Colin Firth Says the Wet Pride and Prejudice Shirt is a Fake

The once-and-always Mr. Darcy never went for a dip in that lake.


Colin Firth is kind of puzzled about why his wet Darcy shirt is such a big deal. The scene in which he emerges from the lake in the BBC’s 1995 version of Pride and Prejudice was voted by British viewers as one of the 100 Greatest TV Moments of all time. He and Darcy were so conjoined in people’s minds that several of his subsequent roles made fun of his Austenesque heart-throbbiness. But as close watchers of the old series know, he never actually did emerge from the lake. And now he says the shirt, one of seven made for the series, was never really that wet. Is there no end to the media’s deceit?

Firth, who visited TIME to talk about his new historically based movie The Railway Man, a sort of love-story-that-becomes-a-war-story, also addressed his reputation as an ideal romantic leading man. According to him, it’s all about context: if someone creates a story about a dreamy person and you are cast in that role, you become dreamy. He claims anyone could be dreamy. Even Marty Feldman. “Although,” adds Firth, “he doesn’t particularly do it for me.”

And in a development that could well make Pride and Prejudice fans rethink their veneration of him, Firth revealed in a fuller interview with TIME that subscribers can read here, that, until he was cast as Darcy, he had never read a word of Austen.

Watch the full interview below.



The Miraculous Life of Gabriel García Márquez

Gabriel Garcia Marquez
Colombian Nobel laureate Gabriel Garcia Marquez. Hamilton—AP

The Nobel-winning author was a literary Columbus discovering a New World. His famous work One Hundred Years of Solitude established him as the defining member of what was called the “boom” in Latin American writing and a movement known as “magic realism”

When Gabriel García Márquez was born, in 1927, in the sleepy little town of Aracataca, not far from Colombia’s Caribbean coast, there were certain established fixities in the world of letters. The centers of gravity were Europe and North America, with a few auxiliary poles in Wellington, perhaps, or Calcutta. The novel, just beginning to be shaken up by Joyce and Woolf, told mainly of carriages moving under birch trees and conversations on rainy boulevards. Its characters, as often as not, were the people you might meet at dinner-parties thrown for Count Tolstoy or Marcel Proust.

By the time García Márquez died at 87 on April 17, all that had changed, and largely because of him. A new continent had been discovered, so it seemed, rich with tamarind trees and “pickled iguana,” and folk cultures everywhere had an epic voice. Villagers could be imagined seeking daguerreotypes of God, and men arriving on doorsteps amidst a halo of yellow butterflies. Macondo, a never-never town of almond trees and “banana wars” (a lot like Aracataca) had become as much a part of the reader’s neighborhood as Yoknapatawpha County or St. Petersburg.

The story behind this was, of course, half-miraculous. The eldest of 11 children, “Gabo,” as he was universally called, was born to a telegraph operator and a colonel’s daughter. When his parents moved to another city in search of work, he was left behind, a tropical Pip, to spend his early years with relatives. From his grandfather he heard tales of fatal duels and his country’s unending civil wars; from his aunts and grandmother, he absorbed all the spells and spirits sovereign in a world in which Arab and Indian and African cultures mixed. Scarcely was he out of his teens than the boy was publishing short stories in a newspaper, while studying law with a view to help the disenfranchised. The newspaper for which he also wrote columns was called—too perfectly— El Universal.

One day, after 18 months of continuous writing, he completed a book, his fifth, so large that his wife Mercedes had to pawn her hair dryer and an electric heater to pay for postage to send it to the publisher. Cien Años de Soledad was published in 1967 (such was the interest in Latin writing then that it did not even make it into English till three years later), and Pablo Neruda, South America’s reigning Nobel laureate, pronounced it “perhaps the greatest revelation in the Spanish language since the Don Quixote of Cervantes.” He could as easily have called it a narrative Alhambra, a palace in the Spanish tradition but fluent with foreign shapes and dizzy curlicues amidst the water and the orange trees.

One Hundred Years of Solitude promptly established García Márquez as the defining member of what was called the “boom” in Latin American writing and a movement known as “magic realism”; yet, really, he was throwing open the gates for writers from forgotten everywheres—you can see his influence in India’s Salman Rushdie, in Nigeria’s Ben Okri, even in Murray Bail from Australia.

He was, essentially, a trafficker in wonder. “Incredible things are happening in the world,” says a sometime alchemist in the first chapter of One Hundred Years of Solitude, as he sees a gypsy’s dentures; García Márquez’s realization was that the world of the alchemist, the dew still on it, could be equally incredible to the denture-maker. He spun out his tales of everyday miracles with such exuberance that 30 million copies of the book were not just bought around the world, but read.

Not one to stay put, he followed that imaginative dawn with The Autumn of the Patriarch, an unflinchingly political novel that consisted of just six paragraphs, each 30 pages or more in length, and his tales of unexpected innocence were forever intertwined with more hard-headed stories of the solitude that comes with power. Realistic enough to be a true romantic, he treated dreams and revolutions with equal weight: if his fabulous flights were always, he insisted, just the documentary work of a reporter with an eye for marvels, his non-fiction accounts of corruption such as News of a Kidnapping featured secret messages transmitted on TV programs and kidnappers offering talismans to their hostages. A friend to presidents as well as revolutionaries, Garcia Marquez never abandoned the public world: even in his seventies, 17 years after winning the Nobel Prize, the most famous man in Colombia was writing articles like a cub reporter.

Though García Márquez lived in Paris, Mexico City, Havana and Barcelona, he was proudly claimed by Colombia—by all South America—as one who had taken an area too often associated with murders and drugs, and infused it with an immortal light: a literary Columbus discovering a New World that would soon belong to us all. When he fell ill, therefore, in the summer of 1999, much of the continent seemed to hold its breath, urging “el maestro” back to health. And when he died on Thursday in his home in Mexico City, it did not seem impossible that a man could open his mouth, and songbirds would fly out.

Pico Iyer has written nonfiction books on globalism, Japan, the Fourteenth Dalai Lama, and forgotten places, and novels on Revolutionary Cuba and Islamic mysticism. He regularly writes on global culture and the news for TIME, on literature for The New York Review of Books and magazines around the world.

Watch Colin Firth Swear in Italian

Of course when he says bad words, they still sound classy


Colin Firth’s wife is Italian. Therefore Colin Firth speaks Italian. When Firth dropped by TIME’s offices to promote his new movie The Railway Man, he acknowledged that he spoke it well enough to make an Italian movie, as long as he were playing an English guy. Firth’s particularly fond of Italian insults, which he claims are more precise than the ones in the language you are currently reading.

In Firth’s new movie, which also stars Nicole Kidman, he plays a former POW who worked on the horrific Thai Burma railway during World War 2. (This one of the most brutal episodes of the Pacific theater, but is not as well-known as some of the horrors of Europe.) Firth’s character is based on a real person by the name of Eric Lomax, a railway enthusiast who survived the war but not without a marriage-damaging amount of emotional damage. Lomax is bent on revenge and the movie follows what happens after he finds one of his tormentors showing tourists around his old prison camp.

In the fuller interview, which subscribers can read here, Firth also talks about the horror of naked costars and what he feels about his dreamy reputation.

Watch a longer version of the interview below.


Gabriel García Márquez Dies at Age 87

Gabriel Garcia Marquez
Colombian Nobel laureate Gabriel Garcia Marquez. Hamilton—AP

The Nobel prize winning author of 'One Hundred Years of Solitude' passed away Thursday following an infection that hospitalized him in March. The Colombian writer was widely considered to be the most popular Spanish-language writer since Miguel de Cervantes

Famed novelist Gabriel García Márquez passed away on Thursday, according to a family member cited by the Associated Press. He was 87 years old.

The Colombian Nobel Prize winning author was hospitalized for nine days in late March for an infection in his lungs and urinary tract. He had been recovering in his home in Mexico City since April 8.

García Márquez, known as “Gabo,” was born in Aracataca, Colombia on March 6, 1927. The northern Colombian town inspired the setting for his 1967 novel One Hundred Years of Solitude, which earned international critical acclaim and tens of millions of readers. García Márquez earned even more fans with his 1985 book, Love in the Time of Cholera. He was considered by many to be the most popular Spanish-language writer since Miguel de Cervantes, who wrote Don Quixote in the 17th century.

García Márquez won the Nobel Prize for literature in 1982 for his novels and short stories. When he won the award, he called Latin America a “source of insatiable creativity, full of sorrow and beauty, of which this roving and nostalgic Colombian is but one cipher more, singled out by fortune. Poets and beggars, musicians and prophets, warriors and scoundrels, all creatures of that unbridled reality, we have had to ask but little of imagination, for our crucial problem has been a lack of conventional means to render our lives believable.” He is credited with helping to invent the literary genre of magical realism.

His death was confirmed by two family members who spoke anonymously to protect the family’s privacy.



Nas Documentary Time Is Illmatic Opens Tribeca Film Festival

Nas at Tribeca Film Festival.
Nas at Tribeca Film Festival. Andy Kropa—Invision/AP

Celebrating the 20th anniversary of his critically acclaimed debut album, Illmatic, rapper Nas kicked off the Tribeca Film Festival with a documentary screening and special performance

“Who woulda thunk it?” rapper Nasir “Nas” Jones asks early on in the documentary Time Is Illmatic, which opened the 13th annual Tribeca Film Festival on Wednesday night at New York City’s Beacon Theater.

The unlikely story of how Nas went from eighth-grade dropout to one of hip-hop’s most celebrated and intellectual rappers is the subject of the new documentary, which weaves together archival footage, family photos, and interviews with hip-hop legends to explore the behind-the-scenes making of Nas’ landmark debut, Illmatic, which turns 20 years old this week.

Festival co-founder Robert De Niro, who Nas joked “plays me in all his movies,” helped introduce the film, calling it a storyabout the making of an artist here in our hometown.” Directed by One9, Time Is Illmatic marks the second time in a row the festival has kicked off with a musical documentary — following last year’s Mistaken for Strangers, about the band The National.

Since its release in 1994, Illmatic has sold more than a million copies and been the subject of multiple books and scholarly works. Critics credit Nas’ poetic wordplay and intricate rhymes with reinvigorating East Coast rap at a time when the West Coast ruled, and the album has since become a gold standard for hip-hop debuts. Time Is Illmatic does its best to show why, splicing clips of Nas’ early performances to highlight the vivid imagery — “I went to hell for snuffing Jesus,” “I’m waving automatic guns at nuns” — that stunned New York producers and attracted record labels’ attention.

Of course, if there were any lingering doubts about the rapper’s talent and charisma after the film, Nas likely settled it with a performance of Illmatic, which also featured a surprise guest performance from Alicia Keys (who briefly appears in the movie). Sauntering on stage dressed in all black and clutching a bottle of Hennessy, Nas breezed through the nine-song set, only stopping between songs to tell stories about the album’s genesis to a theater full of the album’s collaborators.

Consider it his way of giving back. The documentary is a love letter to Illmatic, and it’s also an effective example of how politics and policy can shape art and popular culture. Time Is Illmatic spends far more documenting what happened outside of the studio than inside, providing a quick crash course in the history of white flight, the housing projects, local public education and the War on Drugs to contextualize Nas’ upbringing in the Queensbridge public housing development in Long Island City. In one of several interviews with hip-hop greats, rapper and producer Q-Tip offers a close reading of two lines from the song “One Love” — “Plus congratulations, you know you got a son / I heard he looks like you, why don’t your lady write you?” — to discuss the rampant incarceration of black men that destroyed many of the community’s families in what he calls “an African-American disease.”

Critics hailed Nas’s riveting tales of urban poverty and gang violence as a masterpiece, but on screen, Nas isn’t the most effective storyteller. The raspy rapper is quiet and pensive for much of the movie, leaving the most compelling accounts of the environment that produced Illmatic to others. His brother Jabari, whom Nas later joked was the real star of the film, offers the film’s most sobering moments as well as its funniest: In one scene, Jabari returns to the site of a murder he witnessed and describes the look on a late friend’s face as bullets passed through his body; moments later, he had the audience in fits of laugher after describing how he looked up from the concrete and asked Nas not to tell their mother about what happened.

Director One9 takes care to avoid making Time Is Illmatic an overly simplified story of a projects kid finding salvation in music: The rapper credits the involvement of his two parents with keeping him out of trouble as a child, but he notes that his father, blues musician Olu Dara, later split with his mom and encouraged him to drop out of school to educate himself. The film laments some generational changes in hip-hop, but it also explains the role of the crack epidemic in driving them. Instead of treating each Illmatic track as just another career milestone, the film uses them to illustrate larger points about the borough and the projects, covering years of Queensbridge rap without ever sensationalizing its history of drugs and violence.

In other words, Time Is Illmatic is as much about Nas as it his community, the story of Queensbridge told through one of its greatest artists. The most convincing way to tell the story of the neighborhood, it turns out, is not through its geography — it’s through the music.

“What you speak and put out into the universe,” Nas told the crowd between songs, “it’s real life.”


The Creator of Adventure Time Drew Himself As One of His Own Characters

Adventure Time
Illustration by Pendleton Ward for TIME

No, he's not making bacon pancakes

Pendleton Ward, the creator of the TV show Adventure Time, drew himself in the style of his popular cartoon for this week’s issue of TIME. Seen above are characters from his show, with Ward himself in the middle.

From left to right: Flame Princess, Cinnamon Bun, Tree Trunks, Shelby, Marceline, Gumdrop Lass, BMO, Pendleton Ward, Lumpy Space Princess, Finn, Princess Bubblegum, Jake, Ice King, Snail, Embryo Princess and Gunter.

Read TIME’s interview with Pendleton Ward here.


Five Movies You’ll Be Hearing About from This Year’s Cannes Film Festival

Jury members of the 66th Cannes Film Festival actress Nicole Kidman arrives for the screening of the film "Nebraska" during the 66th Cannes Film Festival in Cannes on May 23, 2013.
Eric Gaillard—Reuters

Ryan Gosling and Channing Tatum, plus K-Stew and R-Pattz and a very creepy Steve Carrell, bring snazz to the official selection at the world's biggest film festival

Let the binge begin! The Cannes Film Festival, the Riviera frolic that showcases hundreds of movies from around the world — including many that eventually achieve acclaim in the U.S. — today announced the lineup of its 67th edition, where plenty of Hollywood stars and internationally renowned directors will appear. The 11-day bash, which runs from May 16th to 26th, opens with Grace of Monaco, starring Nicole Kidman as the princess who reigned and died just a few miles down the Côte d’Azur from Cannes.

Festival director Thierry Fremaux likes to spark his lineup of serioso world cinema with young stars from popular Hollywood-spawned movies. So Kristen Stewart and Robert Pattinson, the Twilight Saga darlings who brought separate films to Cannes (On the Road and Cosmopolis) in 2012, will be together and apart again this year. K-Stew joins Chloë Grace Moretz and Juliette Binoche in Olivier Assayas’s Sils Maria, a backstage trauma-drama that promises Black Swan frissons. And in David Cronenberg’s Maps to the Stars, R-Pattz leads a high-powered cast that includes Julianne Moore, Mia Wasikowska and John Cusack. (Keep on reading for entries from Ryan Gosling and Channing Tatum.)

Cannes is a club that keeps inviting its most esteemed members. Some of this year’s venerable guests are winners of the Palme d’Or, the festival’s highest prize. The 71-year-old Mike Leigh (Secrets & Lies in 1996) returns with the biopic Mr. Turner, starring Timothy Spall as 19th-century painter J.M.W. Turner. Ken Loach, 77, who won for The Wind That Shakes the Barley in 2006, has Jimmy’s Hall, set during Ireland’s “Red Scare” of the 1930s. And the Belgian brothers Jean-Pierre and Luc Dardenne, mere pups at 62 and 60, and two-time laureates for Rosetta (1999) and L’enfant (2005), present Two Days, One Night (see below), which is not at all to be confused with the nutsy Korean reality show. The big treat for Euro-cinephiles: the promised return of 83-year-old enfant terrible Jean-Luc Godard, with Adieu au langage — goodbye, language!

Here are five movies that Mary Corliss and I are looking forward to at this, our 41st Cannes:

FOXCATCHER. Bennett Miller’s first two directorial efforts, Capote and Moneyball, earned 11 Oscar nominations and a win for Philip Seymour Hoffmann as Truman Capote. Miller reteams with Capote scripter Dan Futterman for another fact-based story, about Mark Schultz (Channing Tatum) and his older brother Dave (Mark Ruffalo), both Gold Medalists in wrestling at the 1984 Summer Olympics. They were sponsored by Team Foxcatcher, whose chief patron, paranoid schizophrenic plutocrat John du Pont (a creepy Steve Carell), shot and killed Dave. Sorry if that’s a spoiler, but you either knew this or will forget it by the time the movie opens in America later this year. Watch the trailer here.

THE HOMESMAN. Tommy Lee Jones, whose directorial debut The Three Burials of Melquiades Estrada won him the Best Actor prize at Cannes 2005, returns with a title that’s easier to pronounce. Pioneer woman (and fellow Oscar winner) Hilary Swank saves Jones from a hanging on the condition that he help her transport three madwomen — Hailee Steinfeld, Miranda Otto and Grace Gummer — across the Old West. “Three crazy women for five weeks is a lot more than I bargained for,” Jones mutters in the movie’s trailer. But it beats a hanging, doesn’t it? Gummer’s mom, Meryl Streep, is also along for the ride.

LOST RIVER. Method heartthrob Ryan Gosling, who launched Nicolas Winding Refn’s mob-tinged car-racer movie Drive in Cannes in 2011, was a no-show last year for Winding Refn’s Only God Forgives but sent a note of apology: “I was hoping to be coming but I am in the third week of shooting my movie.” Now he’s finished with his debut as writer-director, and the result will be shown in the sidebar section Un Certain Regard. Shot in Detroit, and originally called How to Catch a Monster, the film stars Christina Hendricks (Joan on Mad Men) as “a single mother swept into a dark underworld, while her teenage son discovers a road that leads him to a secret underwater town.” Sounds enticing to us. So do the character names of costars Eva Mendes and Saoirse Ronan: Cat and Rat.

THE SEARCH. Michel Hazanavicius won three Academy Awards (writing, directing and producing) for his silent-film tribute comedy The Artist. He returns with a talkie, and a very serious drama, that is also obliged to classic American cinema. The Search updates the 1948 Fred Zinnemann film of the same name, which starred Montgomery Clift as an Army private who finds a homeless child (Ivan Jandl, an Oscar winner for Outstanding Juvenile Performance) in the rubble of postwar Berlin and tries to help the boy locate his mother. Hazanavicius changed the venue to Chechnya for the new film, which stars his wife Bérénice Bejo, herself Oscar-nominated for The Artist, and Annette Bening.

TWO DAYS, ONE NIGHT. The Dardennes don’t usually cast top stars in their grinding dramas of working-class life. That changes with this story of a woman who has a weekend to convince her fellow workers to renounce their bonuses so she can keep her job. The woman is played by Marion Cotillard, Oscar winner for La vie en rose and Christopher Nolan’s go-to gal in Inception and The Dark Knight Rises. This is Cotillard’s fourth consecutive Cannes, after Midnight in Paris (2011), Rust & Bone (2012) and The Immigrant (2013). Ten years ago at the Festival, she won something called the Female Revelation award. Ah, the French!

Who won’t be at Cannes? Mystery man Terrence Malick (The Tree of Life), who has at least three features in some stage of completion, but none here. There’s Paul Thomas Anderson (There Will Be Blood, The Master), whose period crime yarn Inherent Vice, with Joaquin Phoenix and Josh Brolin, is another tantalizing might-have-been. And no James Franco. Having directed three films last year, each shown in a different major European festival (Berlin, Cannes and Venice), the indefatigable Franco must have decided he’s been there and done that.


VIDEO: Porsha Williams Charged With Battery for Real Housewives Fight

Even NeNe and Kim's drama never got this heated


Porsha Williams of the Real Housewives of Atlanta turned herself in to police after they issued an arrest warrant stemming from an on-screen fight between Williams and co-star Kenya Moore at the show’s reunion taping nearly a month ago.

She was charged with battery and released on a $2,000 bond, according to CNN.

The reality TV star obviously had time before getting her photo taken, and apparently, her mug shot looks pretty great — TMZ called it “the most glam mug shot ever.”

Watch the video above to see what happened.


VIDEO: Will Arnett Files for Divorce From Amy Poehler

The couple is officially ending their marriage after separating late 2012


Almost two years after the comedic power couple announced their separation, Will Arnett has officially filed for divorce from Amy Poehler.

The couple worked on several projects together after marrying in August 2003, but separated in September 2012. We’re still not over it.


VIDEO: Joan Rivers Slams Gwyneth Paltrow on Watch What Happens Live

Friendly reminder not to get on Joan Rivers' bad side


Last night, Fashion Police host Joan Rivers revealed on Watch What Happens Live that Gwyneth Paltrow is the celebrity who’s given her the harshest feedback regarding her E! show.

“The worst criticism was — ugh — Gwyneth Paltrow,” Rivers said while making a face.

And of course, in true Joan Rivers fashion, the jokes were enough to make even Andy Cohen hide his face.

Watch the video above to see what went down.

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