Actor Dabney Coleman, Villainous Boss in ‘9 to 5,’ Dies at 92

Dabney Coleman appears on the set of "Courting Alex" at Warner Bros. studios in Burbank, Calif., on Jan. 25, 2006. (AP)
Dabney Coleman appears on the set of "Courting Alex" at Warner Bros. studios in Burbank, Calif., on Jan. 25, 2006. (AP)
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Actor Dabney Coleman, Villainous Boss in ‘9 to 5,’ Dies at 92

Dabney Coleman appears on the set of "Courting Alex" at Warner Bros. studios in Burbank, Calif., on Jan. 25, 2006. (AP)
Dabney Coleman appears on the set of "Courting Alex" at Warner Bros. studios in Burbank, Calif., on Jan. 25, 2006. (AP)

Dabney Coleman, a character actor who brought a glorious touch of smarm to the screen in playing comedic villains, mean-spirited bosses and outright jerks in films such as "9 to 5" and "Tootsie," has died at age 92.

Coleman "took his last earthly breath peacefully and exquisitely" in his Santa Monica, California home on Thursday, his daughter Quincy Coleman said in a statement on Friday on behalf of the family.

While best remembered for his arrogant, unctuous and uncaring characters, Coleman said it was all an act.

"It's me kidding around," Coleman once told the New York Times.

"That's just a guy that I'm playing, just to fool around, you know," he said.

Not all of Coleman's characters were cads. He won an Emmy playing a lawyer in the 1987 television movie "Sworn to Silence" and played Jane Fonda's decent dentist boyfriend in the 1981 film "On Golden Pond" and a federal security official in 1983's "War Games."

His final screen credit was playing John Dutton Sr. in the TV series "Yellowstone" in 2019.

Coleman was born on Jan. 3, 1932, in Austin, Texas. He studied law and served in the US Army before trying acting.

His early work in the 1960s and 1970s included one-off roles in a variety of television shows, as well as a semi-regular part as Marlo Thomas' neighbor in "That Girl."

His first movie job was 1965's "The Slender Thread," directed by his acting teacher and friend, Sydney Pollack, who would later hire him for "Tootsie."

Coleman's breakout role - and the one he said was his favorite - came in 1976 on producer Norman Lear's TV series "Mary Hartman, Mary Hartman." He played Merle Jeeter, the creepy mayor who has an affair with the title character, in that soap-opera spoof and in spinoffs "Fernwood Tonight" and "Forever Fernwood."

His first big movie role - and the one that established his acting persona - was in 1980 as Franklin Hart, the sexist, egotistical business executive who harasses underlings played by Fonda, Dolly Parton and Lily Tomlin until they take him hostage and boost corporate productivity in "9 to 5."

Coleman was no more likeable two years later in "Tootsie" as a soap opera director who runs afoul of Dustin Hoffman's dressed-in-drag title character.

In 1983, he took the comic villain role even further in his first starring television role. In the short-lived sitcom "Buffalo Bill," he played a radio talk show host whose idea of a tender marriage proposal was: "You're better than 90 percent of those bimbos out there."

"It is fun to play those characters because they are so well-defined," Coleman told People magazine in 1983.

In the 1980s and 1990s, he also starred in the sitcoms "The Slap Maxwell Story" as a sportswriter, "Drexell's Class" as a corporate raider turned teacher and "Madman of the People" as a magazine columnist working for his daughter. None of the shows lasted more than two seasons.

More recent roles included HBO's "Boardwalk Empire" in 2010-11 as the man who once controlled Atlantic City, New Jersey. His part had to be rewritten when Coleman was diagnosed with throat cancer, which left him unable to speak at times.

A devoted tennis player, Coleman was twice married and divorced. He had four children with his second wife, actress Jean Hale.

"My father crafted his time here on earth with a curious mind, a generous heart, and a soul on fire with passion, desire and humor that tickled the funny bone of humanity," the statement from his daughter said.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.