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    He wrote about it in 1992

    Why all the outrage? Michael Caine euthanasia controversy is old news

    Joe Leydon
    Oct 10, 2010 | 4:58 pm

    In recent days, Sir Michael Caine has ignited a firestorm of controversy by telling a British radio interviewer that, back in 1955, as his 56-year-old father lay dying of liver cancer in a London hospital, he asked his dad’s doctor to cut short his suffering.

    “I was in such anguish over the pain he was in,” Caine told radio host Nick Ferrari in a taped interview that aired Saturday night, “that I said to this doctor, I said, 'Isn't there anything else you could... just give him an overdose and end this?’ Because I wanted him to go.

    "And he said, 'Oh, no, no, no, we couldn't do that.’ And then as I was leaving, he said, 'Come back at midnight'. I came back at midnight and my father died at five past twelve. So he'd done it."

    The Telegraph newspaper of Great Britain reported Saturday that, as news of Caine’s comments circulated in the British press prior to the radio broadcast, anti-euthanasia campaigners were quick to criticize the veteran actor. (In an on-line comments section, one angry Telegraph reader demanded that Caine be arrested, and his knighthood revoked.) And as the story continues to gain traction, the firestorm doubtless will spread worldwide as Caine’s words are disseminated through bloggers, newswires and websites.

    But here’s the really odd part: This is, quite literally, old news. Really: Caine wrote about his father’s suffering and death way back in 1992, in his best-selling autobiography titled What’s It All About? If you happen to have a paperback copy of the book on a shelf somewhere, take it down and turn to page 94:

    I visited my father for two days, during which time his condition deteriorated rapidly. He was in excruciating pain. I asked the doctor to increase my father’s drugs and he told me that a larger dose would kill him. I looked at him for a moment and said, ‘If this is living, can death be such a bad thing?’ He thought for a moment, then asked me to go away and come back at eleven o’clock that night. I was back there at eleven on the dot. Dad seemed to be much more comfortable now and I sat there holding his hand for an hour or two. He didn’t seem to know that I was there but occasionally he would squeeze my hand and I would squeeze back. The hospital is right opposite the Houses of Parliament, and I could see Big Ben across the river. Eventually it struck one o’clock, and as it did, my father’s eyes opened slightly and he whispered, ‘Good luck, son,’ and died.

    I told the doctor that he had gone and thanked him for all that he had done, and walked back down the corridor…”

    Even though I have never – thank God – been in a position similar to Caine’s, I was deeply and profoundly affected when I read this. So much so that, 10 years later, I made a special point of complimenting Caine – for his blunt-spoken honesty as well as his expertise as a wordsmith – when we briefly discussed the episode he had written about so movingly.

    We were in Austin at the time, while he was on location filming Second-Hand Lions, and I was interviewing him for the New York Daily News. Mind you, we did not spend a lot of time on this subject. Indeed, I wound up not referencing it at all in the article I eventually wrote, partly because it had nothing to do with the primary focus of the piece — the story was about the upcoming release of The Quiet American, and its possible reception in post-9/11 America —and partly because, well, his autobiography had come out a decade earlier, and I figured the story was, as I said, old news.

    But now Caine, inadvertently or otherwise, has invited closer scrutiny of the incident. And by doing so, he has made himself the target of criticism by those who feel what he did – or at least encouraged – is something on the order of mercy killing. Once again, it seems, the professionally outraged will have their say.

    And, yes, also once again, it seems the media will help fan the flames of the firestorm.

    Joe Leydon covers movies at MovingPictureBlog

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    Movie Review

    Timothée Chalamet cements star status in new movie Marty Supreme

    Alex Bentley
    Dec 23, 2025 | 4:30 pm
    Timothée Chalamet
    Courtesy
    Timothée Chalamet

    In a time when true movie stars seem to be going extinct, Timothée Chalamet has emerged as an exception to the rule. Since 2021 he has headlined blockbusters like the two Dune movies and Wonka, and also earned an Oscar nomination for playing Bob Dylan in A Complete Unknown (his second nomination following 2018’s Call Me By Your Name). Now, he’s almost assured to get his third nomination for the stellar new film, Marty Supreme.

    Chalamet plays Marty Mauser, a world-class table tennis player living in New York. But reducing Marty to his best skill doesn’t do him justice, as he’s also a motormouth schemer who will do almost anything to achieve his dreams. He doesn’t have any qualms about wooing married women like neighbor Rachel (Odessa A’zion) or actress Kay Stone (Gwyneth Paltrow), or hiding his true ping pong skills to win money in scams with friends like Wally (Tyler the Creator).

    Marty is seemingly on the go the entire movie, whether it’s trying to convince Kay’s millionaire husband Milton Rockwell (Kevin O’Leary) to fund his table tennis ambitions; or trying to track down the dog of Ezra (Abel Ferrara), a man he accidentally injures; or trying to avoid the ire of the boss at the shoe store where he works. Just when you think he might slow down, he’s off to the races on another plan or adventure.

    Directed by Josh Safdie and written by Safdie and frequent co-writer Ronald Bronstein, the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives, and yet the throughline of Marty keeps everything tightly connected. His particular type of brash behavior turns much of the film into a comedy as he does and says things that are both shocking and thrilling.

    Another thing that makes the movie sing is the fantastic characterization by Safdie and Bronstein. Almost every person who is given a speaking line in the film has a moment where they pop, which speaks to airtight dialogue that the writers have created. Characters will be introduced and then disappear for long stretches of time, and yet because they make such an impression the first time they’re on screen, it’s easy to pick up their thread right away.

    Safdie, as he’s done previously with brother Bennie (Uncut Gems), calls on a host of well-known non-actors or people with interesting faces/vibes to inhabit supporting roles, and to a person they are crucial to the film’s success. O’Leary (of Shark Tank fame), rapper Tyler the Creator, director Ferrara, magician Penn Jillette, and fashion designer Isaac Mizrahi each deliver knockout performances. The relative unknowns who play smaller roles are just as impressive, making each beat of the film feel naturalistic.

    Leading the way is the powerhouse performance by Chalamet. For one person to believably play both the famously reserved Dylan and also a firecracker like Marty is astonishing, and this role cements Chalamet’s status as his generation’s movie star. A’zion is a rising star who gets great moments as Marty’s on-again/off-again love interest. Paltrow pops in and out of the film, lighting up the screen every time she appears. Fran Drescher as Marty’s mom and Sandra Bernhard as a neighbor also pay dividends in small roles.

    Josh Safdie’s first solo directorial effort is unlike any other movie this year, or maybe even this century. Thanks to its breakneck storytelling, a magnificent performance by Chalamet, and countless intangibles that Safdie employs expertly, the film smacks viewers in the face repeatedly and demands that they come back for more.

    ---

    Marty Supreme opens in theaters on December 25.

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