David McCallum, Star of Hit TV Series ‘The Man From U.N.C.L.E.’ and ‘NCIS,’ Dies at 90 

US actor David Mccallum poses, on June 10, 2009 during a photocall presenting the TV serie "Navy NCIS : Naval Criminal Investigative Service" at the 49th Monte Carlo Television Festival in Monaco. (AFP)
US actor David Mccallum poses, on June 10, 2009 during a photocall presenting the TV serie "Navy NCIS : Naval Criminal Investigative Service" at the 49th Monte Carlo Television Festival in Monaco. (AFP)
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David McCallum, Star of Hit TV Series ‘The Man From U.N.C.L.E.’ and ‘NCIS,’ Dies at 90 

US actor David Mccallum poses, on June 10, 2009 during a photocall presenting the TV serie "Navy NCIS : Naval Criminal Investigative Service" at the 49th Monte Carlo Television Festival in Monaco. (AFP)
US actor David Mccallum poses, on June 10, 2009 during a photocall presenting the TV serie "Navy NCIS : Naval Criminal Investigative Service" at the 49th Monte Carlo Television Festival in Monaco. (AFP)

Actor David McCallum, who became a teen heartthrob in the hit series "The Man From U.N.C.L.E." in the 1960s and was the eccentric medical examiner in the popular "NCIS" 40 years later, has died. He was 90.

McCallum died Monday of natural causes surrounded by family at New York Presbyterian Hospital, CBS said in a statement.

"David was a gifted actor and author, and beloved by many around the world. He led an incredible life, and his legacy will forever live on through his family and the countless hours on film and television that will never go away," said a statement from CBS.

Scottish-born McCallum had been doing well appearing in such films "A Night to Remember" (about the Titanic), "The Great Escape" and "The Greatest Story Ever Told" (as Judas). But it was "The Man From U.N.C.L.E." that made the blond actor with the Beatlesque haircut a household name in the mid-'60s.

The success of the James Bond books and films had set off a chain reaction, with secret agents proliferating on both large and small screens. Indeed, Bond creator Ian Fleming contributed some ideas as "The Man From U.N.C.L.E." was being developed, according to Jon Heitland's "The Man From U.N.C.L.E. Book."

The show, which debuted in 1964, starred Robert Vaughn as Napoleon Solo, an agent in a secretive, high-tech squad of crime fighters whose initials stood for United Network Command for Law and Enforcement. Despite the Cold War, the agency had an international staff, with McCallum as Illya Kuryakin, Solo’s Russian sidekick.

The role was relatively small at first, McCallum recalled, adding in a 1998 interview that "I’d never heard of the word ‘sidekick’ before."

The show drew mixed reviews but eventually caught on, particularly with teenage girls attracted by McCallum’s good looks and enigmatic, intellectual character. By 1965, Illya was a full partner to Vaughn’s character and both stars were mobbed during personal appearances.

The series lasted until 1968. Vaughn and McCallum reunited in 1983 for a nostalgic TV movie, "The Return of the Man From U.N.C.L.E.," in which the agents were lured out of retirement to save the world once more.

McCallum returned to television in 2003 in another series with an agency known by its initials — CBS’ "NCIS." He played Dr. Donald "Ducky" Mallard, a bookish pathologist for the Naval Criminal Investigation Service, an agency handling crimes involving the Navy or the Marines. Mark Harmon played the NCIS boss.

Co-star Lauren Holly took to X, formerly Twitter, to mourn: "You were the kindest man. Thank you for being you." The previously announced 20th anniversary "NCIS" marathon on Monday night will now include an "in memoriam" card in remembrance of McCallum.

The series built an audience gradually, eventually reaching the roster of top 10 shows. McCallum, who lived in New York, stayed in a one-bedroom apartment in Santa Monica when "NCIS" was in production.

"He was a scholar and a gentleman, always gracious, a consummate professional, and never one to pass up a joke. From day one, it was an honor to work with him and he never let us down. He was, quite simply, a legend," said a statement from "NCIS" Executive Producers Steven D. Binder and David North.

McCallum’s work with "U.N.C.L.E." brought him two Emmy nominations, and he got a third as an educator struggling with alcoholism in a 1969 Hallmark Hall of Fame drama called "Teacher, Teacher."

In 1975, he had the title role in a short-lived science fiction series, "The Invisible Man," and from 1979 to 1982 he played Steel in a British science fiction series, "Sapphire and Steel." Over the years, he also appeared in guest shots in many TV shows, including "Murder, She Wrote" and "Sex and the City."

He appeared on Broadway in a 1968 comedy, "The Flip Side," and in a 1999 revival of "Amadeus" starring Michael Sheen and David Suchet. He also was in several off-Broadway productions.

Largely based in the US from the 1960s onward, McCallum was a longtime American citizen, telling The Associated Press in 2003 that "I have always loved the freedom of this country and everything it stands for. And I live here, and I like to vote here."

David Keith McCallum was born in Glasgow in 1933. His parents were musicians; his father, also named David, played violin, his mother played cello. When David was 3, the family moved to London, where David Sr. played with the London Philharmonic and Royal Philharmonic.

Young David attended the Royal Academy of Music where he learned the oboe. He decided he wasn’t good enough, so he turned to theater, studying briefly at the Royal Academy of Dramatic Art. But "I was a small, emaciated blond with a caved chest, so there weren’t an awful lot of parts for me," he commented in a Los Angeles Times interview in 2009.

After time out for military service, he returned to London and began getting work on live television and movies. In 1957 he appeared in "Robbery Under Arms," an adventure set in early Australia, with a rising actress, Jill Ireland. The couple married that same year.

In 1963, McCallum was part of the large cast of "The Great Escape" and he and his wife became friendly with Charles Bronson, also in the film. Ireland eventually fell in love with Bronson and she and McCallum divorced in 1967. She married Bronson in 1968.

"It all worked out fine," McCallum said in 2009, "because soon after that I got together with Katherine (Carpenter, a former model) and we’ve been very happily married for 42 years."

McCallum had three sons from his first marriage, Paul, Jason and Valentine, and a son and daughter from his second, Peter and Sophie. Jason died of an overdose.

"He was a true Renaissance man — he was fascinated by science and culture and would turn those passions into knowledge. For example, he was capable of conducting a symphony orchestra and (if needed) could actually perform an autopsy, based on his decades-long studies for his role on NCIS," Peter McCallum said in a statement.

In 2007, when he was working on "NCIS," McCallum told a reporter: "I’ve always felt the harder I work, the luckier I get. I believe in serendipitous things happening, but at the same time, dedicating yourself to what you do is the best way to get along in this life."



Movie Review: Bob Dylan Biopic ‘A Complete Unknown’ Is Electric in More Ways than One

This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
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Movie Review: Bob Dylan Biopic ‘A Complete Unknown’ Is Electric in More Ways than One

This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)

“A Complete Unknown” certainly lives up to its title. You are hardly closer to understanding the soul of Bob Dylan after watching more than two hours of this moody look at America's most enigmatic troubadour. But that's not the point of James Mangold's biopic: It's not who Dylan is but what he does to us.

Mangold — who directed and co-wrote the screenplay with Jay Cocks — doesn't do a traditional cradle-to-the-near-grave treatment. He concentrates on the few crucial years between when Dylan arrived in New York in 1961 and when he blew the doors off the Newport Folk Festival in 1965 by adding a Fender Stratocaster.

That means we never learn anything about Dylan before he arrives in Manhattan's Greenwich Village with a guitar, a wool-lined bomber jacket, a fisherman's cap and ambition. And Dylan being Dylan, we just get scraps after that.

The world spins around him, this uber-cypher of American song. Women fall in love with him, musicians seek his orbit, fans demand his autograph, record executives fight over his signature. The Cuban Missile Crisis melds into the Kennedy assassination and the March on Washington. What does Dylan make of all this? The answer is blowing in the wind.

Any sane actor would run away from this assignment. Not Timothée Chalamet, and “A Complete Unknown” is his most ambitious work to date, asking him not only to play insecure-within-a-sneer but also to play and sing 40 songs in Dylan's unmistakable growl, complete with blustery harmonica.

The last big non-documentary attempt to understand Dylan was Todd Haynes' “I’m Not There,” which split the assignment among seven actors. Chalamet does it all, moving from callow, fresh-faced songsmith to arrogant, selfish New Yorker to jaded, staggering pop star to Angry Young Man. There are moments when Chalamet tilts his head down and looks at the world slyly, like Princess Diana. There are others when the resemblance is uncanny, but also moments when it is a tad forced. You cannot deny he's got the essence of Dylan down, though.

The movie's title is pulled from Dylan’s lyrics for “Like a Rolling Stone” and it's adapted from Elijah Wald’s book “Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties.” Dylan isn't a producer but did consult on the script.

It's not the most glowing profile, though the sheer brilliance of the songs — so many the movie might be deemed a musical — show Dylan's undeniable genius. Chalamet's Dylan is unfaithful, jealous and puckish. The movie suggests that adding electric guitar at Newport in '65 was less a brave stand for music’s evolution than a middle finger to anyone who dared put him in a box.

In some ways, “A Complete Unknown” uses some of the DNA from “I’m Not There.” The best clues to what's going on behind Dylan's shades are the refracted light from others, like Joan Baez, Johnny Cash, Woody Guthrie, Pete Seeger and a girlfriend called Sylvie Russo, based on Dylan’s ex Suze Rotolo, who is pictured on 1963’s album cover for “The Freewheelin’ Bob Dylan.”

Edward Norton is a hangdog Seeger hoping to harness Dylan for the goodness of folk, astonished by his talent. Monica Barbaro is a revelation as Baez, Dylan's on-again-off-again paramour. Boyd Holbrook is a sharklike, disrupting Cash, with the movie's best line: “Make some noise, B.D. Track some mud on the carpet.” And Elle Fanning is captivating as Russo, the sweetheart sucked into this crazy rock drama.

It's Baez and Russo who dig the deepest into trying to find out who Dylan is. They don't buy his stories about learning from the carnival and call him on his facade-building. “I don't know you,” Russo says, calling him a “mysterious minstrel” and urging him to “Stop hiding.” Too late, sister.

Mangold — who directed the Cash biopic “Walk the Line” — is always good with music and clearly loves being in this world. There's one scene that initially puzzles — Dylan stops on the street to buy a toy whistle — and you wonder why the director has wasted our time. Then we see Dylan pull it out at the top of the recording of “Highway 61 Revisited” and suddenly it answers all those years of wondering what that crazy sound was.

There are points to quibble — Dylan never faced a shout of “Judas!” from an enraged folkie at Newport; that came a year later in Manchester — but “A Complete Unknown” is utterly fascinating, capturing a moment in time when songs had weight, when they could move the culture — even if the singer who made them was as puzzling as a rolling stone.