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Return of the BIR benchmarking program

Let’s Talk Tax
By Richard R. Ibarra

Some taxpayers have reported receiving Benchmarking Notices from the Bureau of Internal Revenue (BIR). As in most cases, any letter or notice from the BIR is received with great trepidation and uncertainty. Generally, taxpayers should keep calm and not be unnecessarily anxious about the benchmarking notice.

Industry benchmarking is not a new program. This was originally instituted in 2006 through the issuance of Revenue Memorandum Order No. (RMO) 4-2006. However, it was not fully implemented at that time. Six year after, RMO 5-2012 was released to prescribe the revised guidelines and procedures in the conduct of industry performance benchmarking but on limited scale.

In January, the BIR issued Revenue Memorandum Circular No. 5-2017 prescribing the 2017 BIR Priority Programs. One of its main aims is the nationwide implementation of a Comprehensive Taxpayer Profiling and Industry Benchmarking. The return of the program is expected to contribute to this year’s target revenue collection of P1.829 trillion. Hence, it is not surprising if taxpayers are now receiving Benchmarking Notices from the BIR.

The program seeks to implement, on a nationwide basis, comprehensive taxpayer profiling and industry benchmarking activities to cover an expanded list of industries for all type of taxes and to monitor inputs as prescribed in RMO No.5-2012. Under the program, if a taxpayer is found to be below the industry benchmark, he is susceptible to receive a Benchmarking Notice from the BIR.

Let us revisit the program and assess how the taxpayer should handle the benchmarking notice.

WHAT IS BENCHMARKING?
Benchmarking of taxpayers refers to the process of setting standards to determine the performance level of taxpayers in a given industry or sector.

The BIR adopts the Performance Benchmarking Method as one of the modes of enhancing voluntary compliance pursuant to Section 5(E) in relation to Section (C) of the National Internal Revenue Code. Under this method, taxpayer data are captured in the Integrated Tax System (ITS). Such data are profiled and analyzed to determine the standard performance or tax compliance during the taxable period.

The objective is to measure and detect tax leakages and improve collections specifically on particular tax types such as VAT and income tax. It is also believed that the program can increase the voluntary compliance of the taxpayers.

HOW IS THE BENCHMARKING PROCESS IMPLEMENTED?
Benchmarking starts with the gathering of the taxpayers’ VAT returns, income tax return, and financial statements. The tax returns are sorted according to the specific industries or based on the Philippine Standard Industry Code (PSIC). PSIC is commonly used to identify and classify the specific business categories in business. From the chosen industry, a number of taxpayer are chosen to represent the industry population and their gross profit rate are computed. Computation of the gross profit is derived as follows:

Income Tax ratio = Income Tax Due divided by Total Sales or Revenue
VAT ratio = VAT Payment / VATable Gross Sales

Once the benchmark figures are established, a taxpayer will be tested based on its actual gross profit rate. The taxpayers who are more than 30% below the industry average ratio are classified as high risk taxpayers. Hence, they are prioritized to receive the Benchmarking Notices from BIR.

WHAT SHOULD THE TAXPAYER DO UPON RECEIVING A BENCHMARKING NOTICE?
Stay calm. The Notice is not automatically a tax audit. It is a request to explain fully in writing the reason for the taxpayer’s failure to measure up with set industry benchmark. Hence, the taxpayer must never ignore the Notice as failure to properly explain the difference may lead to a tax audit investigation or other enforcement activities.

In replying to the Notice, the taxpayer may either refute the findings or amend his tax returns and pay the correct taxes.

If the taxpayer chooses to refute the findings, he is given 15 days from receipt of the Notice to explain why his actual performance ratio falls below the benchmark. Note that the results of the findings on the Benchmarking Notice are not conclusive. The taxpayer can explain that even if the company belongs to the same industry, there are bound to be differences in terms of gross profit for various reasons such as business model, lifecycle, differences in functions or differences in risks assumed. For example, a taxpayer with a captive market will have different cost and pricing models as compared to a taxpayer without. Differences in business lifecycles can also influence the gross profit ratio. A start-up may use a lower gross profit ratio to penetrate the market while an established player may have the luxury of a higher gross profit ratio.

Considering that the benchmarking notice is not an audit notice, the taxpayer is not precluded from amending his tax returns. Hence, another alternative for the taxpayer is to amend the tax return and pay the VAT and/or Income Tax due if there were corresponding omissions or errors in the tax reporting.

The benchmarking notice is also designed to allow the taxpayer to realize its earning potential within the industry range. Hence, the result of the industry benchmark may possibly raise red flags on various operational issues such as cost models, inefficiencies in operations or transfer pricing issues on interrelated party transactions.

There are two sides to every coin and a benchmarking notice is no exception. On the one hand, it alerts the taxpayer that the BIR is probing as to its tax reporting. On the other hand, the taxpayer is also given precious information about gross profit ratios in his industry. He can use such information in improving his business and hopefully, reach if not surpass such gross profit ratio in the future.

Let's Talk Tax -- By Richard R. IbarraRichard R. Ibarra is a tax manager with the
Tax Advisory and Compliance division of
P&A Grant Thornton.

Yuan set for longest run since 2015 on GDP

THE onshore yuan rose for the sixth day in a row, the longest run of gains since 2015, boosted by a stronger central bank fixing and data showing China’s economy held up in the second quarter.

The yuan gained 0.05% to 6.7704 per dollar as of 5:14 p.m. in Shanghai, extending its six-day advance to 0.5%, after the People’s Bank of China set its daily fixing at the strongest level since November.

The offshore rate dropped 0.05% to 6.7696.

The nation’s gross domestic product (GDP) increased 6.9% in the three months through June, beating a Bloomberg survey’s median forecast of 6.8% growth. June industrial output, fixed-asset investment and retail sales all surpassed estimates as well.

“The sentiment on the yuan is relatively good as the policy makers appear to favor a stable currency that fluctuates in a narrow range,” said Tommy Xie, economist at Oversea-Chinese Banking Corp. “The yuan will be driven by the dollar throughout the rest of 2017, and there are no major domestic reasons for the currency to depreciate. It will end the year around 6.8 to 6.9 per dollar.”

The onshore yuan rose 0.5% last week, rising to the strongest closing level in eight months. — Bloomberg

How PSEi member stocks performed — July 17, 2017

Here’s a quick glance at how PSEi stocks fared on Monday, July 17, 2017.

071817PSEi1024

Venice Film Fest comes to PHL

THE OLDEST and one of the top three most prestigious festivals in the world, the Venice Film Festival, has found a home in the Philippines. The festival will be running from July 26 to 31 at Taguig City’s Venice Grand Canal Mall.

Sergio Boero, president of the Italian Chamber of Commerce in the Philippines, Inc. (ICCPI), said in a press conference on July 12 that the Philippine festival was born from his frustration when he could not find or buy locally a copy of Lav Diaz’s internationally acclaimed film The Woman Who Left (Ang Babaeng Humayo) when it won the prestigious Golden Lion award at the 73rd Venice Film Festival on Sept. 10, 2016. The four-hour film was commercially released in the Philippines on Sept. 28, two weeks after it bagged the award in Italy.

So, he coordinated with the Italian Embassy in the Philippines to bring the world’s oldest festival here.

“People are craving for different types of movies,” said Mr. Boero.

Launched in 1932, and one of the world’s most renowned festivals together with those of Berlin and Cannes, the Venice Festival in Manila will showcase eight Italian films and three Filipino movies. The Filipino films are Francis Xavier Pasion’s Jay, Brillante Mendoza’s Thy Womb, and Mr. Diaz’ Ang Babaeng Humayo, all of which have participated in previous Venice Festivals.

As in customary at the traditional Venice Festival, the 11 films included in the lineup were chosen and curated by the Biennale di Venezia, which organizes the festival. Two of the films to be shown are restored classic films, Profumo di Donna (1974) and Processo alla Citta (1952), while the rest of the Italian films were produced in 2016.

“We are certain that the selection of films that will be screened in Manila represents the most progressive and recent trends of Italian cinema… we hope that our proposed films will be received with enthusiasm, appreciation, and interest by Filipino cinephiles,” Biennale di Venezia organization said in a statement.

Organized by the Biennale di Venezia in collaboration with the Italian Embassy in Manila, and with the support of Manila’s Societa Dante Alighieri and ICCPI, the films include a veriety of genres — documentary, drama, comedy, crime and mystery.

The morning screenings are free while the afternoon screenings cost P50 per film.

The Italian films that will be shown during the Venice Film Festival in Manila are:

Piuma, directed by Roan Johnson. Nominated for the Golden Lion Best Film, it won special jury prize for best soundtrack. It tells the story of young couple who find their worlds turned upside down because of her unexpected pregnancy. The two navigate the most exciting and challenging nine months of their lives while juggling their passions.

Profumo di Donna (Scent of a Woman), directed by Dino Risi. The official Italian entry to the Oscar Awards in 1976. A blind captain, Fausto, is aided by his young assistant, Caccio, and together, they travel to Naples to meet a friend who was also disfigured in a military accident. While on journey, Fausto asks Caccio to help him find beautiful women and describe them to him. Unsatisfied with his description, he uses his nose to tell if a woman is beautiful or not.

Processo Alla Citta (Trial to the City), directed by Luigi Zampa. An entry to the Berlin International Film Festival, 1953. When a husband and wife are found dead, evidence points to the Camorra, a Neapolitan crime organization. In charge of the case is a young and courageous judge, who places the entire city under house arrest to get to the bottom of it.

L’Estate Addosso (Worn Summer), directed by Gabriele Muccino. It won the Venice Film Festival soundtrack award. A coming of age tale about four young people who despite their differences, discover that they have much in common. To achieve their own personal dreams, they will have to uncover and get to know themselves first.

Liberami (Free Me), directed by Federica Di Giacomo. The Venice Film Festival winner of the Horizon Award. A documentary, Liberami explores exorcisms done by Vatican-approved priests. It asks if the victims have mental disorders or are they really victims of demonic possession?

Tommaso, directed by Kim Rossi Stuart with Cristiana Capotondi and Jasmine Trinca. A perfectionist actor, Tommasso always ends his romantic relationships thinking that his partner is not the “one.” Until he meets Sonia.

Orecchie (Ears), directed by Alessandro Aronadio. A Venice Film Festival winner of the Arca Cinema Giovani Award. A man wakes up with a buzzing sound in his ears and finds a note that says: “Your friend, Luigi, has died. P.S. I took the car.” The problem is he cannot remember who Luigi is.

Questi Giorni (These Days), directed by Giuseppe Piccioni. Nominated for Golden Lion Best Film. This is a story of four college-aged girls from the countryside who are united by their habits, passions, and differences. — Nickky Faustine P. de Guzman

Downsizing to open Venice Film Festival

ROME — Oscar-winning US director Alexander Payne’s latest movie Downsizing is to open this year’s Venice Film Festival, while his compatriot Annette Bening will head the Mostra jury, organisers announced Saturday.

The sci-fi film, starring Matt Damon as a man who realizes he would have a better life if he shrank himself, will get its world premiere on Aug. 30 at the 74th Venice festival.

Co-starring Kristen Wiig as his wife Audrey, who is dreaming of a better life, the movie is due for general release at the end of the year.

Payne, who won the Academy Award for best adapted screenplay in 2004 and 2012, directed Mr. Schmidt starring Jack Nicholson in 2002, 2004’s Sideways, and 2013’s black and white Nebraska.

Oscar-nominated Bening, whose credits include American Beauty (1999) and The Kids are Alright (2010), will head the jury of the oldest film festival in the world.

The Venice Film Festival will run from July 30 to Aug. 9. — AFP

BBC television unveils first female Doctor Who

LONDON — British actress Jodie Whittaker was unveiled Sunday as the first woman to play Doctor Who, telling fans of the cult BBC science fiction series they should “not be scared by my gender.”

The 35-year-old, who starred in the British award-winning drama Broadchurch, will take over from Scottish actor Peter Capaldi later this year as 13th incarnation of the Time Lord.

Fans were treated to a brief glimpse of Whittaker, walking towards the Tardis in a forest, in a clip shown after the Wimbledon tennis final on BBC television.

Following the announcement, Whittaker said: “it feels incredible” to take on the role.

“It feels completely overwhelming, as a feminist, as a woman, as an actor, as a human, as someone who wants to continually push themselves and challenge themselves, and not be boxed in by what you’re told you can and can’t be,” she said.

The adventures of the doctor — a time travelling, humanoid alien who traverses the universe — have maintained a loyal following since they were first aired in 1963.

Whittaker anticipated some controversy over the choice of a woman as the new doctor despite such a move being well-trailed, but said viewers didn’t need to worry.

“I want to tell the fans not to be scared by my gender,” she said.

“Because this is a really exciting time, and Doctor Who represents everything that’s exciting about change. The fans have lived through so many changes, and this is only a new, different one, not a fearful one,” she added.

CHRISTMAS ‘REGENERATION’
Despite the high-profile announcement, viewers will have to wait until the end of the year before seeing Whittaker on screen.

Capaldi, who has held the role since 2013, will leave the show during the Christmas special by “regenerating” into the new doctor.

Whittaker will work alongside Broadchurch creator Chris Chibnall, who takes over as executive producer.

“I always knew I wanted the 13th Doctor to be a woman, and we’re thrilled to have secured our number one choice. Her audition for The Doctor simply blew us all away,” he said.

Chibnall remarked that there had been “a lot of secret-keeping” in the run-up to the announcement, while Whittaker said she had told “a lot of lies” to keep the news under wraps.

The show is aired around the world, and marked its 50th anniversary four years ago with a special episode screened simultaneously in nearly 100 countries.

Fans took to Twitter to air their views on the choice of the new doctor, with some accusing the producers of ruining the show.

Others were thrilled, with one post retweeted thousands of times showing a girl watching the trailer before exclaiming excitedly: “The new doctor is a girl!” — AFP

Film director George A. Romero, father of the zombie movie, 77

WASHINGTON — US filmmaker George A. Romero, whose 1968 cult classic Night of the Living Dead spawned the zombie movie genre, died on Sunday aged 77.

Tributes poured in from Hollywood and beyond for the legendary director who according to his manager Chris Roe passed away “listening to the score of The Quiet Man, one of his all-time favorite films.”

“He died peacefully in his sleep, following a brief but aggressive battle with lung cancer, and leaves behind a loving family, many friends, and a filmmaking legacy that has endured, and will continue to endure, the test of time,” Mr. Roe added in a brief statement.

Shot in black-and-white on a budget of just over $100,000, Night of the Living Dead daringly featured black actor Duane Jones as its lead in a script about a group of people attempting to survive an attack by reanimated corpses.

Some film scholars later suggested it was a subversive critique of US society during the 1960s, while its gory realism was reminiscent of footage from the Vietnam war that was airing on American TV at the time.

Besides the horror of flesh-eating zombies, the Dead films featured the theme of people who panic while under siege, turning on each other instead of uniting against their common enemy.

Romero, who was born in the Bronx borough of New York, was drawn to telling stories about monsters that are familiar to the people they terrorize, said his business partner, Peter Grunwald.

“They’re not crazy, fantastical monsters. They’re our neighbors, our relatives, our friends. They’re kind of scarier for that, scarier than big, special effects, sci-fi monsters,” Grunwald said.

The film went on to gross over $30 million worldwide, and led to five sequels including Dawn of the Dead and Day of the Dead — inspiring an entire genre that remains a Hollywood staple to this day, though the director admitted he was himself influenced by Richard Matheson’s 1954 novel I Am Legend.

Night of the Living Dead was added by the Library of Congress in 1999 to its National Film Registry for works considered “culturally, historically, or aesthetically significant.”

Originally called Night of the Flesh Eaters, the title was changed by the film’s distributor, Walter Reade. Somehow, no copyright protection was filed after the name change, putting Night of the Living Dead into the public domain and allowing anyone to distribute it for free.

Romero told The New York Times in 2016 that many more people saw the movie as result, “keeping the film alive.”

His other notable works include 1981’s Knightriders, about a traveling medieval reenactment troupe that jousts on motorcycles, and 1982’s horror anthology Creepshow written by author Stephen King.

HORROR PIONEER
Leading tributes to the director, Mr. King tweeted: “Sad to hear my favorite collaborator — and good old friend — George Romero has died. George, there will never be another like you.”

Director Eli Roth meanwhile hailed Romero for “confront(ing) racism 50 years ago” with his casting of Jones in Night of the Living Dead while also inventing the genre’s tropes that remain to this day: “The infectious bite. Shoot the head. Everything.”

“George Romero deserved to get 5% of every zombie movie made after 1968. But he didn’t. And he was always classy about it,” added film critic Scott Weinberg.

Guillermo del Toro, who wrote and directed creepy 2006 fantasy classic Pan’s Labyrinth and produced 2013’s supernatural horror Mama wrote: “Romero has passed away. Hard to find words right now. The loss is so enormous.”

Much of Romero’s work was shot in or around Pittsburgh, where Romero had attended Carnegie-Mellon University after moving away from his hometown New York where he was born in 1940 to a Cuban father and a Lithuanian-American mother.

He is survived by his wife and daughter, who were by his side when he passed, according to Mr. Roe. — AFP/Reuters

Disney builds buzz with superheroes, Star Wars and Mary Poppins

LOS ANGELES — Avengers, Mary Poppins, and Luke Skywalker brought star power to Walt Disney Co.’s annual D23 fan convention on Saturday, as the studio drummed up excitement for upcoming films including a live-action Lion King, Aladdin, and Dumbo.

From Iron Man to Spider-Man, the cast of the upcoming ensemble Avengers: Infinity War gathered on stage for a superhero-sized selfie and debuted new footage for fans.

The May 2018 film, which Marvel studios President Kevin Feige said was the biggest production so far in the franchise, will unite Marvel superheroes from the last decade, including Captain America, Thor, Hulk, Black Panther, and Doctor Strange, to battle intergalactic overload Thanos.

New scenes showed Thor being rescued by the Guardians of the Galaxy, teaming up with Iron Man and Doctor Strange in ravaged other-worldly landscapes where Loki wages destruction.

Disney has dominated the box office with animated and live-action films, which include the Marvel superheroes, Star Wars, princesses, pirates, and musicals.

For the lead role in live-action Arabian tale Aladdin, Disney introduced newcomer Mena Massoud, after trade publications reported this week that the studio had trouble finding an actor of the right ethnicity. Naomi Scott will star as Princess Jasmine and Will Smith will play the Genie.

Upcoming films include writer-director Ava Duvernay’s star-studded reimagining of A Wrinkle In Time, Mary Poppins Returns, Mulan, and Dumbo.

Fans on Saturday expecting a new trailer for the upcoming Star Wars: The Last Jedi were instead shown behind-the-scenes footage that included scenes with the late Carrie Fisher, who played Princess Leia.

“It’s all about family, that’s what’s so powerful about it,” Fisher said of the film in interviews taped before her sudden death in December.

Mark Hamill, who plays Luke Skywalker, said the new film had “so many unexpected elements, which is great in a Star Wars film because it’s getting harder and harder to bring new things to the table.”

The announcement of a live-action Lion King film based on the 1994 animated classic, to be directed by Jon Favreau, received the warmest welcome.

Footage showed a vibrant sunset across the African plains as photo-realistic computer-generated animals congregate to welcome a baby lion.

A first look at Mary Poppins Returns showed Emily Blunt’s take on the singing, no-nonsense nanny with magical powers made famous in the 1964 musical starring Julie Andrews.

Scenes showed Mary Poppins floating from the skies holding a kite, pulling an umbrella out of her magic bottomless bag and riding in a car with lamplighter Jack (Lin-Manuel Miranda) in a part-animated sequence echoing the original film. — Reuters

Walking Dead halts production after stuntman dies

LOS ANGELES — Hollywood paid tribute Friday to Walking Dead stuntman John Bernecker after he was killed in a fall on set.

Bernecker died in hospital Wednesday after falling 22 feet from a balcony headfirst onto concrete, according to The Hollywood Reporter, citing a county sheriff’s report.

An assistant director told police the stuntman missed a safety cushion “by inches” and tried to break his fall by grabbing a railing after he slipped, celebrity news Web site TMZ reported.

AMC said in statement circulated among US media outlets that it was temporarily shutting down production of the hit show, which is filmed in Georgia.

The actors’ union SAG-AFTRA issued its own statement describing Bernecker as an “accomplished stunt performer.”

“This tragic and untimely loss of a member of the SAG-AFTRA family is heartbreaking, and our thoughts are with his loved ones and his friends and colleagues in the Georgia production community,” it said.

“The safety of our members is paramount. We will work with the authorities and closely monitor their investigations into this tragic incident.”

Bernecker’s resume included stunt performances in several recent films, including Get Out, Logan, and The Fate of the Furious.

His family said they would donate his organs, according to a statement posted on the website of the LifeLink Foundation, an organ donor network based in Florida.

“The family of John Bernecker is heartbroken to confirm that John has passed away from injuries sustained earlier this week,” the statement said. — AFP

Jay-Z extends record for No. 1 albums — 1 week late

NEW YORK — Rap mogul Jay-Z on Sunday extended his record as the solo artist with the most number-one US albums, after a one-week delay when his Tidal streaming service declined to release data.

4:44 debuted at the top of the Billboard album sales chart for the week through Thursday, replacing rapper DJ Khaled’s Grateful and marking Jay-Z’s 14th number one, tracking service Nielsen Music said.

Jay-Z expanded his lead as the solo artist with the most number-one albums since the chart’s creation in its current form in 1956. Bruce Springsteen and Barbra Streisand are tied in second place at 11.

Among all artists, Jay-Z trails only The Beatles who have 19 number-one albums in the United States.

Unusually for such a high-profile release, 4:44 entered the chart only on its second week after Jay-Z released it on CD, Apple’s iTunes, and rival streaming services — with the exception of Spotify. It sold 262,000 units.

Jay-Z released the album on June 30 as an exclusive on his Tidal streaming service, which is partly owned by telecom operator Sprint.

Tidal, which has been trying to close Spotify’s sizable lead as the biggest streaming service, did not release data for its first week.

Tidal, which is privately held by entrepreneurs led by Jay-Z, has been guarded about releasing its streaming figures publicly.

Sprint also gave away free downloads of 4:44, which would be ineligible for the chart under Nielsen Music’s criteria.

The album, Jay-Z’s first in four years, won favorable reviews and marked growing introspection from the 47-year-old rapper.

Jay-Z on the album apologizes to his wife, pop superstar Beyonce, for infidelity, references their newborn twins, and supports his mother as she comes out as lesbian. — AFP

Apes flicks Spider-Man side to win box-office war

LOS ANGELES — New release War for the Planet of the Apes won this weekend’s war for box-office supremacy in North America, riding on strong reviews and ever more natural-looking apes to take in an estimated $56.5 million.

The Fox/Chemin Entertainment production managed to outdraw Spider-Man: Homecoming, which fell by more than half from its opening three-day weekend to pull in $45.2 million, Web site Exhibitor Relations reported.

War, directed by Matt Reeves, tells the continuing story of how intelligent primate Caesar (Andy Serkis) and other apes battle the forces led by an evil human dictator (Woody Harrelson). The film, made for $150 million, scored a glowing 94% on the Rotten Tomatoes site.

Its closest weekend competition, Sony’s Spider-Man, draws a similarly strong 93% on Rotten Tomatoes. The film stars Tom Holland as a young Peter Parker, ably mentored by Robert Downey, Jr. as Iron Man as he takes on bad guy Vulture (Michael Keaton). In third place was Despicable Me 3, far behind at $18.9 million. In Universal’s animated offering, Steve Carell stars as the voice of bad guy-turned-protagonist Gru — and his twin brother Dru, while Kristen Wiig voices Gru’s wife Lucy and South Park co-creator Trey Parker plays villain Balthazar Bratt.

The film has done much better overseas than at home, according to Hollywood Reporter, which says its global gross of $519.4 million includes a whopping $113.6 million from viewers in China.

Placing fourth was Sony’s heist thriller Baby Driver, with Ansel Elgort (The Fault in our Stars) starring as a gifted getaway driver with a hearing problem. It netted $8.8 million.

And in a surprising fifth place among the big-studio blockbusters was independent rom-com The Big Sick from Lionsgate, taking in $7.6 million in its first week in wide release.

Sick stars Kumail Nanjiani in the semi-autobiographical role of a Pakistani-American stand-up comic who resists his parents’ insistent efforts to find a wife for him, and instead falls in love with comedy-club customer Emily, played by Zoe Kazan.

The film, co-written by Nanjiani and the real-life Emily, his wife, rates a resounding 97% on Rotten Tomatoes and is credited by the New York Times with no less than “revitalizing an often moribund subgenre with a true story of love, death and… everyday comedy.”

Rounding out the top 10 were: Wonder Woman ($6.9 million); Wish Upon ($5.6 million); Cars 3 ($3.2 million); Transformers: The Last Knight ($2.8 million); and The House ($1.8 million). — AFP

Oscar-winning actor Martin Landau, 89

LOS ANGELES — Martin Landau, a talented and prolific character actor who achieved TV stardom in Mission: Impossible and won an Oscar for his portrayal of a washed-up Bela Lugosi in the sweetly bizarre 1994 film Ed Wood, has died at age 89.

Landau died at UCLA Medical Center in Los Angeles on Saturday from unexpected complications during a short hospitalization for an undisclosed illness, publicist Dick Guttman said in a statement on Sunday.

His long career had remarkable ups and downs. He delivered acclaimed performances in movies by top directors including Francis Ford Coppola, Woody Allen, and Tim Burton, was nominated three times for Oscars, and co-starred in the spy series Mission: Impossible in the 1960s alongside then wife Barbara Bain.

But during career doldrums, the New York-born Landau languished in third-rate projects such as the laughable 1981 TV movie The Harlem Globetrotters on Gilligan’s Island and the dispensable 1983 mutant monster movie The Being.

“You know, I’ve always felt, pound for pound, I’m one of the best guys around; but you get stuck in people’s eyes in a certain way, and it takes an imaginative director who will look at you and realize you can play different kinds of parts because you are an actor,” Landau told the New York Times in 1988. “I don’t like to sound immodest but I believe in what I can do.”

Landau was named best supporting actor for his portrayal in Ed Wood of the fading, morphine-addicted Hungarian horrormeister Lugosi, star of Dracula. The quirky cast in Burton’s homage to fabled bad-movie director Wood included Johnny Depp, Bill Murray, Sarah Jessica Parker, and wrestler George “The Animal” Steele.

“It’s impossible to overestimate the job that Landau does here as this sepulchral Hungarian,” Washington Post critic Hal Hinson wrote in his review of the 1994 film. “Both vocally and physically, he’s simply astounding.”

After winning the Oscar in March 1995, Landau gushed, “My God! What a night. What a life. What a moment. What everything!”

The tall, lanky Landau also was nominated for Oscars as best supporting actor for his role as a visionary car maker’s partner in Coppola’s 1988 Tucker: The Man and His Dream — the role that revived his career — and as a man who kills his mistress in Allen’s 1989 Crimes and Misdemeanors.

NOT MR. SPOCK
Landau also is remembered for a role he did not get. He was Star Trek creator Gene Roddenberry’s first pick to portray pointy eared Vulcan Mr. Spock, an iconic role that eventually went to Leonard Nimoy.

Nimoy then replaced Landau on Mission: Impossible when he left in a salary dispute.

Landau was friends in the 1950s with screen legends James Dean and Steve McQueen and studied under famed “method acting” proponent Lee Strasberg. His career included diverse roles in films, television and stage and was still going strong in the 2010s.

Early in his career, he made an impression with a villainous turn in director Alfred Hitchcock’s classic 1959 thriller North by Northwest. His character, a henchman who menaces star Cary Grant, meets his demise beneath the Mount Rushmore busts of US presidents.

It was the role of master of disguise Rollin Hand on Mission: Impossible that propelled Landau to stardom. He was married to co-star Bain from 1957 until their divorce in 1993. In 1968, Landau took the Golden Globe award as best male television star.

He also co-starred with Bain in the 1970s sci-fi series Space: 1999 and appeared in Rod Serling’s acclaimed series The Twilight Zone. In 2011, he lent his voice to an episode of the venerable animated series The Simpsons. — Reuters

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