
Five things to know about Scarlett Johansson
One of Hollywood's top-grossing actors, Scarlett Johansson is walking the red carpet twice at Cannes, for her directorial debut with "Eleanor the Great" on Tuesday and for Wes Anderson's film "The Phoenician Scheme", which premiered Sunday. Here are five things to know about the teen star turned Hollywood A-Lister:
Starlet Scarlett
When baby Johansson was born into a Jewish family in Manhattan in 1984, early signs suggested stardom was ahead. Her parents named her after Scarlett O'Hara in "Gone With the Wind", and at a young age she was drawn to tap dance and theatre. Barely into double-digits she made her screen debut, and soon after Robert Redford cast her in "The Horse Whisperer" for her first major role.
Then, just shy of 20, she hit the big time with Sofia Coppola's art-house classic "Lost in Translation". In the film, which unfolds in the alienating surroundings of a Tokyo hotel, Johansson manages to touch the heart of an ever-sardonic Bill Murray as well as charming spectators and critics worldwide.
Cha-ching!
Over the next decades, Johansson has starred in a string of hits and top directors have queued up to cast her, from Wes Anderson and the Coen brothers to Jonathan Glazer and Christopher Nolan. Catapulting her into movie stratosphere, she joined the Marvel universe as the indomitable Black Widow in 2010 and made eight films with the franchise. During this collaboration she topped the Forbes list of highest-paid actresses and featured in hits including "Avengers: Infinity War" (2018), one of the top-10 highest grossing films of all time according to IMDB Pro.
Other missions
But Johansson the box-office megastar has also missed out on, or sidestepped, plenty of big roles. There was a potential "Mission Impossible" movie but this was shelved, officially due to scheduling clashes. She did not land the lead in "Les Miserables", which went to Anne Hathaway, who won an Oscar for it, nor did she get Lisbeth Salander in "Millennium".
But she was plenty busy, often starring in lower-budget films that wowed critics and audiences. These included a stand-out performance as an alien in Jonathan Glazer's remarkable "Under the Skin" (2013), shot in wintery backstreets, abandoned houses and seedy minivans. So far, she has not won an Oscar, but she was nominated for best actress and supporting actress in 2020 for her roles in indie favorites "Marriage Story" and "Jojo Rabbit".
That voice
It is unmistakable and Johansson has capitalized on it, though sometimes with unwanted repercussions. She brought her deep, distinctive vocals to the voice of Samantha in "Her" (2013) by Spike Jonze, about an artificial intelligence system Joaquin Phoenix falls for. But in May last year Johansson accused tech firm OpenAI of using her voice in their own generative AI ChatGPT, which responded by modifying its tone. She can also be heard in hit animations including "The Jungle Book" and the two "Sing" films.
Johansson has also released two albums, "Anywhere I Lay My Head" in 2008 and a year later "Break Up". They did not rock the music world, but reviewing the inaugural album, Pitchfork called it a "curio" while praising the "wide textural range" of Johansson's voice.
Against the grain
Never reluctant to speak her mind, Johansson has been outspoken on various social and film-related issues. She has supported victims of harassment, pushed for gender-equal pay and spotlighted the impact of streaming on theatrical releases. She is also willing to take more controversial stances, not least in defending Woody Allen -- who has cast her in three films -- when much of Hollywood has shunned him over a long-running sexual assault scandal. "I love Woody. I believe him, and I would work with him any time," she told The Hollywood Reporter in 2019.--AFP
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

Kuwait Times
3 days ago
- Kuwait Times
'The Matrix is everywhere': Cinema bets on immersion
In a Los Angeles theater, a trench coat-wearing Neo bends backwards to dodge bullets that spiral over the viewer's head, as the sound of gunfire erupts from everywhere. This new immersive experience is designed to be a red pill moment that will get film fans off their couches at a time when the movie industry is desperate to bring back audiences. Cosm, which has venues in Los Angeles and Dallas, is launching its dome-style screen and 3D sets in June with a "shared reality" version of "The Matrix," the cult 1999 film starring Keanu Reeves as a man who suddenly learns his world is a fiction. "We believe the future will be more immersive and more experiential," said Cosm president Jeb Terry at a recent preview screening. "It's trying to create an additive, a new experience, ideally non-cannibalistic, so that the industry can continue to thrive across all formats." Cinema audiences were already dwindling when the COVID-19 pandemic broke out, shuttering theaters at a time when streaming was exploding. With ever bigger and better TVs available for the home, the challenge for theater owners is to offer something that movie buffs cannot get in their living room. Boxes of "The Matrix" popcorn for guests are seen during the first shared reality screening of the movie "The Matrix" on an immersive dome screen inside Cosm Los Angeles at Hollywood Park in Inglewood, California. - AFP photos Computer code surrounds viewers during the first shared reality screening of the movie "The Matrix". The character Neo appears on screen with an extended display of the power plant towers during the first shared reality screening of the movie "The Matrix". Attendees watch the character Morpheus appear on screen during the first shared reality screening of the movie "The Matrix". Attendees watch the character Morpheus appear on screen during the first shared reality screening of the movie "The Matrix". Attendees watch the first shared reality screening of the movie "The Matrix". Prestige projects like Tom Cruise's "Mission: Impossible -- The Final Reckoning" or Christopher Nolan's Oscar-winning "Oppenheimer" increasingly opt for the huge screens and superior film quality of IMAX. But Cosm and other projects like it want to go one step further, collaborating with designers who have worked with Cirque du Soleil to create an environment in which the viewer feels like they are inside the film. For filmmakers, it's all about how you place the cameras and where you capture the sound, said Jay Rinsky, founder of Little Cinema, a creative studio specializing in immersive experiences. "We create sets like the Parisian opera, let the movie be the singer, follow the tone, highlight the emotions... through light, through production design, through 3D environments," he said. The approach, he said, felt particularly well suited to "The Matrix," which he called "a masterpiece of cinema, but done as a rectangle." Attendees watch the first shared reality screening of the movie "The Matrix". The character Morpheus appears on screen during the first shared reality screening of the movie "The Matrix". Attendees watch the character Morpheus appear on screen surrounded by computer code during the first shared reality screening of the movie "The Matrix". Attendees watch immersive computer code appear during the first shared reality screening of the movie "The Matrix". Attendees watch immersive computer code appear during the first shared reality screening of the movie "The Matrix". Jeb Terry, President and CEO of Cosm, looks up at the dome while speaking after the first shared reality screening of the movie "The Matrix". For the uninitiated: Reeves's Neo is a computer hacker who starts poking around in a life that doesn't quite seem to fit. A mysterious Laurence Fishburne offers him a blue pill that will leave him where he is, or a red pill that will show him he is a slave whose body is being farmed by AI machines while his conscious lives in a computer simulation. There follows much gunfire, lots of martial arts and some mysticism, along with a romance between Neo and Trinity, played by the leather-clad Carrie-Anne Moss. "The Matrix" in shared reality kicks off with a choice of cocktails -- blue or red, of course -- which are consumed as the audience sits surrounded by high-definition screens. Shifting perspectives place the viewer inside Neo's office cubicle, or seemingly in peril. "They're sometimes inside the character's head," said Rinsky. "The world changes as you look up and down for trucks coming at you." The result impressed those who were at the preview screening. "It just did feel like an experience," influencer Vince Rossi told AFP. "It felt like you're at a theme park for a movie almost."—AFP

Kuwait Times
5 days ago
- Kuwait Times
‘M*A*S*H' actress Loretta Swit dies: Publicist
Actress Loretta Swit attends the 2018 Farm Sanctuary on the Hudson Gala at Pier 60 ) on October 4, 2018 in New York City. - AFP Loretta Swit, the US actress who brought Major Margaret 'Hot Lips' Houlihan to life in the seminal Korean War comedy series 'M*A*S*H' has died. She was 87. Swit who played the high-strung but flirty Houlihan for the entire TV run of the smash series, was nominated for 10 Emmy awards for her work, winning two of them. Her death, at her home in Manhattan, was announced by her publicist, who said she was believed to have died of natural causes. 'M*A*S*H,' which sprang from an Oscar-winning 1970 film, aired initially in 1972 and was a hit until it finished in 1983. The comedy was set in a field hospital for the US Army during the Korean War, and starred Alan Alda as Benjamin 'Hawkeye' Pierce. The series tackled a range of issues from the tragic to the light-hearted, and was sometimes seen as a satire on US involvement in Vietnam -- a war that was still happening when it first began airing. 'Few actresses captured the imagination of generations of television viewers with the certainty and charm of Loretta Swit,' a statement from publicist Harlan Boll said. 'As the quick-witted, impassioned Major Margaret Houlihan... Ms. Swit became an American icon.' Alongside an extensive stage repertoire, Swit appeared in over 25 movies, including playing Christine Cagney in the TV movie that became the long-running cop show 'Cagney and Lacey.' Obligations to the makers of 'M*A*S*H' meant she could not continue into the TV series' lengthy run, and the role was ultimately filled instead by Sharon Gless. Other movies during Swit's career included 'Race With the Devil,' a 1975 horror starring Peter Fonda, and 1972's 'Stand Up and Be Counted' with Jacqueline Bisset. - AFP


Arab Times
29-05-2025
- Arab Times
Anderson gets even Wes-er in his latest
LOS ANGELES, May 29, (AP): 'They say you murdered my mother,' the young would-be nun tells the shady tycoon. 'I feel the need to address this.' There's something about the deadpan delivery and the cleareyed manner that makes you sit up and take notice of Liesl, and even more of Mia Threapleton, who plays her in 'The Phoenician Scheme.' (And there's another thing, too obvious to ignore: Boy, does she ever resemble her mom, Kate Winslet.) A vivid presence despite her dry-as-dust tone, Threapleton makes a splendid Andersonian debut here as half the father daughter duo, along with Benicio Del Toro, that drives the director's latest creation. Their emerging relationship is what stands out amid the familiar Andersonian details: the picture-book aesthetic. The meticulous production design (down to those fascinating closing credits). The chapter cards. The 'who's who' of Hollywood cameos. And most of all the intricacy, elaborate, nay, labyrinthine plot. Indeed, Anderson seems to be leaning into some of these characteristics here, giving the impression of becoming even more, well, Wes Anderson than before. He will likely delight his most ardent fans but perhaps lose a few others with the plot, which becomes a bit exhausting to follow as we reach the midpoint of this tale. But what is the Phoenician scheme, anyway? It's a sweeping, ambitious, somewhat corrupt dream of one Anatole 'Zsa-zsa' Korda (Del Toro), one of the richest industrialists in Europe, to exploit a vast region of the world. We begin in 1950, with yet another assassination attempt on Korda's life - his sixth plane crash, to be exact, which occurs as he sits smoking a cigar and reading about botany. Suddenly, in a hugely entertaining pre-credits sequence, Korda's in the cockpit, ejecting his useless pilot and directing his own rescue, asking ground control whether he should crash into a corn or soybean field. The media mourns his passing - and then he turns up, one eye mangled, biting into a husk of corn. As usual, reports of his death have been … you know. Recovering at his estate, with some truly fabulous, tiled bathroom floor, Korda summons Liesl from the convent where he sent her at age 5. He wants her to be his sole heir - and avenger, should his plentiful enemies get him. His plans are contained in a series of shoeboxes. But Liesl isn't very interested in the Korda Land and Sea Phoenician Infrastructure Scheme. What she wants to know is who killed her mother. She also mentions they haven't seen each other in six years. ('I apologize,' he says.) And she wonders why none of his nine sons, young boys he keeps in a dormitory, will be heirs. But Korda wants her. They agree to a trial period. We do get the creeping feeling Liesl will never make it back to the convent - maybe it's the red lipstick, or the affinity she's developing for jewels? But we digress. We should have mentioned by now the tutor and insect expert, Bjørn. In his first Anderson film but likely not the last, Michael Cera inhabits this character with just the right mix of commitment and self-awareness. 'I could eat a horse,' he muses in a silly quasi- Norwegian accent before lunch, 'and easily a pigeon!' Now it's on the road they go, to secure investments in the scheme. We won't get into the financial niceties - we writers have wordlength limits, and you readers have patience limits. But the voyage involves - obviously! - a long line of characters only Anderson could bring to life. Among them: the Sacramento consortium, aka Tom Hanks and Bryan Cranston, two American guys who hinge their financial commitment on the outcome of a game of HORSE. Next it's to Marseille Bob (Mathieu Amalric), and then to Marty (Jeffrey Wright), leader of the Newark Syndicate (we're not talking Jersey here, but Upper Eastern Independent Phoenicia), who offers a blood transfusion to Korda because, oh yes, he was shot by terrorists at the previous meeting. (Don't worry, the guy's indestructible.) Then there's Cousin Hilda (Scarlett Johansson, continuing the cameo parade), whom Korda seeks to marry to get her participation in the investment. And then back on the plane, the group is strafed by a fighter jet. Soon, it'll be revealed that one of them is a mole. We won't tell you who, although it's hard to tell if anything is really a spoiler here - like the part when Benedict Cumberbatch appears with a very fake beard as Uncle Nubar, who may be someone's father or may have killed someone, and engages in a slapstick fight with Korda, complete with vase-smashing. We also shouldn't tell you what happens with the big ol' scheme - it was all about the journey, anyway. And about Korda and Liesl, who by the end have discovered things about each other but, even more, about themselves. As for Liesl, at the end, she's clad stylishly in black and white - but definitely not in a habit. As someone famously said about Maria in 'The Sound of Music,' 'somewhere out there is a lady who I think will never be a nun.' 'The Phoenician Scheme,' a Focus Features release, has been rated PG-13 by the Motion Picture Association 'for violent content, bloody images, some sexual material, nude images, and smoking throughout.' Running time: 101 minutes. Two and a half stars out of four.