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Barbara Walters forged a path for women in journalism, but not without paying a price

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Barbara Walters forged a path for women in journalism, but not without paying a price
The Rulebreaker: The Life and Times of Barbara Walters, by Susan Page

In 1976, Barbara Walters became the first woman to co-anchor a national news show on prime time television. She was only in that role for two years, but her arrival changed news media.

“She’s such a consequential figure for journalists, not just for women journalists,” biographer Susan Page says. “The path she cut is one that many of us have followed.”

Page is the Washington bureau chief at USA Today and the author of The Rulebreaker: The Life and Times of Barbara Walters. Though they never met, Page says speaking to hundreds of Walters’ friends and colleagues and watching hours of her interview tapes gave her a sense of her subject.

Page describes Walters as a fearless journalist who didn’t shy away from controversy or tough questions. She battled sexism throughout her career — especially from her first co-anchor, Harry Reasoner, who, Page says, scowled at Walters’ presence and tracked how many words she spoke on-air compared to him.

After leaving the nightly news post, Walters became known for her long-form interviews. Her conversations, which blended news and entertainment, featured a wide range of subjects, including Fidel Castro, Vladimir Putin, Richard Nixon, Monica Lewinsky, Michael Jackson and Charles Manson. In 1997, she created The View, a daily talk show with an all-women cast of co-hosts.

“One thing that I thought was interesting about Barbara Walters is that she thought all sorts of people were interesting and worth talking to,” Page says. “She really expanded the world of interviews that [national] journalists were doing to include not just presidents, but also notorious murderers.”

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For Page, Walters’ success feels personal: “It never occurred to me when I was looking at a career in journalism that I couldn’t do big interviews with important people because Barbara Walters did. … Even though I’ve been in print journalism, not TV journalism, I benefited from the battles that Barbara Walters fought.”

Interview highlights

On her family life that drove her to work hard

Understanding the source of her drive was hard to understand and I think crucial. And I decided after doing all this reporting about her that, that there was a moment that ignited the drive in Barbara Walters, and that was when her mother called her and told her that her father had attempted suicide. Her mother didn’t call an ambulance. … [Barbara] called the ambulance. [Barbara] rode in the ambulance with her father to the hospital. And she realized almost in an instant that while she was going through her first divorce, she didn’t really have a career that as of that moment, she was going to be responsible for supporting her father, who had just tried to commit suicide, her mother, who was perpetually unhappy, and her special needs sister. And that that was going to require her to get serious, to make some money and to sustain that. She always had the sense that it could all disappear in an instant.

On news co-host Harry Reasoner’s hostility about working with Walters

He was so openly contemptuous of her on the air that the director stopped doing two shots. That is a shot where you could see Harry Reasoner watching Barbara Walters speak because he was always scowling. It was so bad that they got many letters from mostly women viewers complaining about how she was being treated. … It was really an untenable situation and one that took a while to unravel, and it was one that unnerved Barbara Walters. It was the one time in her career when she thought perhaps she had made an error so great that she would not recover. She said that she felt not only like she was drowning, but that there were people trying to hold her head under the water.

On a turning point in her career, when she interviewed Fidel Castro

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So this was in 1977. She was still officially the anchor [of ABC Evening News], but things were not going well. And she landed this interview with Fidel Castro, who had been interviewed only infrequently by Western journalists. And … she got in a boat and crossed the Bay of Pigs with him. He drove his jeep across the mountains with her sitting next to him, holding aloft his gun to keep water from splashing on. It was a great interview. A very tough interview. She asked him about freedom of the press, which didn’t exist in Cuba. She pressed him on whether he was married. This was a question that he had refused to answer. … So he finally gave up and answered it and said formally, no. So it was a great interview and it was a comeback interview for her. It both showed what she could do in an interview, and it made her feel more confident again.

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On her interview with Richard Nixon when she asked him if he wished he burned the Watergate tapes

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That was in a particularly difficult interview, because the only way the Nixon people agreed that she could do it was to do it live. There was no cutting out some extraneous matter to get that last question in, she had to be incredibly alert about controlling the interview so that she would have time to ask that question. And the other thing that we should know about that question is she always wanted to ask the question that everybody wanted to hear, even the toughest question possible, like would you have burned the tapes? She wanted to ask the one that people wanted to hear the answer to. That was one of [her] great gifts. And she figured out that by preparing for hours and hours and writing down proposed questions on small 3×5 cards and shuffling them and revising them, and finally having them typed on 5×7 cards to ask. She would let an interview go where it went. She didn’t always follow the cards, but she always had a plan in mind for how she wanted to get the interview started. What she wanted to do in the middle and the thing that she wanted to do at the close to give it a real kick.

On her friendship with Donald Trump

They were transactional friends. She went to his wedding. He went to the celebration of her third marriage. He was often a guest on The View when The View started in 1997. He was then a real estate developer in New York. And if they were short a guest, they could call up Donald Trump and he would come over and be on the show or even do a cameo skit. … And, in fact, one ABC executive told me, when Donald Trump got involved in politics, that there was a feeling, some discomfort, that she had given him a platform and a legitimacy that maybe he wouldn’t have had otherwise.

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On her preparation for her infamous Monica Lewinksy interview

Barbara Walters was working on asking the questions, but at the same time, Monica Lewinsky was working with her team on how to answer the questions. The question that gave the Monica Lewinsky team the most trouble was that question, “Do you still love him?” Because at the beginning of their practice sessions, she said yes. And then she said she couldn’t say no because she did love him. And she loved him some of the time. And, they warned that that was not an effective answer to have. So you hear her, in this interview giving the answer they had worked out, which was no. But then in her follow up, she does acknowledge that sometimes she does still have warm feelings for him. On the Barbara Walters side, they worked a long time on what the closing question would be, because that’s a powerful position in an interview like this, that last question. And they settled on, “What will you tell your children?”

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On Gilda Radner’s impression of her as “Baba Wawa,” mocking the way she spoke

She was wounded when she heard this. For one thing, even though there was this exaggerated lisp that Gilda Radner used, nobody had any doubt who she was parodying. And, Barbara Walters had this speech anomaly. She called it a bastard Boston accent. Other people called it a lisp. Whatever it was she had tried, she’d gone to voice coaches early in her career to try to fix it, and it failed. So her feelings were hurt when the skit was done on Saturday Night Live. Now, it also made her famous. She came to terms with it, but I think she always found it kind of hurtful. … When Gilda Radner died … Barbara Walters wrote a sympathy note to her widower, Gene Wilder, expressing sympathy on her death, and signed it, “Baba Wawa.”

On her reluctant retirement

She worked into her 80s. … When she was in her 70s, she was working at a time when most women had been involuntarily retired. So she worked as long as they would keep her on the air. But as she started to sometimes miss a step, there was concern that she would embarrass herself or undermine some of the professional work she had done. … The people at ABC convinced her it was time to retire. And then CNN came in with a secret offer to put her on the air at CNN, which she was considering when her friends came back and said, no, it’s time. … There was a grand finale on The View, where two dozen women prominent in journalism came and paid tribute to her. And on her last, big show on The View. And when she was backstage afterwards, one of them came up and said … “What do you want to do in your retirement?” And Barbara said, “I want more time.” Meaning I want more time on the air.

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On if she was happy

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I asked 100 people who knew her that question: Was she happy? And a few people said yes. Joy Behar of The View said “happy-ish,” which is not a bad answer, but most people said while she was proud of what she had done and that she loved the money and the prominence that she had won, that she paid this huge price on the personal side — she had three failed marriages. She was estranged for a time from her only daughter. She never lost that feeling that she was always competing and could never stop and be content. So she had the most successful possible professional life, but I think she had kind of a sad, personal one.

Thea Chaloner and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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Timothée Chalamet brings a lot to the table in ‘Marty Supreme’

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Timothée Chalamet brings a lot to the table in ‘Marty Supreme’

Timothée Chalamet plays a shoe salesman who dreams of becoming the greatest table tennis player in the world in Marty Supreme.

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Last year, while accepting a Screen Actors Guild award for A Complete Unknown, Timothée Chalamet told the audience, “I want to be one of the greats; I’m inspired by the greats.” Many criticized him for his immodesty, but I found it refreshing: After all, Chalamet has never made a secret of his ambition in his interviews or his choice of material.

In his best performances, you can see both the character and the actor pushing themselves to greatness, the way Chalamet did playing Bob Dylan in A Complete Unknown, which earned him the second of two Oscar nominations. He’s widely expected to receive a third for his performance in Josh Safdie’s thrilling new movie, Marty Supreme, in which Chalamet pushes himself even harder still.

Chalamet plays Marty Mauser, a 23-year-old shoe salesman in 1952 New York who dreams of being recognized as the greatest table-tennis player in the world. He’s a brilliant player, but for a poor Lower East Side Jewish kid like Marty, playing brilliantly isn’t enough: Simply getting to championship tournaments in London and Tokyo will require money he doesn’t have.

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And so Marty, a scrappy, speedy dynamo with a silver tongue and inhuman levels of chutzpah, sets out to borrow, steal, cheat, sweet-talk and hustle his way to the top. He spends almost the entire movie on the run, shaking down friends and shaking off family members, hatching new scams and fleeing the folks he’s already scammed, and generally trying to extricate himself from disasters of his own making.

Marty is very loosely based on the real-life table-tennis pro Marty Reisman. But as a character, he’s cut from the same cloth as the unstoppable antiheroes of Uncut Gems and Good Time, both of which Josh Safdie directed with his brother Benny. Although Josh directed Marty Supreme solo, the ferocious energy of his filmmaking is in line with those earlier New York nail-biters, only this time with a period setting. Most of the story unfolds against a seedy, teeming postwar Manhattan, superbly rendered by the veteran production designer Jack Fisk as a world of shadowy game rooms and rundown apartments.

Early on, though, Marty does make his way to London, where he finagles a room at the same hotel as Kay Stone, a movie star past her 1930s prime. She’s played by Gwyneth Paltrow, in a luminous and long-overdue return to the big screen. Marty is soon having a hot fling with Kay, even as he tries to swindle her ruthless businessman husband, Milton Rockwell, played by the Canadian entrepreneur and Shark Tank regular Kevin O’Leary.

Marty Supreme is full of such ingenious, faintly meta bits of stunt casting. The rascally independent filmmaker Abel Ferrara turns up as a dog-loving mobster. The real-life table-tennis star Koto Kawaguchi plays a Japanese champ who beats Marty in London and leaves him spoiling for a rematch. And Géza Röhrig, from the Holocaust drama Son of Saul, pops up as Marty’s friend Bela Kletzki, a table tennis champ who survived Auschwitz. Bela tells his story in one of the film’s best and strangest scenes, a death-camp flashback that proves crucial to the movie’s meaning.

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In one early scene, Marty brags to some journalists that he’s “Hitler’s worst nightmare.” It’s not a stretch to read Marty Supreme as a kind of geopolitical parable, culminating in an epic table-tennis match, pitting a Jewish player against a Japanese one, both sides seeking a hard-won triumph after the horrors of World War II.

The personal victory that Marty seeks would also be a symbolic one, striking a blow for Jewish survival and assimilation — and regeneration: I haven’t yet mentioned a crucial subplot involving Marty’s close friend Rachel, terrifically played by Odessa A’zion, who’s carrying his child and gets sucked into his web of lies.

Josh Safdie, who co-wrote and co-edited the film with Ronald Bronstein, doesn’t belabor his ideas. He’s so busy entertaining you, as Marty ping-pongs from one catastrophe to the next, that you’d be forgiven for missing what’s percolating beneath the movie’s hyperkinetic surface.

Marty himself, the most incorrigible movie protagonist in many a moon, has already stirred much debate; many find his company insufferable and his actions indefensible. But the movies can be a wonderfully amoral medium, and I found myself liking Marty Mauser — and not just liking him, but actually rooting for him to succeed. It takes more than a good actor to pull that off. It takes one of the greats.

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The Best of BoF 2025: A Year of Global Upheaval

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The Best of BoF 2025: A Year of Global Upheaval
Trade turmoil, luxury’s slowdown and shifting consumer behaviours reshaped global fashion in 2025, pressuring manufacturers from Vietnam to China while opening frontiers in India, Africa and Latin America. But creative resilience and bold investment signalled where the industry may find its next wave of growth.
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Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died

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Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died

Hungarian director Béla Tarr at the Berlin International Film Festival in 2011.

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Béla Tarr, the Hungarian arthouse director best known for his bleak, existential and challenging films, including Sátántangó and Werckmeister Harmonies, has died at the age of 70. The Hungarian Filmmakers’ Association shared a statement on Tuesday announcing Tarr’s passing after a serious illness, but did not specify further details.

Tarr was born in communist-era Hungary in 1955 and made his filmmaking debut in 1979 with Family Nest, the first of nine feature films that would culminate in his 2011 film The Turin Horse. Damnation, released in 1988 at the Berlin International Film Festival, was his first film to draw global acclaim, and launched Tarr from a little-known director of social dramas to a fixture on the international film festival circuit.

Tarr’s reputation for films tinged with misery and hard-heartedness, distinguished by black-and-white cinematography and unusually long sequences, only grew throughout the 1990s and 2000s, particularly after his 1994 film Sátántangó. The epic drama, following a Hungarian village facing the fallout of communism, is best known for its length, clocking in at seven-and-a-half hours.

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Based on the novel by Hungarian writer László Krasznahorkai, who won the Nobel Prize in Literature last year and frequently collaborated with Tarr, the film became a touchstone for the “slow cinema” movement, with Tarr joining the ranks of directors such as Andrei Tarkovsky, Chantal Akerman and Theo Angelopoulos. Writer and critic Susan Sontag hailed Sátántangó as “devastating, enthralling for every minute of its seven hours.”

Tarr’s next breakthrough came in 2000 with his film Werckmeister Harmonies, the first of three movies co-directed by his partner, the editor Ágnes Hranitzky. Another loose adaptation of a Krasznahorkai novel, the film depicts the strange arrival of a circus in a small town in Hungary. With only 39 shots making up the film’s two-and-a-half-hour runtime, Tarr’s penchant for long takes was on full display.

Like Sátántangó, it was a major success with both critics and the arthouse crowd. Both films popularized Tarr’s style and drew the admiration of independent directors such as Jim Jarmusch and Gus Van Sant, the latter of which cited Tarr as a direct influence on his films: “They get so much closer to the real rhythms of life that it is like seeing the birth of a new cinema. He is one of the few genuinely visionary filmmakers.”

The actress Tilda Swinton is another admirer of Tarr’s, and starred in the filmmaker’s 2007 film The Man from London. At the premiere, Tarr announced that his next film would be his last. That 2011 film, The Turin Horse, was typically bleak but with an apocalyptic twist, following a man and his daughter as they face the end of the world. The film won the Grand Jury Prize at the Berlin International Film Festival.

After the release of The Turin Horse, Tarr opened an international film program in 2013 called film.factory as part of the Sarajevo Film Academy. He led and taught in the school for four years, inviting various filmmakers and actors to teach workshops and mentor students, including Swinton, Van Sant, Jarmusch, Juliette Binoche and Gael García Bernal.

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In the last years of his life, he worked on a number of artistic projects, including an exhibition at a film museum in Amsterdam. He remained politically outspoken throughout his life, condemning the rise of nationalism and criticizing the government of Hungarian leader Viktor Orbán.

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