'Majestic' Greek 'Zorba' Star Irene Papas Dies at 93

Irene Papas was one of Greece's most renowned actors - INTERCONTINENTALE/AFP
Irene Papas was one of Greece's most renowned actors - INTERCONTINENTALE/AFP
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'Majestic' Greek 'Zorba' Star Irene Papas Dies at 93

Irene Papas was one of Greece's most renowned actors - INTERCONTINENTALE/AFP
Irene Papas was one of Greece's most renowned actors - INTERCONTINENTALE/AFP

Greek-born actor Irene Papas, famous for her fiery appearances in the internationally acclaimed "The Guns of Navarone" and "Zorba the Greek", died Wednesday at the age of 93.

Greece's Culture Minister Lina Mendoni in a statement said Papas was "majestic" and "the personification of Greek beauty on the cinema screen and theatre stage".

Her cause of death was not immediately known, but the actor had Alzheimer's Disease and had been frail for some time, AFP said.

One of Greece's most renowned actors, Papas appeared in over 60 films in a career spanning nearly six decades.

On screen and stage, she starred with A-list partners, including Richard Burton, Kirk Douglas and Jon Voight.

"Ordinary actors have trouble sharing the screen with her," the late film critic Roger Ebert wrote in 1969.

Widely known as Pappas but personally preferring a single 'p' in her surname, the actor was born Irene Lelekou in 1929 in the village of Chiliomodi near Corinth, into a family of schoolteachers.

Gifted with a deep voice, piercing eyes and a chiseled face likened to the Caryatid statues of ancient Greece, Papas began performing at the age of 15 in local cultural events before studying drama in Athens.

She made her cinema debut in the 1948 Greek drama "Fallen Angels", and later broke onto the international scene with "Dead City", the first Greek movie shown at the Cannes Film Festival in 1952.

'Not looking for a career'

"The Guns of Navarone" in 1961, in which she starred alongside Gregory Peck and Anthony Quinn, as a brooding Greek guerrilla fighter, was a landmark role in Papas's career.

She would again partner up with Quinn in 1964's "Zorba the Greek", another timeless classic.

"I left Greece to discover where the best acting was. I wanted to learn. I was not looking for a career," she told state TV ERT in 2002.

"If you do your job well, a career comes on its own."

In 1969, she played the widow of a murdered lawmaker in Costa-Gavras's Oscar-winning drama "Z".

Papas won several awards, including best actress at the 1961 Berlin Film Festival and the 2009 Golden Lion for lifetime achievement award in Venice.

Yet, she described herself as a "coward" who turned to theater to overcome timidness and struggled to reconcile her fiery on-screen persona with her real self.

'Fame gave me nothing'

"Fame gave me nothing," Papas said in a 2003 interview with Greek daily Eleftherotypia.

"In contrast, it destroyed my private life. Because the person who will approach me, let's say sexually, has already fallen in love with my image."

In 2004, she revealed a secret, long affair with Marlon Brando in the 1950s.

"We had a love story," she told Italy's Corriere della Sera daily.

At the age of 18, Papas married her acting tutor Alkis Papas. They had no children and soon divorced, but she kept her husband's surname.

In her final years, she lived near Athens' Acropolis, cared for by a niece as she battled Alzheimer's.



Movie Review: ‘Piece by Piece,’ a Very Odd Lego Doc about Pharrell Williams Snaps Together Somehow

 This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
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Movie Review: ‘Piece by Piece,’ a Very Odd Lego Doc about Pharrell Williams Snaps Together Somehow

 This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)

A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it's actually sort of on-brand.

“Piece by Piece” is a bright, clever song-filled biopic that pretends it's a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it's a bit of both.

Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in “Won’t You Be My Neighbor?,” “Roadrunner: A Film About Anthony Bourdain” and “Steve! (Martin): A Documentary in Two Pieces” — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.

The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it's very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.

Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it's his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter.

There are highs and lows and then highs again. A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt's Adrian Young's mohawk. (Take my money, Lego.)

We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.

The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams' collection of cool beats depicted as bouncing bricks with lights in them. There's Lego McDonald's nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.

Lego, while seemingly a restrictive medium — the hands are clips and everyone's walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth's lights as a distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements.

Music credits are notoriously hard to pin down — Williams claims to have created McDonald's notoriously mysterious jingle “I'm lovin' it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”

There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”

The documentary lags a little during Williams' way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.

“I think we're done,” are the last words we hear as the filmmakers finally give up. But they've left behind a trippy, sweet portrait of a genius, forever in building blocks.