logo
Harris Yulin, 'Scarface' and 'Ghostbusters II' actor, dies at 87: 'One of the greatest'

Harris Yulin, 'Scarface' and 'Ghostbusters II' actor, dies at 87: 'One of the greatest'

USA Todaya day ago

Harris Yulin, 'Scarface' and 'Ghostbusters II' actor, dies at 87: 'One of the greatest'
Harris Yulin, the Emmy-nominated actor known for his wide-ranging roles in films such as "Scarface," "Ghostbusters II" and "Clear and Present Danger," has died. He was 87.
Yulin died of cardiac arrest on June 10 in New York City, according to a press release shared by the actor's representative Sue Leibman. A memorial service is scheduled to be held at a later date.
In the weeks leading up to his death, Yulin was preparing to start production on the Michael Hoffman-directed series "American Classic," which was slated to star Yulin alongside Kevin Kline and Laura Linney.
"Harris Yulin was very simply one of the greatest artists I have ever encountered," Hoffman said in a statement. "His marriage of immense technique with an always fresh sense of discovery, gave his work an immediacy and vitality and purity I've experienced nowhere else.
"And what he was as an actor, he was as a man, the grace, the humility, the generosity. All of us at'American Classic'have been blessed by our experience with him. He will always remain the beating heart of our show."
A native of Los Angeles, Yulin got his showbiz start in the theater community of New York City, appearing in a 1963 production of the James Saunders play "Next Time I'll Sing to You." He made his Broadway debut in the '80s with the Lillian Hellman play "Watch on the Rhine" and went on to perform in other shows such as "The Price," "The Visit" and "Hedda Gabler."
In 2004, Yulin starred in a Chicago production of "Finishing the Picture," the final play by Pulitzer Prize-winning playwright Arthur Miller. The actor also directed a number of plays himself, including "The Glass Menagerie," "The Trip to Bountiful" and "This Lime Tree Bower."
Yulin made his cinematic debut in 1970 with a starring role in the dark comedy "End of the Road." In the '80s, Yulin stretched his acting chops with roles in the gangster drama "Scarface" and adventure comedy "Ghostbusters II." The actor continued to switch things up in the '90s, appearing in the political thriller "Clear and Present Danger" and slapstick comedy "Bean."
Brian Wilson dies: Beach Boys cofounder was 82
Yulin also lent his talents to the TV world with recurring roles in the series "Ozark," "Unbreakable Kimmy Schmidt" and "Billions." He received a Primetime Emmy nomination in 1996 for his guest role on the sitcom "Frasier."
"Yulin was part of the vanguard of a generation who cared passionately about the craft of acting," a statement from Yulin's death announcement read. "This deep, lifelong dedication led to extraordinary, resonant performances that were a gift to audiences, the actors he worked with, and the art of acting itself."
Additionally, Yulin gave back to his fellow actors through teaching stints at The Juilliard School and Columbia University.
10 bingeable memoirs to check out: Celebrities tell all about aging, marriage and Beyoncé
Yulin is survived by his wife Kristen Lowman, son-in-law Ted Mineo, nephew Martin Crane, and godchildren Marco and Lara Greenberg.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Andor Tops Nielsen Streaming Chart With Release of Series Finale; Rogue One Returns to Top 10 Movies
Andor Tops Nielsen Streaming Chart With Release of Series Finale; Rogue One Returns to Top 10 Movies

Yahoo

time28 minutes ago

  • Yahoo

Andor Tops Nielsen Streaming Chart With Release of Series Finale; Rogue One Returns to Top 10 Movies

With the release of its fourth and final three-episode batch, Disney+'s Andor rose to the top of Nielsen's latest U.S. ranking of streaming originals. For the week of May 12, Andor amassed 931 million minutes viewed — another weekly high for the series — across 24 total episodes. (In turn, Andor's 'sequel movie,' Rogue One: A Star Wars Story, returned to Nielsen's Top 10 Movies ranking, landing at No. 9 with 179 million minutes viewed.) More from TVLine Good Night, and Good Luck: Live Broadcast of Broadway Play Delivers CNN's 2nd-Biggest Night of 2025 Ratings: Tony Awards Surge 38% to Biggest Audience Since 2019 Is Doctor Who Reunion Inevitable? Did Cleaning Lady Kiss Leave You Cold? How Would SNL Have Handled Trump/ Musk Break-Up? More TV Qs! Netflix's YOU placed second on the streaming originals ranking with 779 million minutes viewed/50 episodes, followed by Hulu's Secret Lives of Mormon Wives (680 million minutes/18 episodes), ABC's Prime Video's Netflix's Forever (671 million minutes/eight episodes) and Netflix's American Manhunt: Osama bin Laden (552 million minutes/three episodes). Rounding out the Top 10 streaming originals for the week of May 12 were Netflix's The Four Seasons, Peacock's Poker Face, Hulu's The Handmaid's Tale, Paramount+'s MobLand and Netflix's Secrets We Keep. Want SCOOP on any of the TV shows above? Email InsideLine@ and your question may be answered via Matt's Inside Line!

Candace Cameron Bure Says Horror Films Can Open ‘Portal' That Is ‘Incredibly Demonic'
Candace Cameron Bure Says Horror Films Can Open ‘Portal' That Is ‘Incredibly Demonic'

Yahoo

time40 minutes ago

  • Yahoo

Candace Cameron Bure Says Horror Films Can Open ‘Portal' That Is ‘Incredibly Demonic'

Candace Cameron Bure seems fully convinced that horror films can open 'a portal.' The 'Full House' alum has frequently espoused her Christian values publicly, including her preference for a meek and 'submissive' role in marriage, but went a little further afield this week by arguing that television can 'let stuff inside' the home that is 'demonic.' The actor presented her personal 'portal' theory on Tuesday's episode of 'The Candace Cameron Bure Podcast' and admitted that her kids — Lev, Natasha and Maksim — mock her for it 'all the time.' Social media users who heard her out are currently doing the same. 'Like if you're watching this, or you're playing this video game, or whatever, that's a portal that could let stuff inside our home,' said Bure on the podcast. 'I don't even want someone watching a scary movie in our house on the TV, because to me, that's just a portal.' The actor reminded viewers that she's in the film industry and understands how movies are made, but nonetheless argued there can still be 'something incredibly demonic' to the results, which her guest, Texas-based pastor Jonathan Pokluda, audibly agreed with. Bure's philosophy appears to extend even to everyday products, such as water. 'I feel like it's a portal that gets opened up, and that just reminded me, you've posted something a while back about Liquid Death,' she told Pokluda. 'You're like, 'Do you want to buy a product that is literally being cursed as it's going out into distribution?'' The pastor shared such sentiments on social media earlier this year, declaring that he is 'super out' on the beverage company for a marketing campaign cheekily asking customers to 'sell your soul' to join its 'Liquid Death Country Club.' 'They are asking you to sell your soul to them and hired a witch to curse their drinks,' Pokluda wrote on Instagram in February. 'Spread the word. If you're like, 'OK, Karen, they are just having fun.' Please grab a copy of 'Your Story Has a Villain.'' Pokluda's book aims to teach readers how to 'identify spiritual warfare' and 'defeat the enemy.' His claim that a witch cursed Liquid Death's products, meanwhile, appears to be based on a 2019 marketing stunt for a run of Halloween-themed drinks. The company also claimed in an advertisement in 2022 to have bought an actual witch a Super Bowl ticket. While most customers likely see these stunts as mere promotional ploys, devout Christians Pokluda and Bure appear to be unconvinced. 'This is how he works,' Pokluda said about the devil. 'I'm telling you, he tries to disguise under that stuff. That's what he wants you to feel. If you ever are like, 'Oh, I'm not going to be impacted by that,' that's what Satan wants you to feel. That's the whole essence of it.' His comments prompted affirmative nods from Bure, who added, 'Yeah.' Beach Boys Past And Present Remember Brian Wilson Kanye West Has Apparently Changed His Name… Again Brooke Shields Podcast Interview Criticizing Meghan Markle Mysteriously Removed

Review: ‘Call Me Izzy' on Broadway stars Jean Smart as a working-class woman with dreams
Review: ‘Call Me Izzy' on Broadway stars Jean Smart as a working-class woman with dreams

Chicago Tribune

time44 minutes ago

  • Chicago Tribune

Review: ‘Call Me Izzy' on Broadway stars Jean Smart as a working-class woman with dreams

NEW YORK — Jean Smart hasn't been on Broadway for 25 years. The last time, she played a glittering, glamorous and ruthless actress in George S. Kaufman and Moss Hart's 'The Man Who Came to Dinner,' a powerful siren who enjoyed breaking up marriages for sport. This time, she's an abused woman from small-town Louisiana who makes her first appearance on stage in the bathroom of a mobile home in a Louisiana trailer park. It's likely quite the jolt for fans of a much-awarded actress familiar for her work on 'Hacks,' 'Designing Women' and 'Mare of Easttown,' a contrast intensified by playwright Jamie Wax's 'Call Me Izzy' opening in the slipstream of the Tony Awards. As the Broadway glitterati walked by Studio 54 over these last few nights, Smart was inside, slipping disinfectant into a toilet bowl for her bemused fans. 'My husband, Fred, he hates the blue cleaner I put into the toilet almost as much as he hates my writing,' Smart's titular character says to the audience at the start of 'Call Me Izzy,' as she flushes and marvels at the various shades of swirling azure. Uh oh, you'll surely think, right off the bat. This Izzy sounds like a working-class writer trapped in a marriage with an oafish, one-syllable Southern man who won't understand such matters as artistic freedom, artistic expression, and the desire to escape said trailer park for a more examined life. The kind of scared little dude who might well resort to violence to keep his wife in line. You would of course be right. That's exactly the scenario in 'Call Me Izzy,' a solo show about the power of poetry and its ability to lift working-class writers out of their difficult lives, but only if they can find room to express themselves, avoid those who would block their progress and align themselves with the kind of mentor who will take an interest. For those of us who've been around a while, 'Call Me Izzy' starts to recall the plot of Willy Russell's 'Shirley Valentine,' another play about the power of humanistic education, albeit set in Liverpool in the U.K. rather than Mansfield, Louisiana. In both plays, the lovable central character finds herself in the thrall of a charismatic teacher who clearly represents a means of escape from those with no understanding, but might also just be a distraction from what is typically venerated in plays like this, which is finding your own way with words and ideas. Those are noble sentiments and there are only so many stories under the sun. Moreover, stories about white, working-class characters from Louisiana are as rare on Broadway as dramas about blue-collar poets; I'd venture that no toilet has ever played so prominent a role at Studio 54, at least not since that venue's days as a nightclub. All that is to say 'Call Me Izzy' is not a total bust, especially given Smart's formidable acting chops. Monologic shows like this with no explicit person being addressed require deeply conversational kinds of performance, as if the audiences were all your best friend who just happens to be outside the bathroom door. Smart is skilled and experienced enough to forge such a bond. I believed her entirely as a woman from small-town Louisiana capable of both great stoicism (often a feature of those in abusive relationships) and profound artistic yearning. Her performance is somewhat under-scaled and under-vocalized for so large a Broadway house (and why are we here in so huge a space, one wonders), but then it has been 20 years and the deeply honest Smart is clearly immersed in her character, with nary a note of condescension. But you still always know where 'Call Me Izzy' is ultimately going, even if the piece is a tad confusing as to its chronology; that's another frequent risk with long monologues recounting a story that may have happened in the past, may still be happening, may go wrong in the future. The audience needs more signposts from a director, and heftier moment-by-moment tension, than director Sarna Lapine here provides us. 'Call Me Izzy' is simply one character's point of view and you can't help contrast it with the complexity of 'The Picture of Dorian Gray,' which uses one live actress to create an entire Victorian world. In the case of 'Izzy,' one might as well be reading the narrative on the page. Except of course for the chance to see Smart, which is why most people will be there. The biggest challenge she faces here is to overcome the fundamental familiarity of a moralistic script that gives us a clearly sympathetic character battling against a brute we never see and wants us to be surprised by the outcome. Wax is so in love with his central character, he finds it hard to give her anything truly substantial to fight against as she rolls down her personal runway. Smart does her considerable best to find it for him, but she didn't write the play.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store