while Hamnet won two, including best British film.

The documentary about Israel’s genocidal war on Gaza, The Voice of Hind Rajab, was among the top contenders for BAFTA’s best director and non-English language film categories. But the film Sentimental Value won in the non-English language category.

The biggest surprise of the night was Robert Aramayo winning the best actor category for his performance in I Swear, a fact-based British indie drama about a campaigner for people with Tourette syndrome.

The 33-year-old British actor beat Timothee Chalamet, Leonardo DiCaprio, Michael B Jordan, Ethan Hawke and Jesse Plemons for the honour.

“I absolutely can’t believe this,” he said. “Everyone in this category blows me away.”

Jessie Buckley won best actress for playing Agnes, the wife of William Shakespeare, in Hamnet, based on the novel by Maggie O’Farrell and directed by previous Oscar winner Chloe Zhao.

The best documentary prize went to Mr Nobody Against Putin, about a Russian teacher who documented the propaganda imposed on Russian schools after Moscow’s invasion of Ukraine.

The film’s American director, David Borenstein, said that teacher Pavel Talankin had shown that “whether it’s in Russia or the streets of Minneapolis, we always face a moral choice”, referring to the protests against US immigration enforcement in Minnesota.

“We need more Mr Nobodies,” he said.

It beat documentaries including Mstyslav Chernov’s harrowing Ukraine war portrait, 2000 Meters to Andriivka, co-produced by The Associated Press and Frontline PBS.

The guests of honour at the awards were Prince William and Princess Kate. The event, hosted by Alan Cumming, was the first joint engagement for the pair since William’s uncle, Andrew Mountbatten-Windsor, was arrested on Thursday.

William, the president of the film academy, presented the BAFTA Fellowship to Donna Langley, studio head at NBC Universal.

Paul Fischer showed “Jaws” to his daughter when she was 10. She wasn’t scared. In fact, she loved it so much that she dressed as Richard Dreyfuss’ Hooper for Halloween. To Fischer, who watched “Raiders of the Lost Ark” at age 4 (“I remember the melting heads but I don’t think I was traumatized”), it shows the staying power of some of the ’70s blockbusters.

“It’s the flip side of how these franchises became so massive and had such a long tail,” he said in a recent video call with The Times, discussing how each generation still finds “Star Wars,” “Raiders,” “E.T.,” “Jaws” and “The Godfather.” “They’ve created films that endured and that overshadow others.”

That is part of the impetus behind his new book, “The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema.” The book, Fischer’s third about film history, starts before the trio were “big mythical names” and instead were just a bunch of guys setting out to fulfill their dreams.

The narrative then follows their journeys from the late ’60s through the early ’80s, filling in the “ecosystem” the trio came up in and how they wanted to change the system to gain creative autonomy. Spielberg worked within the system, Coppola spent lavishly and even ostentatiously to build his own studio and Lucas found his independence through a quieter, more conservative and technology-driven route.

(Martin Scorsese, who was friends with the three and “the most interesting human being of that generation of filmmakers,” gets plenty of ink but was not a titular character, Fischer said, because he remained an outsider who just wanted to make movies, not change the system.)

“I’m not going to pretend I can tell you what was going on in their heads but I tried to make people feel like they were there when it happened,” Fischer said.

While none of the three men would be interviewed, Fischer had decades of quotes and conducted his own interviews with hundreds of people in the filmmakers’ orbits to get a fuller and more honest story. (He added that their representatives were uniformly helpful with fact-checking and providing photos. “There was never a door closed on me,” he said in an accidental reference to the final scene of “The Godfather.”)

Coppola, “who changed quite a bit, was the hardest one for me to pin down,” Fischer said. “There are layers of complexity to him and his willingness to treat the creative life as if it’s an experiment.” Blending that with his self-indulgent philandering and spending of money, he added, “you can change your mind about that guy every five minutes.”

During that era at least, Fischer said Lucas and Coppola seemed ”completely devoid of any self-awareness.” He chronicles how Coppola pressured Lucas to accept changes to his first feature, “THX 1138,” so the studio would release it while Lucas viewed that as Coppola pushing him to sell out. Meanwhile, Lucas was pushing Coppola to do a studio film for hire to keep his fledgling Zoetrope Studio afloat, making Coppola feel pressured to sell out. (That movie was “The Godfather,” so it worked out OK for Coppola.)

“They keep giving each other advice about how to do things and then betray that same advice when it applies themselves,” he said, although he added that he doesn’t “whip them for 300 pages for having giant egos,” and said it’s part of the recipe to be a visionary filmmaker, especially in the Hollywood studio system.

Ultimately, the book depicts Lucas as more of a sellout, acting like the studio suits he once detested as he pressures “The Empire Strikes Back” director Irvin Kershner to make changes, often based on budget and then focusing more on profitability as he conjured up characters like the Ewoks for “Return of the Jedi.” Fischer doesn’t believe Lucas would recognize that version of himself in the book. “He’s someone who lost his BS detector and has drunk his own Kool-Aid.”

In Fischer’s telling, the creative and business sides are interwoven and inseparable from each other and from the personal relationships — their friendships and rivalries with each other but also their relationships with those who worked for them or loved them.

“They were all able to do what they did because of wives or partners or friends or college classmates, who did a lot of the work without being household names,” he said. To fully tell the story, he devotes plenty of narrative space to Coppola’s wife Eleanor, and his most prominent mistress, Melissa Mathison, who later wrote “E.T.,” producer Kathleen Kennedy, who co-founded Amblin Entertainment with Spielberg, and Lucas’ wife, Marcia, who edited the first “Star Wars” trilogy (and Scorsese’s “Taxi Driver”).

“How did these guys break through? Well, they were middle-class white dudes and these women looked after some of this stuff they couldn’t,” Fischer said. “Those aren’t the only reasons these guys became who they did but without that, they probably [wouldn’t have].”

Fischer celebrates the three men’s vision and talents — he calls “The Godfather” “a perfect film” and says Spielberg “speaks the language of a camera better than anybody else”— but the book makes clear how often they got lucky or were saved from themselves.

If Coppola had spent his money more judiciously, he might not have done “The Godfather;” Lucas resisted hiring Harrison Ford to play Han Solo as well as Ford’s creative contributions; and if someone had bankrolled the first feature film Spielberg pitched before latching onto “Jaws” — “a sex comedy San Francisco Chinese laundry riff on Snow White” — it could have sunk his career.

Additionally, Lucas and Coppola’s friendship frayed when the latter snatched back the directing gig for a film he had long ago promised to his buddy. “But imagine George Lucas making some weird low-budget, ‘Battle of Algiers’ version of ‘Apocalypse Now’ in the back streets of Sacramento,” Fischer said. “That sounds pretty crappy. And we would have lost one of the great, novelistic experiential movies that we have.”

Lucas, meanwhile, dangled his idea for “Raiders of the Lost Ark” before Spielberg’s eyes, then told him that Philip Kaufman had dibs. “He’s a fine director but we would have lost something there too,” Fischer said. “There are these crossroads there but still there has got to be something special about these three or they couldn’t have had repeated successes like they did.”

Writing about their failures, foibles and frustrations did not lessen the hold that these three men and their movie magic have on Fischer. He recounts a story of his own connection to one film with undisguised delight and enthusiasm. After graduating film school at USC, he was producing a documentary (“Radioman”) in New York when he learned that “Indiana Jones and the Kingdom of the Crystal Skull” was doing some filming in Connecticut. “Obsessed,” he finagled his way onto the set and into a job. “All I did was turn off the air conditioning,” he said. “‘Roll camera,’ I flip it off. ‘Cut,’ I turn it on. I did that for four days. But when Harrison Ford walked by wearing that jacket, I was 5-years-old again. That was cool.”

Miller is a freelance writer in Brooklyn who frequently writes about movies.

The legendary US actor was nominated for seven Oscars and won for his role as a washed-up country singer in Tender Mercies.

Oscar-winning actor Robert Duvall, best known for his work in The Godfather and Apocalypse Now, has died aged 95, his wife has announced in a Facebook post.

“For each of his many roles, Bob gave everything to his characters and to the truth of the human spirit they represented,” Luciana Duvall said in a statement on Monday.

Duvall was best known for playing forceful roles such as his depiction of Tom Hagen, consigliere to the Corleone Mafia family in The Godfather.

He also played Lieutenant Colonel Bull Meechum in The Great Santini and the title character in Stalin, as well as broken-down and fallen characters in Tender Mercies and The Apostle.

Duvall, the son of a US Navy admiral and an amateur actress, grew up in Annapolis, Maryland in the United States. After graduating from Principia College in Illinois and serving in the US Army, he moved to New York City, where he roomed with Dustin Hoffman and befriended Gene Hackman when the three were struggling acting students.

After working on a variety of television shows, Duvall made a strong impression in his first forays onto the big screen, such as his first movie part as the mysterious recluse Boo Radley in To Kill a Mockingbird.

Duvall got the part at the suggestion of the film’s screenwriter, Horton Foote, who had liked Duvall’s work in one of his plays. Foote later wrote Tender Mercies, a 1983 film for which Duvall won the Academy Award for best actor as a washed-up country singer.

Duvall was nominated for another six Oscars, including for his work in Frances Ford Coppola’s 1979 Vietnam epic Apocalypse Now. Duvall played the off-kilter, surfing-obsessed Lieutenant Colonel Bill Kilgore.

The character’s famous line, “I love the smell of napalm in the morning”, became legendary.

In all, Duvall appeared in almost 100 movies. And when he grew weary of Hollywood, he made his own films. He wrote, directed and won an Oscar acting nomination for The Apostle, the story of a conflicted preacher.

Duvall did the same with Assassination Tango, a movie that allowed him to exhibit his passion for the tango and Argentina, where he met his fourth wife, Luciana Pedraza.

In later life, Duvall split his time between Los Angeles, Argentina and a farm in Virginia, where he converted the barn into a tango dance hall.