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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

    Robert Pattinson and Zendaya face pre-marriage jitters in The Drama

    Alex Bentley
    Apr 3, 2026 | 3:00 pm
    Robert Pattinson and Zendaya in The Drama
    Photo courtesy of A24
    Robert Pattinson and Zendaya in The Drama.

    Robert Pattinson and Zendaya will be seen together a lot at the movies in 2026, with mega-films like The Odyssey and Dune: Part Three coming out later in the year. But fans can get a much more intimate look at the two stars in a film that offers a unique take on relationship struggles, The Drama.

    Emma (Zendaya) and Charlie (Pattinson) are a New York couple who are engaged to be married. After a quick-but-effective montage of their courtship, the story joins them as they are just days away from their wedding. As they get all the details like music, flowers, and food finalized, a visit to the caterer with married friends Rachel (Alana Haim) and Mike (Mamoudou Athie) proves fateful.

    A few too many drinks leads to each member of the group deciding to divulge the worst thing they’ve ever done. While each story is slightly shocking, Emma’s takes the cake, so much so that Charlie starts to question their relationship. As they get closer to the wedding date, Charlie finds it increasingly difficult to get beyond Emma’s revelation, with each real or imagined conversation threatening to derail their previously tight bond.

    Written and directed by Kristoffer Borgli, the film is provocative, funny, and cringey as it tries to get to the center of human dynamics. Charlie, Rachel, and Mike have starkly different reactions to Emma’s story, and the way those play out over the course of the film provides, well, the drama. The harder Charlie tries to justify Emma’s past, the more his underlying feelings start to eat at him, causing friction not just between him and Emma, but in other parts of his life, as well.

    Strangely, especially for a character played by Zendaya, Emma recedes more than expected. Her explanations for her previous actions are timid at best, and she mostly seems to be waiting for Charlie to forgive her instead of questioning why she needs forgiveness. Borgli favors the male side of the equation, and in so doing he doesn’t dig as deep into the root of the issue as he could have.

    Still, the downward spiral at the center of the story has a propulsive nature to it, and each successive step proves to be both hard to watch and impossible to turn away from. It also helps that Borgli manages the tone well, keeping interactions between characters relatively light so that the film doesn’t turn into one like Marriage Story.

    Pattinson, who gets to use his own British accent for once, put on an interesting performance that is much better than his last two roles in Mickey 17 and Die My Love. He has good chemistry with Zendaya, who manages to shine despite being laden with a role that doesn’t play entirely to her strengths. Haim and Athie do good work in small roles, while Hailey Grace and Hannah Gross make an impact in brief appearances.

    The situation in which Emma and Charlie find themselves in The Drama is not one to be wished on anyone, but it’s presented well by Borgli, keeping tensions high for the bulk of the film. Despite the two main characters not given completely equal footing, the story finds a way to get to a satisfactory ending.

    ---

    The Drama opens in theaters on April 3.

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