Judge Weighs Request to Withhold Investigation Records in Deaths of Gene Hackman and Wife

Gene Hackman poses during the 60th annual Golden Globe Awards in Beverly Hills, California, US, January 19, 2003. (Reuters)
Gene Hackman poses during the 60th annual Golden Globe Awards in Beverly Hills, California, US, January 19, 2003. (Reuters)
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Judge Weighs Request to Withhold Investigation Records in Deaths of Gene Hackman and Wife

Gene Hackman poses during the 60th annual Golden Globe Awards in Beverly Hills, California, US, January 19, 2003. (Reuters)
Gene Hackman poses during the 60th annual Golden Globe Awards in Beverly Hills, California, US, January 19, 2003. (Reuters)

A New Mexico court is weighing whether to block the disclosure of an array of records from an investigation into the deaths of actor Gene Hackman and his wife, Betsy Arakawa, at the request of the couple’s estate.

Santa Fe-based Judge Matthew Wilson scheduled a hearing Monday to consider a request from estate representative Julia Peters to seal photos, video and documents to protect the family’s constitutional right to privacy. The court put a temporary hold on the release of records pending the hearing.

The partially mummified remains of Hackman and Arakawa were found in their Santa Fe home on Feb. 26, when maintenance and security workers showed up at the home and alerted police. Authorities have confirmed Hackman, 95, died of heart disease with complications from Alzheimer’s disease about a week after his wife's death. Hackman may have been unaware Arakawa, 65, was dead.

Her cause of death was listed as hantavirus pulmonary syndrome, which is a rare, rodent-borne disease.

New Mexico’s open records law blocks public access to sensitive images, including depictions of dead bodies. Experts also say some medical information is not considered public record under the state Inspection of Public Records Act.

Peters has emphasized the possibly shocking nature of photographs and video in the investigation and potential for their dissemination by media in the bid to block them from being released.

The Hackman family estate's lawsuit also seeks to block the release of autopsy reports by the Office of the Medical Investigator and death investigation reports by the Santa Fe County Sheriff’s Office.

The bulk of death investigations by law enforcement and autopsy reports by medical investigators are typically considered public records under state law in the spirit of ensuring government transparency and accountability.

Authorities unraveled the mysterious circumstances of the couple's deaths and described their conclusions at a March 7 news conference without releasing most related written and photographic records.

One of the couple’s three dogs, a kelpie mix named Zinna, also was found dead in a crate in a bathroom closet near Arakawa. Two other dogs survived.

The written request to seal the records notes the couple placed “a significant value on their privacy and took affirmative vigilant steps” to safeguard it during their lives, including after they moved to Santa Fe and Hackman retired. The state capital is known as a refuge for celebrities, artists and authors.

Arakawa had no children, while Hackman is survived by three children from a previous marriage. Privacy likely also will play a role as the couple’s estate is settled. According to probate court documents, Hackman signed an updated will in 2005 leaving his estate to his wife, while the will she signed that same year directed her estate to him. With both of them dying, management of the estate is in Peters' hands.

A request is pending to appoint a trustee to administer assets in two trusts associated with the estate. Without trust documents being made public, it’s unclear who the beneficiaries are and how the assets will be divided.

Attorneys who specialize in estate planning in New Mexico say it’s possible more details could come out if there were any legal disputes over the assets. Even then, they said, the parties likely would ask the court to seal the documents.



Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)

The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s “F1,” a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor.

Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in “Top Gun: Maverick,” has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on “Maverick,” takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping score.

And, again, our central figure is an older, high-flying cowboy plucked down in an ultramodern, gas-guzzling conveyance to teach a younger generation about old-school ingenuity and, maybe, the enduring appeal of denim.

But whereas Tom Cruise is a particularly forward-moving action star, Brad Pitt, who stars as the driving-addicted Sonny Hayes in “F1,” has always been a more arrestingly poised presence. Think of the way he so calmly and half-interestedly faces off with Bruce Lee in Quentin Tarantino’s “Once Upon a Time ... in Hollywood.” In the opening scene of “F1,” he’s sleeping in a van with headphones on when someone rouses him. He splashes some water on his face and walks a few steps over to the Daytona oval, where he quickly enters his team’s car, in the midst of a 24-hour race. Pitt goes from zero to 180 mph in a minute.

Sonny, a long-ago phenom who crashed out of Formula One decades earlier and has since been racing any vehicle, even a taxi, he can get behind the wheel of, is approached by an old friend, Ruben Cervantes (Javier Bardem) about joining his flagging F1 team, APX. Sonny turns him down at first but, of course, he joins and “F1” is off to the races.

The title sequence, exquisitely timed to the syncopated rhythms of Zimmer’s score, is a blistering introduction. The hotshot rookie driver Noah Pearce (Damson Idris) is just running a practice lap, but Kosinski, his camera adeptly moving in and out of the cockpit, uses the moment to plunge us into the high-tech world of Formula One, where every inch of the car is connected to digital sensors monitored by a watchful team. Here, that includes technical director Kate McKenna (Kerry Condon) and Kaspar Molinski (Kim Bodnia), the team’s chief.

Verisimilitude is of obvious importance to the filmmakers, who bathe this very Formula One-authorized film in all the sleek operations and globe-trotting spectacle of the sport. That Apple, which produced the film, would even go for such a high-priced summer movie about Formula One is a testament to the upswing in popularity of a sport once quite niche in America, and of the halo effects of both the Netflix series “Formula 1: Drive to Survive” and the seven-time world champion Lewis Hamilton, an executive producer on “F1.”

Whether “F1” pleases diehards, I’ll leave to more ardent followers of the circuit. But what I can say definitively is that Claudio Miranda knows how to shoot it. The cinematographer, who has shot all of Kosinski’s films as well as wonders like Ang Lee’s “Life of Pi,” brings Formula One to vivid, visceral life. When “F1” heads to the big races, Miranda is always simultaneously capturing the zooming cars from the asphalt while backgrounding it with the sweeping spectacle of a course like the UK’s fabled Silverstone Circuit.

OK, you might be thinking, so the racing is good; is there a story? There’s what I’d call enough of one, though you might have to go to the photo finish to verify that. When Sonny shows up, and rapidly turns one practice vehicle into toast, it’s clear that he’s going to be an agent of chaos at APX, a low-ranking team that’s in heavy debt and struggling to find a car that performs.

This gives Pitt a fine opportunity to flash his charisma, playing Sonny as an obsessive who refuses any trophy and has no real interest in money, either. The flashier, media-ready Noah watches Sonny's arrival with skepticism, and the two begin more as rivals than teammates. Idris is up to the mano-a-mano challenge, but he’s limited by a role ultimately revolving around and reducing to a young Black man learning a lesson in work ethic.

A relationship does develop, but “F1” struggles to get its characters out of the starting blocks, keeping them closer to the cliches they start out as. The actor who, more than anyone, keeps the momentum going is Condon, playing an aerodynamics specialist whose connection with Pitt’s Sonny is immediate. Just as she did in between another pair of headstrong men in “The Banshees of Inisherin,” Condon is a rush of naturalism.

If there’s something preventing “F1” from hitting full speed, it’s its insistence on having its characters constantly voice Sonny’s motivations. The same holds true on the race course, where broadcast commentary narrates virtually every moment of the drama. That may be a necessity for a sport where the crucial strategies of hot tires and pit-stop timing aren't quite household concepts. But the best car race movies — from “Grand Prix” to “Senna” to “Ferrari” — know when to rely on nothing but the roar of an engine.

“F1” steers predictably to the finish line, cribbing here and there from sports dramas before it. (Tobias Menzies plays a board member with uncertain corporate goals.) When “F1” does, finally, quiet down, for one blissful moment, the movie, almost literally, soars. It's not quite enough to forget all the high-octane macho dramatics before it, but it's enough to glimpse another road “F1” might have taken.