Known as an actress for her work opposite Audrey Hepburn in 'The Nun's Story,' she later wrote best-selling biographies of Montgomery Clift, Marlon Brando and others.
Patricia Bosworth, an actress during and later a chronicler of Hollywood's Golden Age, died Thursday of complications related to the novel coronavirus. She was 86.
The author's death was announced by the Actors Studio, of which she was a longtime member and board member.
Born Patricia Crum, the Oakland, California, native was the daughter of an attorney and a crime reporter/novelist and had a dramatic life from start to finish. While she was an undergraduate at Sarah Lawrence College, she eloped with an art student, who abused her, leading to an annulment after 16 months; her younger brother, who was her only sibling, died by suicide her father would do the same six years later; and she became a model for the John Robert Powers Agency, photographed by Diane Arbus for a Greyhound bus ad. Her dream since childhood, though, was to become an actress, and that she did shortly after graduating in 1955.
Bosworth became a member of the Actors Studio in New York, studying under Lee Strasberg and alongside many of the great performers of Hollywood's Golden Age, including Paul Newman, Marilyn Monroe, Steve McQueen and Jane Fonda. Throughout the rest of the 1950s and into the '60s, she appeared in numerous Broadway productions, including Inherit the Wind and Small War on Murray Hill; on TV series including Naked City and The Patty Duke Show; and in films, most notably playing a nun opposite Audrey Hepburn in Fred Zinnemann's 1959 classic The Nun's Story. On the same day that she was cast in The Nun's Story, Bosworth learned she was pregnant and then paid to have an illegal abortion.
In the 1960s, she decided to give up acting to focus on journalism, mostly of a show-business nature. She was a writer at New York magazine and The New York Times before becoming, during the ensuing decades, a writer and editor at Screen Stars, McCall's, Harper's Bazaar, Viva, Mirabella and, most notably, Vanity Fair, where Tina Brown hired her as a contributing editor in 1984.
She held that position through 1991 and then again, under Graydon Carter's regime, from 1997 through the end of her life. Her pieces were among the publication's most widely read and discussed, including a profile of Elia Kazan that brought her the Newswomen's Club of New York's Front Page Award.
Some of Bosworth's most acclaimed work was done in book form. She wrote best-selling biographies of Clift in 1978, Arbus in 1984, Marlon Brando in 2000 and Fonda in 2011.
As interesting as any of them were her own memoirs: 1998's Anything Your Little Heart Desires: An American Family Story and 2018's The Men in My Life: A Memoir of Love and Art in 1950s Manhattan.
She was predeceased by husbands Mel Arrighi they...
Although “The L Word: Generation Q” may have tried desperately to speak to a “new generation” of queer women and non-binary folks, fresher creative voices quickly rose to the top in its place. Though people still watched. Showtime’s “Work in Progress” was the best queer comedy of the year, Netflix’s “Feel Good” was an unexpected delight, and “Vida” is returning just in time for queer audiences to catch up on the best show about queer women of color on TV. Yet another contender released a promising first trailer today: “Betty” is a stylish and youthful portrait of Brooklyn teen skaters that already appears extremely queer.
The six-part half-hour arrives on HBO from filmmaker Crystal Moselle, who quickly made waves in 2015 with her her riveting documentary hybrid “The Wolfpack.” “Betty” is adapted from her second feature, the similarly hybridized “Skate Kitchen,” which followed a group of teenage girl skaters in New York City. The film premiered at the 2018 Sundance Film Festival to positive reviews and was released by Magnolia Pictures that year.
In his B+ review of “Skate Kitchen” out of Sundance, IndieWire’s Eric Kohn wrote: “The streetwise alternative to ‘Girls,’ the movie weaves together such a complete vision of its subjects that the rest of the world barely exists. Of course, there's a long-standing precedent to capturing this subculture — ‘Kids’ did it, with more adventurous storytelling twists, more than 20 years ago — but Moselle's subjects hold their own with the surprising ability to clarify their emotions through the cathartic process of hanging out.”
“Betty” features many of the film’s original stars, most of whom had not acted before, including Kabrina Adams, Dede Lovelace, Nina Moran, Rachelle Vinberg, and Ajani Russell. All accomplished skaters in their own right, the first trailer shows the charismatic crew navigating various crushes and friendship trials with compelling panache and humor.
“Betty” is directed, co-written, and executive produced by Moselle. Lesley Arfin and Patricia Breen are also co-writers. Arfin, who also EPs, is a comedy writer best known for co-creating the Netflix series “Love” with Judd Apatow and Paul Rust.
HBO will release “Betty” beginning May 1 at 11 pm ET. Check out the exciting first trailer below:
SPOILER ALERT: If you are among the few who haven’t actually watched Netflix’s Tiger King docuseries, this review contains a lot of details about what goes down in the sad big cat saga.
With Netflix poised in the coming days to cash in and crank the base up a notch with more Tiger King, it's time to come out and say it: I hate the Red State porn that is the crash and burn of Joe Exotic
The initial seven episodes of this septic and shallow patchwork of trademark infringement, sex, guns, labor exploitation, song, drugs, mullets, betrayal, animal activism, revenge, and a lot of big cats may be much binged over these weeks of coronavirus lockdown, but that doesn't mean it's actually worth watching.
Now, I get it, I sound like I'm just a dour critic who hates anything that isn't prestige premium cable or aspirational. C'mon man, you want to say, Tiger King: Murder, Mayhem and Madness is just so unbelievable, I can't look away.
I respectfully disagree, and in fact, propose Tiger King isn't just bad, but dangerous in a divided America persistently looking to reduce the other side to caricature.
In a presently ailing nation where TV is more voluminous and vital than ever, the truth is the March 20 launched Tiger King is a clawed white trash misery index. Gawking at some clearly fragile and damaged people like would-be reality TV star Exotic and their below the Mason-Dixon line antics, the series subsequently provides a cultural circus for those smug bicoastals under stay at home orders and screaming to rise up in moral superiority.
Essentially, the tale of big cat collector, self-styled Oklahoma zoo proprietor and 2016 Presidential candidate Exotic AKA Joseph Maldonado-Passage and his ultimately unsuccessful attempt to have rival Carole Baskin knocked off by a hitman hired for $3,000, Tiger King is in that context more a zero-sum game, literally and figuratively, than hitting the zeitgeist.
Obviously, Netflix are pretty damn good at gauging and dragging the public mood over the years, as the likes of the then phenomenon of 2015's Making A Murderer or 2018’s Wild Wild Country prove. Yet, for all the attention it has drawn, this unfocused murder for hire exploration of sorts emerges as a bastard child of Cops, a million Dateline segments from the 1990s and Fox’s short-lived Murder in Small Town X reality show from 2001.
Not exactly the prestige product that the home of Roma, The Irishman and American Factory likes to brag about at award shows. Then again, with the knowledge that the Romans sold out the Colosseum every night feeding Christians to the lions, the bottom line based House of Hastings surely loves the subscription sign up that the currently incarcerated Maldonado-Passage and the accompanying motley gaggle of...