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Roger Ebert dies at 70; Pulitzer Prize-winning film critic
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Matthew Kruk
Apr 4, 2013, 5:52:56 PM4/4/13
to
Nice photo of Siskel and Ebert at url.
http://www.latimes.com/news/obituaries/la-me-roger-ebert-20130405,0,7121655.story
Roger Ebert dies at 70; Pulitzer Prize-winning film critic
Roger Ebert gave independent films popular appeal, and his 'thumbs-up,
thumbs-down' ratings on TV were both coveted and scorned. The prolific critic
continued to write reviews while battling cancer in recent years.
By John Horn and Valerie J. Nelson, Los Angeles Times
2:13 PM PDT, April 4, 2013
Roger Ebert, the Pulitzer Prize-winning movie critic whose gladiatorial
"thumbs-up, thumbs-down" assessments turned film reviewing into a television
sport and whose passion for independent film helped introduce a new generation
of filmmakers to moviegoers, has died. He was 70.
Ebert, who had battled cancer in recent years, died Thursday in Chicago,
according to the Chicago Sun-Times, where he wrote for 46 years. He had
undergone several surgeries to remove cancerous tumors from his thyroid and
salivary glands, ultimately losing his jaw and speaking voice to the disease.
While his cancer diagnosis and the resulting treatments forced him briefly to
pull back from criticism in 2006, he remained active as a writer and maintained
a powerful presence on social media sites that included his award-winning blog,
Roger Ebert's Journal, where he candidly discussed his failing health. By his
count, in 2012 he wrote more than 300 reviews, more than in any year of his
career.
Earlier this week he announced on the blog that he would be taking "a leave of
presence" and scaling back from writing.
"It really stinks that the cancer has returned and that I have spent too many
days in the hospital," he wrote on his blog. "So on bad days I may write about
the vulnerability that accompanies illness. On good days, I may wax ecstatic
about a movie so good it transports me beyond illness."
In May 2008, he had returned to writing movie reviews for the Chicago Sun-Times
but essentially said goodbye to the TV show that made him famous. Cancer had
robbed him of his voice, and Ebert refused to face another surgery that could
restore it.
PHOTOS: Notable deaths of 2013
"I still have all my other abilities, including the love of viewing movies and
writing about them," Ebert wrote in 2008 in the Sun-Times.
As the longtime and prolific critic for the Chicago newspaper, he wrote reviews
while co-hosting a popular nationally syndicated TV show that, in the 1980s, was
known as "At the Movies." Ebert was the first movie critic to win journalism's
most prestigious award, collecting his Pulitzer in 1975, but he had the greatest
impact through his TV forum, which began that same year on Chicago public
television.
The TV reviews were not always the most sophisticated or reasoned, but they were
widely influential. Ebert and his co-host - most famously, rival Chicago Tribune
newspaper critic Gene Siskel, his broadcast partner for 23 years - would quarrel
over a film's merits, then render judgment with a simple thumbs-up or
thumbs-down score.
While the impact of any single film critic has declined in recent
years-moviegoers typically rely on aggregate scores and word-of-mouth advice-the
power of that single digit was profound. Hollywood marketing chiefs considered a
dual thumbs-up recommendation more important (and marketable) than any other
reviewer's praise, and prominently featured the marks in advertising. The thumbs
even were registered as a trademark.
Approval from Ebert and his sidekick not only could influence mainstream box
office fare but also deliver ticket buyers to more daring, artistic works that
relied upon critical word-of-mouth. This was how Ebert, with other critics,
successfully encouraged audiences to seek out independent films, which in recent
decades have come to dominate the Academy Awards.
To encourage its theatrical prospects, Ebert glowingly reviewed the documentary
"Hoop Dreams" before the independent film even premiered at the 1994 Sundance
Film Festival. He later named the high school basketball film the best cinema
work of the 1990s. He and Siskel also pushed audiences to see such movies as
diverse as 1986's "Tampopo" and 1992's "One False Move."
Ebert remained a champion of quality movies that had failed to attract wide
attention. In 1999, he launched a film festival now known as Ebertfest, an
annual celebration of usually independently financed films staged at his alma
mater, the University of Illinois in Champaign-Urbana.
At the 2009 Ebertfest, Ebert and his wife, Chaz, announced that they had given
the university a $1-million gift toward the creation of a film studies program.
When Siskel - who died at 53 from brain cancer in 1999 - and Ebert started their
movie review show more than 35 years ago, cineastes could browse highbrow film
journals and take in Francois Truffaut retrospectives at museums and
universities.
Average moviegoers subsisted on occasional magazine profiles or brief wire
service reviews in newspapers. Most coverage preceded a film's opening; opinions
about its execution were harder to find, particularly on television.
"What Siskel and Ebert did was to pioneer the middle ground," said Robert J.
Thompson, director of the Center for the Study of Popular Television at Syracuse
University. "They had a significant impact on film criticism."
Ebert also was one of the first journalists caught in the crossfire of media
consolidation. When the Walt Disney Co. began distributing his show in 1986,
analysts wondered if Ebert's integrity would be compromised, since a movie
company was writing his paycheck. Ebert insisted that while the Disney deal made
him rich, his independence was untarnished.
Ebert's criticism could be unsparing. He said of J.J. Abrams' "Mission:
Impossible III" (2006) that "modern high-tech action sequences are just the same
damn thing over and over again." In a 2000 book, "I Hated, Hated, Hated This
Movie," Ebert rounded up some of his more scathing reviews of films whose
"degree of badness" ranged from "deplorable" to "merely hilariously misguided,"
he wrote.
The critic had his own detractors. Some film veterans believed that his
"thumbs-up, thumbs-down" rankings (really good movies earned two thumbs "way
up") made criticism less thoughtful, even infantile. During the late 1980s,
influential New Yorker magazine critic Pauline Kael ridiculed Siskel and Ebert
as "the Katzenjammer Kids," the comic strip's goofball twins.
In 2008, Ebert came under fire for writing a negative review of the independent
film "Tru Loved" after viewing only eight minutes of it, a fact he revealed at
the review's conclusion. Ebert apologized on his blog and posted a review of the
film, which was still negative, after watching it in its entirety.
Roger Joseph Ebert was born June 18, 1942, in Urbana, Ill., the only child of
Walter, a University of Illinois electrician, and Wanda, a bookkeeper. He often
saw movies with an aunt.
Shortly before his father died of cancer in 1960, Ebert won first place in an
Illinois Associated Press sportswriting contest. The high school senior already
worked for a local paper.
At the University of Illinois, Ebert edited the student newspaper and freelanced
for Chicago newspapers. After receiving a bachelor's degree in journalism, he
dropped out of a University of Chicago doctoral program to take a Sun-Times
feature-writing job.
Before he became a recognizable critic, Ebert wrote several 1970s B-movie
screenplays, including "Beyond the Valley of the Dolls" and "Beneath the Valley
of the Ultra-Vixens"; none attracted terribly strong notices.
His writing ease amazed and annoyed colleagues. While others agonized, he was
known to stroll into the office half an hour before deadline, tell some jokes,
then pound out his piece.
The idea for the TV show that would make him a multimillionaire was hatched by
two Chicago public television producers. One, Thea Flaum, insisted on pairing
Ebert with Siskel - the two were fierce archrivals - since Siskel wrote for the
competing Chicago Tribune.
Ebert was "the most hated guy in my life," Siskel once said. Ebert later said,
"I think each of us initially said yes because we didn't want the other guy to
do it first." Well after the show was a hit, they could refuse to share an
elevator.
"Opening Soon at a Theater Near You" debuted in 1975. The format remained
relatively constant: Two critics sit in movie seats, one offers a synopsis of a
new film, clips are shown, and the critics debate the film's merits.
Even though their tastes were often similar, Siskel and Ebert made much of their
differences - one was bald, the other overweight, Siskel the more intellectual,
Ebert the more populist. They could bicker like an old married couple, which
made the show endearing to many and unbearable to a few.
"Sometimes, in the heat of argument, it sure feels like hate," Siskel said in
1998 of his relationship with Ebert. "You can't pay two guys all of their adult
lives to have opinions and not expect them to have strong opinions about each
other."
By the end of the first season, the show was on more than 100 public television
stations. In 1978, it was named "Sneak Previews" and moved to PBS, reaching 180
markets, making it the highest-rated entertainment show in the history of public
broadcasting, Television Week reported.
By 1982, the program was syndicated by Tribune Entertainment and called "At the
Movies." Four years later, along with another name change, to "Siskel & Ebert at
the Movies," came yet another syndication distributor - Disney's Buena Vista
Entertainment, and the idea to incorporate the opposable thumb into their on-air
reviews, a concept that Ebert claimed as his own.
"The Siskel-Ebert chemistry was perfect," Thompson said. "They were both
curmudgeons, and neither one was attractive in conventional TV terms. The style
of the show was one step up from cable access.... That was a good, shrewd choice
for them, because so much in the film world had been slicked-up to within an
inch of its life."
At the University of Chicago, Ebert taught film studies for years, and he
recorded DVD commentaries for favorite films, including "Citizen Kane."
Ebert's books included the predictable but popular collections of reviews, but
also fiction ("Behind the Phantom's Mask") and travelogues ("The Perfect London
Walk"). In 1987, he published a memoir of the Cannes Film Festival, "Two Weeks
in the Midday Sun" and in 2012, a personal memoir, "Life Itself."
After Siskel died, Ebert auditioned 38 potential co-hosts. His last TV partner,
Richard Roeper, had not sought the job; he is a Sun-Times pop culture columnist.
When cancer left Ebert unable to speak, Disney covered for his absence with a
series of fill-in hosts before settling on Michael Phillips of the Chicago
Tribune.
In 2008, Ebert and Roeper cut ties with Disney and the show. They announced
plans to put together a new review show featuring the pair but it did not
materialize.
With professional help, Ebert had lost about 100 pounds but was frustrated that
people linked his initial weight loss to his cancer. The once-robust, stout and
avuncular critic had given way to a much frailer man who relished the voice he
still had through the written word.
"It is saving me," he said in 2010 in Esquire.
Ebert often said what he admired most about Siskel was his obvious love for his
wife and children. When Ebert married Chaz Hammelsmith, an attorney, in 1992,
she was a divorced mother of two in her 40s. He was 50.
He was "so grateful to have a family," Marsha Jordan, a Chicago television
producer, said in 2005. "This woman came along at a time when she brought
exactly what he needed."
Ebert's wife survives him.
At the conclusion of his final blog post this week, Ebert wrote, "On this day of
reflection I say again, thank you for going on this journey with me. I'll see
you at the movies."
john...@latimes.com
valerie...@latimes.com
Times staff writer Scott Collins contributed to this report.
Copyright � 2013, Los Angeles Times
http://www.latimes.com/news/obituaries/la-me-roger-ebert-20130405,0,7121655.story
Roger Ebert dies at 70; Pulitzer Prize-winning film critic
Roger Ebert gave independent films popular appeal, and his 'thumbs-up,
thumbs-down' ratings on TV were both coveted and scorned. The prolific critic
continued to write reviews while battling cancer in recent years.
By John Horn and Valerie J. Nelson, Los Angeles Times
2:13 PM PDT, April 4, 2013
Roger Ebert, the Pulitzer Prize-winning movie critic whose gladiatorial
"thumbs-up, thumbs-down" assessments turned film reviewing into a television
sport and whose passion for independent film helped introduce a new generation
of filmmakers to moviegoers, has died. He was 70.
Ebert, who had battled cancer in recent years, died Thursday in Chicago,
according to the Chicago Sun-Times, where he wrote for 46 years. He had
undergone several surgeries to remove cancerous tumors from his thyroid and
salivary glands, ultimately losing his jaw and speaking voice to the disease.
While his cancer diagnosis and the resulting treatments forced him briefly to
pull back from criticism in 2006, he remained active as a writer and maintained
a powerful presence on social media sites that included his award-winning blog,
Roger Ebert's Journal, where he candidly discussed his failing health. By his
count, in 2012 he wrote more than 300 reviews, more than in any year of his
career.
Earlier this week he announced on the blog that he would be taking "a leave of
presence" and scaling back from writing.
"It really stinks that the cancer has returned and that I have spent too many
days in the hospital," he wrote on his blog. "So on bad days I may write about
the vulnerability that accompanies illness. On good days, I may wax ecstatic
about a movie so good it transports me beyond illness."
In May 2008, he had returned to writing movie reviews for the Chicago Sun-Times
but essentially said goodbye to the TV show that made him famous. Cancer had
robbed him of his voice, and Ebert refused to face another surgery that could
restore it.
PHOTOS: Notable deaths of 2013
"I still have all my other abilities, including the love of viewing movies and
writing about them," Ebert wrote in 2008 in the Sun-Times.
As the longtime and prolific critic for the Chicago newspaper, he wrote reviews
while co-hosting a popular nationally syndicated TV show that, in the 1980s, was
known as "At the Movies." Ebert was the first movie critic to win journalism's
most prestigious award, collecting his Pulitzer in 1975, but he had the greatest
impact through his TV forum, which began that same year on Chicago public
television.
The TV reviews were not always the most sophisticated or reasoned, but they were
widely influential. Ebert and his co-host - most famously, rival Chicago Tribune
newspaper critic Gene Siskel, his broadcast partner for 23 years - would quarrel
over a film's merits, then render judgment with a simple thumbs-up or
thumbs-down score.
While the impact of any single film critic has declined in recent
years-moviegoers typically rely on aggregate scores and word-of-mouth advice-the
power of that single digit was profound. Hollywood marketing chiefs considered a
dual thumbs-up recommendation more important (and marketable) than any other
reviewer's praise, and prominently featured the marks in advertising. The thumbs
even were registered as a trademark.
Approval from Ebert and his sidekick not only could influence mainstream box
office fare but also deliver ticket buyers to more daring, artistic works that
relied upon critical word-of-mouth. This was how Ebert, with other critics,
successfully encouraged audiences to seek out independent films, which in recent
decades have come to dominate the Academy Awards.
To encourage its theatrical prospects, Ebert glowingly reviewed the documentary
"Hoop Dreams" before the independent film even premiered at the 1994 Sundance
Film Festival. He later named the high school basketball film the best cinema
work of the 1990s. He and Siskel also pushed audiences to see such movies as
diverse as 1986's "Tampopo" and 1992's "One False Move."
Ebert remained a champion of quality movies that had failed to attract wide
attention. In 1999, he launched a film festival now known as Ebertfest, an
annual celebration of usually independently financed films staged at his alma
mater, the University of Illinois in Champaign-Urbana.
At the 2009 Ebertfest, Ebert and his wife, Chaz, announced that they had given
the university a $1-million gift toward the creation of a film studies program.
When Siskel - who died at 53 from brain cancer in 1999 - and Ebert started their
movie review show more than 35 years ago, cineastes could browse highbrow film
journals and take in Francois Truffaut retrospectives at museums and
universities.
Average moviegoers subsisted on occasional magazine profiles or brief wire
service reviews in newspapers. Most coverage preceded a film's opening; opinions
about its execution were harder to find, particularly on television.
"What Siskel and Ebert did was to pioneer the middle ground," said Robert J.
Thompson, director of the Center for the Study of Popular Television at Syracuse
University. "They had a significant impact on film criticism."
Ebert also was one of the first journalists caught in the crossfire of media
consolidation. When the Walt Disney Co. began distributing his show in 1986,
analysts wondered if Ebert's integrity would be compromised, since a movie
company was writing his paycheck. Ebert insisted that while the Disney deal made
him rich, his independence was untarnished.
Ebert's criticism could be unsparing. He said of J.J. Abrams' "Mission:
Impossible III" (2006) that "modern high-tech action sequences are just the same
damn thing over and over again." In a 2000 book, "I Hated, Hated, Hated This
Movie," Ebert rounded up some of his more scathing reviews of films whose
"degree of badness" ranged from "deplorable" to "merely hilariously misguided,"
he wrote.
The critic had his own detractors. Some film veterans believed that his
"thumbs-up, thumbs-down" rankings (really good movies earned two thumbs "way
up") made criticism less thoughtful, even infantile. During the late 1980s,
influential New Yorker magazine critic Pauline Kael ridiculed Siskel and Ebert
as "the Katzenjammer Kids," the comic strip's goofball twins.
In 2008, Ebert came under fire for writing a negative review of the independent
film "Tru Loved" after viewing only eight minutes of it, a fact he revealed at
the review's conclusion. Ebert apologized on his blog and posted a review of the
film, which was still negative, after watching it in its entirety.
Roger Joseph Ebert was born June 18, 1942, in Urbana, Ill., the only child of
Walter, a University of Illinois electrician, and Wanda, a bookkeeper. He often
saw movies with an aunt.
Shortly before his father died of cancer in 1960, Ebert won first place in an
Illinois Associated Press sportswriting contest. The high school senior already
worked for a local paper.
At the University of Illinois, Ebert edited the student newspaper and freelanced
for Chicago newspapers. After receiving a bachelor's degree in journalism, he
dropped out of a University of Chicago doctoral program to take a Sun-Times
feature-writing job.
Before he became a recognizable critic, Ebert wrote several 1970s B-movie
screenplays, including "Beyond the Valley of the Dolls" and "Beneath the Valley
of the Ultra-Vixens"; none attracted terribly strong notices.
His writing ease amazed and annoyed colleagues. While others agonized, he was
known to stroll into the office half an hour before deadline, tell some jokes,
then pound out his piece.
The idea for the TV show that would make him a multimillionaire was hatched by
two Chicago public television producers. One, Thea Flaum, insisted on pairing
Ebert with Siskel - the two were fierce archrivals - since Siskel wrote for the
competing Chicago Tribune.
Ebert was "the most hated guy in my life," Siskel once said. Ebert later said,
"I think each of us initially said yes because we didn't want the other guy to
do it first." Well after the show was a hit, they could refuse to share an
elevator.
"Opening Soon at a Theater Near You" debuted in 1975. The format remained
relatively constant: Two critics sit in movie seats, one offers a synopsis of a
new film, clips are shown, and the critics debate the film's merits.
Even though their tastes were often similar, Siskel and Ebert made much of their
differences - one was bald, the other overweight, Siskel the more intellectual,
Ebert the more populist. They could bicker like an old married couple, which
made the show endearing to many and unbearable to a few.
"Sometimes, in the heat of argument, it sure feels like hate," Siskel said in
1998 of his relationship with Ebert. "You can't pay two guys all of their adult
lives to have opinions and not expect them to have strong opinions about each
other."
By the end of the first season, the show was on more than 100 public television
stations. In 1978, it was named "Sneak Previews" and moved to PBS, reaching 180
markets, making it the highest-rated entertainment show in the history of public
broadcasting, Television Week reported.
By 1982, the program was syndicated by Tribune Entertainment and called "At the
Movies." Four years later, along with another name change, to "Siskel & Ebert at
the Movies," came yet another syndication distributor - Disney's Buena Vista
Entertainment, and the idea to incorporate the opposable thumb into their on-air
reviews, a concept that Ebert claimed as his own.
"The Siskel-Ebert chemistry was perfect," Thompson said. "They were both
curmudgeons, and neither one was attractive in conventional TV terms. The style
of the show was one step up from cable access.... That was a good, shrewd choice
for them, because so much in the film world had been slicked-up to within an
inch of its life."
At the University of Chicago, Ebert taught film studies for years, and he
recorded DVD commentaries for favorite films, including "Citizen Kane."
Ebert's books included the predictable but popular collections of reviews, but
also fiction ("Behind the Phantom's Mask") and travelogues ("The Perfect London
Walk"). In 1987, he published a memoir of the Cannes Film Festival, "Two Weeks
in the Midday Sun" and in 2012, a personal memoir, "Life Itself."
After Siskel died, Ebert auditioned 38 potential co-hosts. His last TV partner,
Richard Roeper, had not sought the job; he is a Sun-Times pop culture columnist.
When cancer left Ebert unable to speak, Disney covered for his absence with a
series of fill-in hosts before settling on Michael Phillips of the Chicago
Tribune.
In 2008, Ebert and Roeper cut ties with Disney and the show. They announced
plans to put together a new review show featuring the pair but it did not
materialize.
With professional help, Ebert had lost about 100 pounds but was frustrated that
people linked his initial weight loss to his cancer. The once-robust, stout and
avuncular critic had given way to a much frailer man who relished the voice he
still had through the written word.
"It is saving me," he said in 2010 in Esquire.
Ebert often said what he admired most about Siskel was his obvious love for his
wife and children. When Ebert married Chaz Hammelsmith, an attorney, in 1992,
she was a divorced mother of two in her 40s. He was 50.
He was "so grateful to have a family," Marsha Jordan, a Chicago television
producer, said in 2005. "This woman came along at a time when she brought
exactly what he needed."
Ebert's wife survives him.
At the conclusion of his final blog post this week, Ebert wrote, "On this day of
reflection I say again, thank you for going on this journey with me. I'll see
you at the movies."
john...@latimes.com
valerie...@latimes.com
Times staff writer Scott Collins contributed to this report.
Copyright � 2013, Los Angeles Times
Scott Brady
Apr 4, 2013, 8:41:11 PM4/4/13
to Matthew Kruk
On Thursday, April 4, 2013 4:52:56 PM UTC-5, Matthew Kruk wrote:
> Ebert's criticism could be unsparing. He said of J.J. Abrams' "Mission:
> Impossible III" (2006) that "modern high-tech action sequences are just the same
> damn thing over and over again." In a 2000 book, "I Hated, Hated, Hated This
> Movie," Ebert rounded up some of his more scathing reviews of films whose
> "degree of badness" ranged from "deplorable" to "merely hilariously misguided,"
> he wrote.
There are only three movies I literally hate, and Ebert loved two of them. One of them, "Days of Heaven," is opening his 2013 film festival.
> Ebert's criticism could be unsparing. He said of J.J. Abrams' "Mission:
> Impossible III" (2006) that "modern high-tech action sequences are just the same
> damn thing over and over again." In a 2000 book, "I Hated, Hated, Hated This
> Movie," Ebert rounded up some of his more scathing reviews of films whose
> "degree of badness" ranged from "deplorable" to "merely hilariously misguided,"
> he wrote.
Brad Ferguson
Apr 4, 2013, 10:19:04 PM4/4/13
to
In article <adbcafd3-5caa-46b6...@googlegroups.com>,
What are the other two?
BTW, Ebert performed at least one public service in his lifetime: He
revealed what the initials J.D. stand for.
BTW, Ebert performed at least one public service in his lifetime: He
revealed what the initials J.D. stand for.
Gern Blanston
Apr 4, 2013, 11:06:11 PM4/4/13
to
I wonder what sort of review of his life he will get from God.
Scott Brady
Apr 5, 2013, 12:44:32 AM4/5/13
to
On Thursday, April 4, 2013 9:19:04 PM UTC-5, Brad Ferguson wrote:
> What are the other two?
"Back to the Future" and "Mr. Popper's Penguins." Not that they're the worst movies ever made (well, not having gotten through it, I'm giving the latter the benefit of the doubt). They just annoyed me on a personal level.
> What are the other two?
Brad Ferguson
Apr 5, 2013, 4:25:11 AM4/5/13
to
Message has been deleted
Scott Brady
Apr 5, 2013, 2:33:22 PM4/5/13
to
On Friday, April 5, 2013 7:09:08 AM UTC-5, News wrote:
> What specifically annoyed you about BTTF?
>
> I thought it was a fun movie.
>
> Above average. *** (out of ****)
The last half hour was manufactured suspense about whether they'd get back to the future, which was never in doubt, when the story was about how Marty would get his parents back together, and the implications if he couldn't. I couldn't wait for it to end.
> What specifically annoyed you about BTTF?
>
> I thought it was a fun movie.
>
> Above average. *** (out of ****)
The last half hour was manufactured suspense about whether they'd get back to the future, which was never in doubt, when the story was about how Marty would get his parents back together, and the implications if he couldn't. I couldn't wait for it to end.
Message has been deleted
R H Draney
Apr 6, 2013, 12:47:31 PM4/6/13
to
News filted:
>
>"Scott Brady" <sbra...@hotmail.com> wrote in message
>news:e14c2b41-8e1c-41f5...@googlegroups.com...
> Thanks.
> When was the last time you saw a comedy where it *didn't* end well?
> LOL
Black Adder....r
--
Me? Sarcastic?
Yeah, right.
>
>"Scott Brady" <sbra...@hotmail.com> wrote in message
>news:e14c2b41-8e1c-41f5...@googlegroups.com...
> When was the last time you saw a comedy where it *didn't* end well?
> LOL
Black Adder....r
--
Me? Sarcastic?
Yeah, right.
Scott Brady
Apr 7, 2013, 2:51:23 AM4/7/13
to
On Saturday, April 6, 2013 10:22:13 AM UTC-5, News wrote:
> When was the last time you saw a comedy where it *didn't* end well?
Or went that long without a laugh?
> When was the last time you saw a comedy where it *didn't* end well?
Or where you'd heard all the good jokes in Siskel & Ebert's review?
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