'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.



‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
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‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)

“Joker: Folie à Deux” is the No. 1 movie at the box office, but it might not be destined for a happy ending.
In a turn of events that only Arthur Fleck would find funny, the follow-up to Todd Phillips’ 2019 origin story about the Batman villain opened in theaters nationwide this weekend to a muted $40 million, according to studio estimates Sunday, less than half that of its predecessor. The collapse was swift and has many in the industry wondering: How did the highly anticipated sequel to an Oscar-winning, billion-dollar film with the same creative team go wrong?
Just three weeks ago, tracking services pegged the movie for a $70 million debut, which would still have been down a fair amount from “Joker’s” record-breaking $96.2 million launch in Oct. 2019. Reviews were mixed out of the Venice Film Festival, where it premiered in competition like the first movie and even got a 12-minute standing ovation, The Associated Press reported.
But the homecoming glow was short-lived, and the fragile foundation would crumble in the coming weeks with its Rotten Tomatoes score dropping from 63% at Venice to 33% by its first weekend in theaters. Perhaps even more surprising were the audience reviews: Ticket buyers polled on opening night gave the film a deadly D CinemaScore. Exit polls from PostTrak weren’t any better. It got a meager half star out of five possible.
"That’s a double whammy that’s very difficult to recover from," said Paul Dergarabedian, the senior media analyst for Comscore. “The biggest issue of all is the reported budget. A $40 or $50 million opening for a less expensive movie would be a solid debut."
“Joker: Folie à Deux” cost at least twice as much as the first film to produce, though reported figures vary at exactly how pricey it was to make. Phillips told Variety that it was less than the reported $200 million; Others have it pegged at $190 million. Warner Bros. released the film in 4,102 locations in North America. About 12.5% of its domestic total came from 415 IMAX screens.
Internationally, it's earned $81.1 million from 25,788 screens, bringing its total global earnings estimate to $121.1 million. In the next two weeks, “Joker 2” will also open in Japan and China.
Second place went to Universal and DreamWorks Animation's “The Wild Robot,” which added $18.7 million in its second weekend, bringing its domestic total to nearly $64 million. Globally, it's made over $100 million. Warner Bros.' “Beetlejuice Beetlejuice" took third place in weekend five, Paramount's “Transformers One” landed in fourth and Universal and Blumhouse's “Speak No Evil” rounded out the top five.
The other big new release of the weekend, Lionsgate's “White Bird,” flopped with just $1.5 million from just over 1,000 locations, despite an A+ CinemaScore.
Overall, the weekend is up from the same frame last year, but “Joker's” start is an unwelcome twist for theater owners hoping to narrow the box office deficit.
Phillips and star Joaquin Phoenix have said they aspired to make something as “audacious” as the first film. The sequel added Lady Gaga into the fold, as a Joker superfan, and delved further into the mind of Arthur Fleck, imprisoned at Arkham and awaiting trial for the murders he committed in the first. It’s also a musical, with elaborately imagined song and dance numbers to old standards. Gaga even released a companion album called “'Harlequin,” alongside the film.
In his review for The Associated Press, Jake Coyle wrote that “Phillips has followed his very antihero take on the Joker with a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was.”
The sequel has already been the subject of many think pieces, some who posit that the sequel was deliberately alienating fans of the first movie. In cruder terms, it’s been called a “middle finger.” But fans often ignore the advice of critics, especially when it comes to opening their wallets to see revered comic book characters on the big screen.
“They took a swing for the fences,” Dergarabedian said. “But except for a couple of outliers, audiences in 2024 seem to want to know what they’re getting when they’re going to the theater. They want the tried and true, the familiar.”
It has some high-profile defenders too: Francis Ford Coppola, who last week got his own D+ CinemaScore for his pricey, ambitious and divisive film “Megalopolis,” entered the Joker chat with an Instagram post.
“@ToddPhillips films always amaze me and I enjoy them thoroughly,” Coppola wrote. “Ever since the wonderful ‘The Hangover’ he’s always one step ahead of the audience never doing what they expect.”
“Megalopolis,” meanwhile, dropped a terminal 74% in its second weekend with just over $1 million, bringing its total just shy of $6.5 million against a $120 million budget.
Deadline editor Anthony D’Alessandro thinks the problem started with the idea to make the Joker sequel a musical. “No fan of the original movie wanted to see a musical sequel,” he wrote on Saturday.
The first film was also divisive and the subject of much discourse, then about whether it might send the wrong message to the wrong type of person. And yet people still flocked to see what the fuss was about. “Joker” went on to pick up 11 Oscar nominations, including best picture and best director, and three wins. It also made over $1 billion and was the highest-grossing R-rated film of all time, until this summer when Marvel's “Deadpool & Wolverine" took the crown.