Michael Lerner, ‘Barton Fink’ Oscar Nominee, Dies at 81

Michael Lerner appears at the opening night of Bette Midler in "I'll Eat You at Last: A Chat with Sue Mengers" at the Geffen Playhouse in Los Angeles on Dec. 5, 2013. (AP)
Michael Lerner appears at the opening night of Bette Midler in "I'll Eat You at Last: A Chat with Sue Mengers" at the Geffen Playhouse in Los Angeles on Dec. 5, 2013. (AP)
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Michael Lerner, ‘Barton Fink’ Oscar Nominee, Dies at 81

Michael Lerner appears at the opening night of Bette Midler in "I'll Eat You at Last: A Chat with Sue Mengers" at the Geffen Playhouse in Los Angeles on Dec. 5, 2013. (AP)
Michael Lerner appears at the opening night of Bette Midler in "I'll Eat You at Last: A Chat with Sue Mengers" at the Geffen Playhouse in Los Angeles on Dec. 5, 2013. (AP)

Michael Lerner, the Brooklyn-born character actor who played a myriad of imposing figures in his 60 years in the business, including monologuing movie mogul Jack Lipnick in “Barton Fink,” the crooked club owner Bugsy Calhoun in “Harlem Nights” and an angry publishing executive in “Elf” has died. He was 81.

His nephew, actor Sam Lerner, announced his death in an Instagram post Sunday. Sam Lerner wrote that his uncle died Saturday but did not provide further details. Neither his nor Michael Lerner’s representatives immediately responded to requests for further comment.

“He was the coolest, most confident, talented guy,” Sam Lerner wrote. “Everyone that knows him knows how insane he was — in the best way...we’re all lucky we can continue to watch his work for the rest of time. RIP Michael, enjoy your unlimited Cuban cigars, comfy chairs, and endless movie marathon.”

Born in 1941 to Romanian-Jewish parents and raised in Brooklyn's Red Hook neighborhood, Michael Lerner began acting locally as a teen and into his days at Brooklyn College, where he got the chance to play Willie Loman in “Death of a Salesman.”

His ambitions to pursue acting professionally crystalized when he received a Fulbright Scholarship and chose to study theater at the London Academy of Music and Dramatic Arts, where he lived in an apartment with Yoko Ono for a time, appearing in her short film “Smile” alongside Paul McCartney. His brother, Ken Lerner, also became an actor.

Lerner moved to Los Angeles in 1969, at the urging of an agent who saw his work at the American Conservatory Theatre in San Francisco. He started getting cast in television shows, including “M(asterisk)A(asterisk)S(asterisk)H,” “The Brady Bunch” and “The Rockford Files,” making his film debut in Paul Mazursky’s “Alex in Wonderland,” alongside Charlotte Rampling. But he considered his first significant role to be in the television movie “Ruby and Oswald” (he played Jack Ruby) with Brian Dennehy.

In 1981, he was cast in Bob Rafelson’s remake of “The Postman Always Rings Twice,” alongside Jack Nicholson, who he called one of the most generous actors he'd ever worked with, and Jessica Lange. A longtime cigar aficionado, Lerner felt out of his depths when he was asked to smoke a cigarette in a scene with Nicholson in a jail. Lerner said he held the cigarette with both hands.

He felt more comfortable playing cigar-smoking journalist and politician Pierre Salinger in “Missiles of October,” for which Jackie Kennedy once told him that he’d “out Pierre’d Pierre.”

Lerner also loved working with John Sayles on “Eight Men Out,” in which he played Arnold Rothstein, the crime boss who conspired to fix the 1919 World Series.

“Most of the time I don’t rehearse, but I do a lot of preparation. Especially for a biographical character or one of the studio heads,” he said in 2016. “I did a lot of research for Barton Fink and looked into Louis B. Mayer and all the moguls in Hollywood.”

Joel and Ethan Coen’s “Barton Fink,” released in 1991, is the film Lerner is most remembered for.

“I had auditioned for Joel and Ethan before, for Miller’s Crossing. So I walked into the room, as the character, and I don’t say hello to anybody. And I sit down behind my desk and do this big speech: ‘Bart! Bart! So great to see you,’” Lerner said in 2016. “I did the monologue the way I wanted to do it and I just walked out of the room and that was it. And Joel and Ethan were just sitting in a corner just laughing and laughing and that was it.”

Lerner, who drew inspiration from Preston Sturges movies, said the Coens didn’t give him much acting direction and “were a little nervous that I was talking so fast” but that they let him do what he wanted.

The role got him his first and only Oscar nomination, but in 1992, the Academy Award for supporting actor went to Jack Palance for “City Slickers.”

The Coens called him years later to do a cameo in “A Serious Man.”

Lerner also said he was frequently recognized for his turns in Eddie Murphy’s “Harlem Nights” and “Elf,” as Fulton Greenway. He also played Cher's father in the television spinoff of “Clueless.”

In the late 90s, he was excited to get a chance to work with Woody Allen on the film “Celebrity,” but it turned into a terrible experience, he said in a 2016 interview.

Lerner also appeared in several bigger blockbusters over the years, including “Godzilla” as Mayor Ebert, “X-Men: Days of Future Past,” as Senator Brickman, and “Mirror Mirror” as Baron.

“Those are good parts but not great acting roles,” Lerner said.

And he never felt cheated by being known as a “character actor” rather than a leading man. In 1999, in an interview with Cigar Aficionado, he said, simply, “Every role is a character role.”



Studio Ghibli Marks 40 Years, but Future Looks Uncertain

This file photo taken on June 29, 2023 shows a man sitting next to the character No Face from the Studio Ghibli film "Spirited Away" during a media preview for "The World of Studio Ghibli's Animation Exhibition Bangkok" before the public opening on July 1, in Central World shopping mall in Bangkok.(AFP)
This file photo taken on June 29, 2023 shows a man sitting next to the character No Face from the Studio Ghibli film "Spirited Away" during a media preview for "The World of Studio Ghibli's Animation Exhibition Bangkok" before the public opening on July 1, in Central World shopping mall in Bangkok.(AFP)
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Studio Ghibli Marks 40 Years, but Future Looks Uncertain

This file photo taken on June 29, 2023 shows a man sitting next to the character No Face from the Studio Ghibli film "Spirited Away" during a media preview for "The World of Studio Ghibli's Animation Exhibition Bangkok" before the public opening on July 1, in Central World shopping mall in Bangkok.(AFP)
This file photo taken on June 29, 2023 shows a man sitting next to the character No Face from the Studio Ghibli film "Spirited Away" during a media preview for "The World of Studio Ghibli's Animation Exhibition Bangkok" before the public opening on July 1, in Central World shopping mall in Bangkok.(AFP)

Japan's Studio Ghibli turns 40 this month with two Oscars and legions of fans young and old won over by its complex plots and fantastical hand-drawn animation.

But the future is uncertain, with latest hit "The Boy and the Heron" likely -- but not certainly -- the final feature from celebrated co-founder Hayao Miyazaki, now 84.

The studio behind the Oscar-winning "Spirited Away" has become a cultural phenomenon since Miyazaki and the late Isao Takahata established it in 1985.

Its popularity has been fueled of late by a second Academy Award in 2024 for "The Boy and the Heron", starring Robert Pattinson, and by Netflix streaming Ghibli movies around the world.

In March, the internet was flooded with pictures in its distinctively nostalgic style after the release of OpenAI's newest image generator, raising questions over copyright.

The newly opened Ghibli Park has also become a major tourist draw for central Japan's Aichi region.

Julia Santilli, a 26-year-old from Britain living in northern Japan, "fell in love with Ghibli" after watching the 2001 classic "Spirited Away" as a child.

"I started collecting all the DVDs," she told AFP.

Ghibli stories are "very engaging and the artwork is stunning", said another fan, Margot Divall, 26.

"I probably watch 'Spirited Away' about 10 times a year still."

- 'Whiff of death' -

Before Ghibli, most cartoons in Japan, known as anime, were made for children.

But Miyazaki and Takahata, both from "the generation that knew war", included darker elements that appeal to adults, Miyazaki's son Goro told AFP.

"It's not all sweet -- there's also a bitterness and things like that which are beautifully intertwined in the work," he said, describing a "whiff of death" in the films.

For younger people who grew up in peacetime, "it is impossible to create something with the same sense, approach and attitude," Goro said.

Even "My Neighbor Totoro," with its cuddly forest creatures, is in some ways a "scary" movie that explores the fear of losing a sick mother, he explained.

Susan Napier, a professor at Tufts University in the United States and author of "Miyazakiworld: A Life in Art", agrees.

"In Ghibli, you have ambiguity, complexity and also a willingness to see that the darkness and light often go together" unlike good-versus-evil US cartoons, she said.

The post-apocalyptic "Nausicaa of the Valley of the Wind" -- considered the first Ghibli film despite its release in 1984 -- has no obvious villain, for example.

The movie featuring an independent princess curious about giant insects and a poisonous forest felt "so fresh" and a change from "a passive woman... having to be rescued," Napier said.

- Natural world -

Studio Ghibli films also depict a universe where humans connect deeply with nature and the spirit world.

A case in point was 1997's "Princess Mononoke", distributed internationally by Disney.

The tale of a girl raised by a wolf goddess in a forest threatened by humans is "a masterpiece -- but a hard movie," Napier said.

It's a "serious, dark and violent" film appreciated more by adults, which "was not what US audiences had anticipated with a movie about a princess."

Ghibli films "have an environmentalist and animistic side, which I think is very appropriate for the contemporary world with climate change," she added.

Miyuki Yonemura, a professor at Japan's Senshu University who studies cultural theories on animation, said watching Ghibli movies is like reading literature.

"That's why some children watch Totoro 40 times," she said, adding that audiences "discover something new every time."

- French connection -

Miyazaki and Takahata, who died in 2018, could create imaginative worlds because of their openness to other cultures, Yonemura said.

Foreign influences included writer Antoine de Saint-Exupery and animator Paul Grimault, both French, and Canadian artist Frederic Back, who won an Oscar for his animation "The Man Who Planted Trees".

Takahata studying French literature at university "was a big factor," Yonemura said.

"Both Miyazaki and Takahata read a lot," she said. "That's a big reason why they excel at writing scripts and creating stories."

Miyazaki has said he was inspired by several books for "Nausicaa", including the 12th-century Japanese tale "The Lady who Loved Insects", and Greek mythology.

Studio Ghibli will not be the same after Miyazaki stops creating animation, "unless similar talent emerges," Yonemura said.

Miyazaki is "a fantastic artist with such a visual imagination" while both he and Takahata were "politically progressive," Napier said.

"The more I study, the more I realize this was a unique cultural moment," she said.

"It's so widely loved that I think it will carry on," said Ghibli fan Divall.

"As long as it doesn't lose its beauty, as long as it carries on the amount of effort, care and love," she said.