max cady

Alone and engulfed in the darkness of a Madrid cinema, Javier Bardem watched Martin Scorsese’s 1991 psychological thriller “Cape Fear” after learning he’d be starring in an episodic reimagining of the crime saga for Apple TV — the series finale is now streaming.

He arranged the private screening to symbolically request Robert De Niro’s blessing to play the dangerously charismatic Max Cady, an ex-con parched for revenge against those who had a hand in his imprisonment. De Niro received an Oscar nomination for that role.

“It was my way of honoring the work he did back then and, at the same time, to detach myself from that performance and ask his permission to create my own take,” Bardem tells me in Spanish while sitting at a restaurant inside a Beverly Hills hotel.

His informal getup, a T-shirt and shorts, contrasts with the elegant environment primed for business lunches and ostentatious dinners. He exudes an easy-going air. A quintessential cool dad casually sipping on an iced Diet Coke as he shares anecdotes about his passion for acting.

Bardem, 57, agreed to play Cady because the version of the character that the show’s creator, Nick Antosca, envisioned was not only decidedly distinct from those embodied by De Niro and Robert Mitchum, the latter of whom starred in a 1962 film adaptation, but also tailored to him as a Spanish man.

Had it been a standard remake, Bardem would have passed. Still, like the films, the show also “drinks from the fountain” of John D. MacDonald’s 1957 novel “The Executioners.” What remains intact across all versions of Cady is a devilish sense of humor and a lack of self-importance. In any of his iterations, he has nothing to lose. That makes him lethal.

In “Cape Fear,” Bardem’s Max Cady is distinct from the versions of the character played by Robert De Niro and Robert Mitchum in earlier films.

(Apple)

The cerebral Cady that Bardem inhabits spent nearly two decades in prison convicted for his wife’s murder. When the discovery of new evidence results in Cady’s freedom, his new mission is to torment Anna (Amy Adams) and Tom Bowden (Patrick Wilson), the attorney and prosecutor on his case, who are now married and have two teenaged children.

Cady turns their lives into a trap of paranoia and, indeed, fear, while procuring plausible deniability to avoid consequences. It’s a malicious and relentless barrage of the mind.

“He’s a 2026 Max Cady. It’s a different way of approaching violation of privacy, and the intrusion of the characters’ psyches. The digital world has made everything very different now,” he explains. “We are hyper-aware of what is said and written about us. We are inundated with so much information that, at times, we can’t tell what is true and what is false.”

While in the 1991 film the audience is aware that De Niro’s Cady committed sexual crimes making him “an absolutely despicable character,” Bardem says this new version portrays a complex person who’s suffered at the hands of the American justice system.

“Here we understand that he was imprisoned for something he didn’t do. He may have done other things, but he says, ‘You turned me into this monster.’ It’s true. From that point on, a vengeful and destructive mindset developed,” Bardem says of his Cady.

The final episode shows the public unmasking of Cady, just before he learns he is responsible for his own son’s death. Bardem describes him as a “dying beast” who has lost control of the narrative that he so meticulously orchestrated to rebuild his image.

The character was written to account for the actor’s Spanish accent. This Cady grew up in Spain until he moved to North Carolina at 13 and learned English on the streets. Bardem worked with renowned dialect coach Tim Monich to infuse his speech with a hint of a Southern drawl, aware that his character didn’t have to sound like a native speaker.

“I’m not bilingual,” Bardem says. The statement is somewhat shocking, considering he’s worked in the U.S. for decades in numerous English-language productions.

“Acting in English is easier for me because the dialogue is set,” he says. “But when the time comes to improvise, I find it difficult. That still doesn’t come naturally to me in English.”

The Spanish actor says acting in English is easier for him but that improvising is more challenging.

(Erik Carter / For The Times)

There’s a freedom to working in English since words have less emotional significance, the Oscar-winner believes. “I can be more daring in English. I can say the words or verbalize the thoughts with much less inhibition, because I am not as emotionally attached,” he explains. “But when you speak in your mother tongue, your body tenses up a bit because you think, ‘I understand the full emotional spectrum of what I’m talking about.’ ”

At this stage in his lauded career, Bardem is interested only in roles that explore “contradictions with an underlying humanity.” He’s played one-dimensional parts in the past, but the cost of being away from his loved ones is too high.

The job has to measure up to the trade-off of precious time he’s surrendering.

The “Cape Fear” production structured the schedule for Bardem to work for two weeks followed by five or six days off, allowing him to travel back to his family, which includes his famous and just as in-demand wife, Penélope Cruz, and their two teenaged children, Leo, 15, and Luna, 13.

“Cape Fear” filmed in Atlanta and Savannah, Ga. That’s a long trip back to Spain but manageable and certainly worthwhile, he says. “One of the few things I ask for contractually is time with family, and that has always been respected; Penélope and I have always managed our projects in such a way that one of us is always present for our kids.”

Thanks to his award-winning turn as an unnerving killer in “No Country for Old Man” and the dapper cyberterrorist in “Skyfall,” audiences might associate Bardem with sinister characters (his Cady joins the ranks). And they are satisfying to portray, he says.

“It’s true that characters with that kind of darkness are very attractive to play,” he says. “The villain is always more compelling than the hero. The hero is perfectly upright. A good villain has many cracks, which is what makes him more human.”

Bardem on playing sinister characters like Max Cady: “The villain is always more compelling than the hero. The hero is perfectly upright. A good villain has many cracks, which is what makes him more human.”

(Apple)

In recent years, however, Bardem made a deliberate effort to work on projects that his children could watch, particularly when they were younger, namely the fantasy musical “Lyle, Lyle, Crocodile” and the live-action remake of “The Little Mermaid,” in which he played King Triton.

“I needed my children to see what I do,” he says. “They knew I’d leave home for two weeks and then come back, and I’d tell them about it and show them photos, but they hadn’t been able to watch any of my movies yet because they were geared more toward adults.”

Cruz and Bardem have always encouraged their children’s creative pursuits. It wouldn’t surprise them if they eventually pursue a life in the arts. “I don’t see them becoming scientists or lawyers, which makes sense. I don’t know if they will become ‘nepo babies’ or not, but we are conscious that children always feed on what their parents do,” Bardem says.

Every time either Bardem or Cruz gets an offer for a new role, the couple discuss it and then bring their kids into the conversation. It’s important, Bardem believes, that Leo and Luna know how fulfilling acting is for both of their parents.

“They know we feel immense gratitude for being able to make a living from our passion. And they understand that the way we try to live up to that gift is by doing our absolute best and giving it the full attention it deserves,” he says.

When they were younger, the kids weren’t interested in seeing their parents on screen, but that’s changed. “They have seen ‘The Invite’ three times. They love it. And they’ve watched ‘Volver’ and ‘Bandidas,’” he says. “They’ve watched me in ‘F1,’ and Leo is watching ‘Cape Fear.’ ”

In June, Bardem became part of Hollywood history when his hands and footprints were added to the entrance of TCL Chinese Theatre. The ceremony included directors Michael Mann and Denis Villeneuve and producer Jerry Bruckheimer.

“I missed my mother so much at that moment because there are so many footprints of classic actors and actresses there. I imagine my mother seeing my hands and feet next to Gary Cooper, who was one of the loves of her life,” he says.

In June, Bardem’s hands and footprints were added to the entrance of TCL Chinese Theatre: “I missed my mother so much at that moment because there are so many footprints of classic actors and actresses there.”

(Erik Carter / For The Times)

It felt surreal, Bardem says, to have Mann present at the event. They worked together on “Collateral” over two decades ago. “I was crazy about ‘Miami Vice’ in the ’80s,” Bardem says. The suit he wore in the photo shoot for this piece, he adds, reminded him of that emblematic series and film.

Bardem’s latest collaboration with Villeneuve, “Dune: Part Three” hits theaters in December. He recalls the joy of shooting the film’s opening sequence, a battle where the cast was covered in mud. It reminded him of childhood play. “Denis would laugh and say to me, ‘But why are you laughing?’ And I’d say, ‘This is what I used to do in the schoolyard, but now it’s for real. Now I look to my right, and I have 50 guys under my command,’ ” he says.

“I was lucky enough to shoot some scenes with Timothée [Chalamet]. I saw him playing a Paul who is very different from the Paul in the second film,” Bardem continues. “Years have passed, and Paul is now wielding power and is a victim of that power.”

Outspoken about the ongoing plight of Palestinians, Bardem wishes more people could apply the lessons they mine from fiction they consume to the world in turmoil.

“We root for the rebels in ‘Star Wars’ and want them to defeat Darth Vader, or we side with the Fremen in ‘Dune.’ We always take sides in fiction. Yet, when we witness oppression, abuse and the violation of the most fundamental rights by an oppressor in real life, we seem to struggle to stand with the oppressed,” Bardem explains. “That cannot be.”

Even while attending matches at the recent World Cup, where Spain won the title, the actor advocated for an end to the carnage. A viral video shows him engaging with a Palestinian man at a match. “Existence is resistance,” Bardem tells him. On social media he’s shared images of Lamine Yamal, one of his national team’s stars, waving the Palestinian flag.

“The impunity Israel enjoys regarding these crimes, both legally and in terms of international support, creates a profound sense of powerlessness,” he says.

Bardem admits he’s been asked, whether directly or indirectly, to tone down his vocal support. But he doesn’t fear backlash. On the contrary, he’s never felt more support from everyday people who share his mindset.

“If I’m so privileged to have a good life where I work doing what I love and can provide my family with stability and security, how could I not use that privilege to denounce those things that I think are wrong?”

When Nick Antosca was a kid, he didn’t like having good dreams.

“With good dreams, I’d wake up and think, ‘Well, that didn’t happen’ and be disappointed,’” he recalled in a recent video interview. “But with a nightmare I’d wake up with my pulse racing and think, ‘I’m OK, I survived.’ I loved nightmares.”

Chasing that excitement and “healthy” catharsis in his daily life, Antosca has built a career on telling crime and horror stories: “Channel Zero,” “The Act,” “Brand New Cherry Flavor,” “Candy” and “A Friend of the Family.”

His newest project is a 10-episode remake of “Cape Fear” for Apple TV, starring Javier Bardem as Max Cady along with Amy Adams and Patrick Wilson as Anna and Tom Bowden.

“I think everything I’ve done is kind of a psychological horror story about the characters and their relationships,” he says, noting that this is true of the best horror tales like “Rosemary’s Baby,” “The Shining” and “Cape Fear.”

Antosca was a fan of both the original 1962 “Cape Fear” starring Robert Mitchum and Martin Scorsese’s 1991 remake starring Robert De Niro. But he felt it was time for a modern revision, a Southern Gothic fever dream that reflects the complexities of life today.

“The terror in ‘Cape Fear’ is about the destruction of the family,” he says. The story was originally about Cady, a rapist released from prison stalking Sam Bowden, who had interrupted his crime and testified against him. In Scorsese’s version, Bowden had been Cady’s defense attorney who, knowing Cady was guilty, had hidden evidence about the victim’s promiscuity to ensure a conviction and long sentence.

The original features “an all-American archetype of a virtuous family pitted against a monster,” while Scorsese depicted a “broken and dysfunctional family and the monster is even more extreme, he’s like a swamp creature.”

“The previous versions of ‘Cape Fear’ are pretty cut and dry,” Antosca says.

The Bowdens are portrayed by Amy Adams as Anna, Patrick Wilson as Tom and Lily Collias as daughter Natalie.

(Apple)

The new iteration features a sexting scandal, social media eruptions and drones — “there’s more ways to terrorize a family in 2026 and the world is scarier today than it was before” — but that’s not what makes it feel different.

“In our version the truth is more complicated, the past is more mysterious and both the family and the monster are more complicated,” he says. “The truth is murkier and that feels current.”

In this adaptation, Anna Bowden had been Cady’s defense attorney, and he’s no longer an illiterate rube but a successful restaurateur who was convicted of murdering his wife and unborn son. After the trial, Anna scandalously married Cady’s prosecutor Tom; he became stepfather to her newborn daughter Natalie (Lily Collias) and they later had a son Zack (Joe Anders).

“The foundation of their happiness is Max’s suffering,” he says, adding that while the crime was local in the previous versions, Cady’s conviction had been a national sensation in this one.

On the surface, the Bowdens are a perfect family, but cracks are rippling with increasing intensity just beneath, a fragility that will soon be exploited by Cady.

“In the first episodes, the family is permeable and a threat could be coming from anywhere,” he says. “Even if in your gut you think it’s Max Cady, it feels like it’s seeping into the family from all different directions.”

When Cady is suddenly exonerated and set free, he shows up to insinuate himself in the Bowdens’ life. Anna, ironically, works for a nonprofit that seeks to exonerate the wrongly convicted.

“All the versions ask, ‘What would you do to protect your family?’ but this also asks, ‘If an injustice was done to somebody, then what are they justified doing in return,’” he says. “I don’t want the audience rooting for Max, necessarily, but I want to trick them into having sympathy for somebody they didn’t expect to have sympathy for.”

To pull that off, “Cape Fear” needed a star as charismatic as Mitchum and De Niro.

Antosca always dreamed of Bardem as Cady: “When I’d pitch networks before there was a script, I’d say, ‘Picture Javier Bardem in this role.’” But this time, his dream came to vivid life.

The two developed the character together, everything from the explanation for Cady’s Spanish background to his exposure to Santería and prison and his “mutated version of the real religion” to the tattoos adorning Cady’s body to an early scene with a panther and the idea of the “psychological jungle,” which inspired Bardem to incorporate a panther’s physicality into his movement and his eyes.

Antosca always dreamed of Javier Bardem as Max Cady: “When I’d pitch networks before there was a script, I’d say, ‘Picture Javier Bardem in this role.’”

(Apple)

“Javier also asked questions about Max’s emotional history that was useful in shaping his character,” he says. “We wanted to show a little more authentic vulnerability, which we see very much in the previous versions intentionally.”

To make this series, Antosca first approached Scorsese and Steven Spielberg, who had initially developed the 1991 version. “They were incredibly generous and quite involved,” Antosca says. “They encouraged us to forge our own path.”

The one place they urged some fidelity to the past versions was in the score. “They said the Bernard Herrmann score is part of the DNA and feels like a character in both movies,” says Antosca, noting that Elmer Bernstein adapted the original in Scorsese’s version and Jeff Russo used the same starting point this time around.

Scorsese discussed episodes over FaceTime and Zoom, spending time dissecting a vicious fight scene while Antosca was editing it; shot in color but shown in black-and-white, the blood splattering may make you think of “Raging Bull,” but Antosca says the visceral violence was meant to call up “Casino’s” vise scene.

It may be nearly too much to handle, but Antosca is from New Orleans and says he found it easy to exploit the Southern Gothic sensibilities. “Everything is heightened in the Deep South and we were going for that energy, where something is adjacent to the real world but more saturated, sweatier, more feverish,” he says, noting that while the first episode is “cinematically pretty grounded and traditional, when the family gets shocked out of their comfort zone, things get a little crazy.”

That meant handheld cameras, flares, saturated colors, distortions, negative imagery and odd angles to reflect the growing sense of terror. Antosca promises that in the back half of the series, the show will get even wilder and more destabilizing.

“It just feels like there’s violence in the humidity in the South,” he says.

Subconsciously hearkening back to his childhood sleep experiences, he adds, “I wanted this story to feel like a nightmare that just keeps getting worse and worse and worse and worse.”

Cape Fear,” premiering Friday on Apple TV, is a 10-episode limited series remake of a 1991 Martin Scorsese remake of a 1962 film adapted from John D. MacDonald’s 1957 novel “The Executioners,” and as in a game of telephone each subsequent version adds new material and moves a little farther from the original. (The credits to the series, created by Nick Antosca, note all previous sources and screenwriters.) Thirty-four years having passed since the last go-round, we are treated to such modern advances as catfishing, drones, deep fakes, social media and pushy true-crime podcasters.

In each iteration, a family is menaced by a recently released ex-con who blames one or more of them for his incarceration. Antosca fills his extra-long take on the material with complications and inventions; though the series is also chock full of borrowings from and allusions to its predecessors — you can hardly call them Easter eggs, lying there as they do in plain sight. (And sound: Bernard Herrmann and Elmer Bernstein‘s earlier scores share space with Jeff Russo’s new one.)

In every version, the antagonist is a now-charming, now-menacing psychopath named Max Cady (Javier Bardem), memorably played by Robert Mitchum in 1962 and Robert De Niro in 1991. In the novel and movies, Cady was serving time for rape; here it’s for the murder of his wife and unborn child, when new evidence suddenly springs him from prison after 17 years. We are invited to suspect this evidence from the very beginning, though this suspicion will itself become suspect. “Or is it?” is a question you’ll be prompted to ask through the series.

The objects of Cady’s slow-boiling vengeance — seemingly — are married lawyers Tom (Patrick Wilson) and Anna Bowden (Amy Adams), sharing the position previously represented solely by Gregory Peck and Nick Nolte in turn. Anna, who had unsuccessfully represented Cady, ironically works for an Innocence Project-type nonprofit, whose chief, Noa Toussaint (CCH Pounder), is only too delighted to fundraise on the back of Cady’s celebrity. Cady, claiming no hard feelings, insinuates himself into their world, apparently friendly, apparently helpful, so that it’s not always clear what’s sincere and what’s strategy. Is he a wolf in sheep’s clothing, or just a creepy, sometimes violent sheep? (“Killed his wife, didn’t kill his wife,” a minor character will volunteer, “he’s an arrogant bastard either way.”)

There are now two Bowden children in the picture, doubling earlier versions. Natalie (Lily Collias), Anna’s daughter from a previous relationship, is a good girl looking to go just a little bad, who feels unseen by her busy parents. Sad, sullen younger half-brother Zach (Joe Anders), unrecovered from a social media misstep, is acting more strangely than teenage boys usually do.

This is a cat and mouse — or cats and mice — melodrama, with customized stock characters given dark secrets and backstory traumas less as explanation than complication. (Good, bad, whatever, everyone’s got issues.) Cady, who has a prison-acquired brain injury — cue flashback, in black and white, naturally — suffers from headaches and hallucinations, reacting painfully to flashbulbs (a Chekov gun, I wondered?), seeing visions of his dead wife and son, whom he pictures grown. (He is sad about it, whether or not it’s his fault.) And is that masked woman in green he keeps seeing real or imagined?

On a nuts and bolts level, it’s all screwed together tight, even the pieces that stick out at weird angles. (Is there a reason to make Cady an apparently talented chef, other than to demonstrate his knife skills?) The actors fill their parts with feeling. Bardem gets the most, and most extreme attitudes, to play, whether cozying up individually to the Bowdens, threatening a groupie, undergoing a religious conversion, acting normal or being weird. Adams is low-key forceful as his primary opponent. (Tom’s comparatively weak character is underscored by his secret habit of microdosing LSD and a nothingburger flirtation with a colleague.) Collias is impressively real. The dialogue is well-crafted, the Southern atmosphere (Atlanta doubling Savannah, with Savannah here and there standing for itself) suitably oppressive.

Nevertheless, it’s fair to ask whether this story, even with its yards of extra material, could be told in under nine hours? The answer, most assuredly, is yes. And might it be better shorter? It might.

Not that I’ve ever been a fly on the walls of the executive conference or dining or washrooms where such deals are made, but I suspect the length has less to do with artistic necessity than A) the obscure economics of streaming and B) the not unrelated habits of viewers, who, to judge by questions I get asked, abhor a vacuum. A 10-episode series will put off the moment when they have “nothing to watch,” while the streamer gets to keep them in the ecosystem longer. “Cape Fear” is hardly the only series to which this applies. As I imagine the series will do well — mystery with a smattering of horror seems very much what the people want — more may be just the ticket for some people. Still, there’s a sense that the story has expanded to fill the space, with plotlines for all and crazy side trips (snakes! drugs!) in escalating levels of nuttiness.

That might be more feature than bug, but I can’t say I felt much of anything for the characters, or was concerned whether the Bowdens would emerge from their ordeals a stronger family. (Whatever the outcome, I’d say they have work to do.) Having been given only eight of 10 episodes to review, I’m interested, in a disinterested way, how this all will shake out, when the story finally moves to the Cape Fear River, and whatever final twists — that there will be twists, I am certain — an inevitably Action Packed Finale has in store.