M. Emmet Walsh, Character Actor from ‘Blood Simple,’ ‘Blade Runner,’ Dies at 88 

M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)
M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)
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M. Emmet Walsh, Character Actor from ‘Blood Simple,’ ‘Blade Runner,’ Dies at 88 

M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)
M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)

M. Emmet Walsh, the character actor who brought his unmistakable face and unsettling presence to films including “Blood Simple” and “Blade Runner,” has died at age 88, his manager said Wednesday.

Walsh died from cardiac arrest on Tuesday at a hospital in St. Albans, Vermont, his longtime manager Sandy Joseph said.

The ham-faced, heavyset Walsh often played good old boys with bad intentions, as he did in one of his rare leading roles as a crooked Texas private detective in the Coen brothers’ first film, the 1984 neo-noir “Blood Simple.”

Joel and Ethan Coen said they wrote the part for Walsh, who would win the first Film Independent Spirit Award for best male lead for the role.

Critics and film geeks relished the moments when he showed up on screen.

Roger Ebert once observed that “no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad.”

Walsh played a crazed sniper in the 1979 Steve Martin comedy “The Jerk” and a prostate-examining doctor in the 1985 Chevy Chase vehicle “Fletch.”

In 1982’s gritty, “Blade Runner,” a film he said was grueling and difficult to make with perfectionist director Ridley Scott, Walsh plays a hard-nosed police captain who pulls Harrison Ford from retirement to hunt down cyborgs.

Born Michael Emmet Walsh, his characters led people to believe he was from the American South, but he could hardly have been from any further north.

Walsh was raised on Lake Champlain in Swanton, Vermont, just a few miles from the US-Canadian border, where his grandfather, father and brother worked as customs officers.

He went to a tiny local high school with a graduating class of 13, then to Clarkson University in Potsdam, New York, and the American Academy of Dramatic Arts in New York City.

He acted exclusively on the stage, with no intention of doing otherwise, for a decade, working in summer stock and repertory companies.

Walsh slowly started making film appearances in 1969 with a bit role in “Alice’s Restaurant,” and did not start playing prominent roles until nearly a decade after that when he was in his 40s, getting his breakthrough with 1978’s “Straight Time,” in which he played Dustin Hoffman’s smug, boorish parole officer.

Walsh was shooting “Silkwood” with Meryl Streep in Dallas in the autumn of 1982 when he got the offer for “Blood Simple” from the Coen brothers, then-aspiring filmmakers who had seen and loved him in “Straight Time.”

“My agent called with a script written by some kids for a low-budget movie,” Walsh told The Guardian in 2017. “It was a Sydney Greenstreet kind of role, with a Panama suit and the hat. I thought it was kinda fun and interesting. They were 100 miles away in Austin, so I went down there early one day before shooting.”

Walsh said the filmmakers didn’t even have enough money left to fly him to New York for the opening, but he would be stunned that first-time filmmakers had produced something so good.

“I saw it three or four days later when it opened in LA, and I was, like: Wow!” he said. “Suddenly my price went up five times. I was the guy everybody wanted.”

In the film he plays Loren Visser, a detective asked to trail a man’s wife, then is paid to kill her and her lover.

Visser also acts as narrator, and the opening monologue, delivered in a Texas drawl, included some of Walsh’s most memorable lines.

“Now, in Russia they got it mapped out so that everyone pulls for everyone else. That’s the theory, anyway,” Visser says. “But what I know about is Texas. And down here, you’re on your own.”

He was still working into his late 80s, making recent appearances on the TV series “The Righteous Gemstones” and “American Gigolo.”

And his more than 100 film credits included director Rian Johnson’s 2019 family murder mystery, “Knives Out” and director Mario Van Peebles’ Western “Outlaw Posse,” released this year.

Johnson was among those paying tribute to Walsh on social media.

“Emmet came to set with 2 things: a copy of his credits, which was a small-type single spaced double column list of modern classics that filled a whole page, & two-dollar bills which he passed out to the entire crew,” Johnson tweeted. “‘Don’t spend it and you’ll never be broke.’ Absolute legend.”



How the World’s Press Rated Paris’s Olympics Opening Ceremony

Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)
Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)
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How the World’s Press Rated Paris’s Olympics Opening Ceremony

Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)
Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)

Paris broke with tradition on Friday by turning the Olympic Opening Ceremony into a parade down the River Seine rather than a stadium-based show.

TV viewers around the world were treated to a spectacle performed on bridges, the riverbank and rooftops, culminating with French athletes Marie-Jose Perec and Teddy Riner lighting the Olympic cauldron and a performance from Canada's Celine Dion.

However, the 6,000-odd athletes, 3,000 performers, 300,000 spectators and dozens of world leaders had to endure heavy rain for much of the event.

Here's how the world's media judged Paris's ambitious ceremony:

FRANCE

Newspaper Le Monde wrote in a rave review that director Thomas Jolly "succeeded in his challenge of presenting an immersive show in a capital transformed into a gigantic stage".

Right-leaning Le Figaro said the show was "great but some of it was just too much". It said viewers "could have been spared" images including an apparent recreation of the painting of The Last Supper of Jesus and his apostles in front of a fashion show.

UNITED STATES

"Opening Ceremony Misses the Boat" headlined the New York Times's television review.

It wrote that the river parade "turned the ceremony into something bigger, more various and more intermittently entertaining. But it also turned it into something more ordinary — just another bloated made-for-TV spectacle".

The Washington Post was more glowing, noting that the organizer's "bold thinking" brought a shine back to an event that has seen its popularity wane in recent years.

CHINA

China's Xinhua state news agency said the ceremony succeeded in showcasing France.

"There were Can-Can girls, a homage to the reconstruction of Notre Dame and of course the French Revolution, with fireworks, heavy metal and singers who appeared to have lost a battle with the guillotine.

"If there was a downside to the ceremony, it is that any event performed over such a long distance has to struggle with continuity, and the big difference between this ceremony and others is that the parade of athletes was mixed in with the performances."

SOUTH KOREA

South Korean media noted the "impressive" imagination of using the whole city as the backdrop but the event was overshadowed by the country's team being misintroduced as North Korea.

South Korea's CBS radio said while the incident was no doubt an honest mistake, it was disappointing the Paris organizers failed at what should have been a very basic part of the event.

GERMANY

"As beautiful as it was mad," wrote Germany's Frankfurter Allgemeine. "France revolutionized the opening ceremony ... by the end even the rain had been defeated."

Tabloid Bild was bowled over by Celine Dion's return to the stage after four years, defying illness to "sing just as in the best of times. She deserves a gold medal for this performance."

BRITAIN

British tabloid The Sun joked "Wet The Games Begin!" on its front page alongside an image of the Eiffel Tower surrounded by laser beams, and described the ceremony as spectacular.

The Daily Mail's headline read "La Farce!", mainly in reference to the train disruption earlier in the day, but the paper also judged Paris's gamble on the weather had "backfired spectacularly".

A writer for the Guardian newspaper described the parade of boats on the Seine as "like watching an endless series of weirdly nationalistic office parties" but concluded Celine Dion had rescued the event with a "jaw dropping" performance.

ITALY

La Gazzetta dello Sport said the ceremony was "something unprecedented, even extraordinary. A great show or a long, tedious work, depending on your point of view and sensibility."

The mainstream Italian newspaper Il Corriere della Sera likened the show to a contemporary art performance, noting that "some (spectators) were bored, others were amused, many found the spectacle disappointing".

The left-leaning Italian daily La Repubblica said the ceremony overshadowed the athletes.

"A lot of France, a lot of Paris, very little Olympics.... a mirror that the immortal Paris turned on herself and discovered that she was so much, too much and soaking wet".