LOS ANGELES: Jason Clarke plunged into frigid waters, repeatedly, for his role as the late Sen. Ted Kennedy in “Chappaquiddick.”
The Australian actor said his research about the accident that thwarted Kennedy’s presidential chances included jumping into Poucha Pond, the same waters the Massachusetts Democrat’s car crashed into in July 1969, killing Mary Jo Kopechne.
Clarke said the indie film, which is in limited release on Friday, doesn’t try to sensationalize the accident, which Kennedy failed to report for nine hours.
He said the film sticks “to the facts as much as we could and to play it out without scandalizing, without going to the tabloid of it.”
“This man committed this act and he worked his way out of it with help and with his own moral journey to the other side, where he then became one of the longest-serving senators in history. I don’t think — partisanship aside — you can’t take away from what he did.”
Kennedy went to Martha’s Vineyard to race in the Edgartown Regatta and on the evening of July 18, 1969, attended a party at a rented house on Chappaquiddick Island. Guests included Kennedy friends and several women, including Kopechne, who had worked on the presidential campaign of his brother Robert F. Kennedy, assassinated a year earlier.
Kennedy and Kopechne, 28, left the party together and a short time later their car plunged into Poucha Pond. Kennedy escaped from the submerged vehicle and said he made several futile attempts to rescue Kopechne, who was trapped inside.
Kennedy, who died in 2009, later described his failure to report the incident to police for nine hours as “indefensible.”
Clarke visited the bridge and pond as part of his research for the film, even jumping in.
“It’s pretty much unchanged apart from the bridge itself has got guard rails and wider. There’s no other buildings. The Dike House is still there, the same place. It’s dark. There’s no lights on the road,” he said. “The water is dark and the current is strong.”
“I think I held my breath for five seconds to see where I came up. And I came up a big distance away,” Clarke said.
Kennedy’s underwater escape was recreated in the waters of the Pacific Ocean off Mexico. Clarke said the scene was hard to shoot not only because of the ocean’s cold water, but also because he had to get out of the car while upside down.
The film, an Entertainment Studios release, spends more time on the aftermath of the accident. Clarke said viewers should leave theaters with a greater understanding of Kennedy.
“You can be with Ted a bit. You cannot just externalize it and say bad, horrible, disgusting man. You might want to at the end, but you can be there for it: on the phone afterwards, the walk back, the swim, the lies, the made-up story — or perhaps it’s actually really what did happen. But you can actually stay there with Ted. Not enough to be a Kennedy, but enough to almost touch him,” he said.
Jim Gaffigan, who plays attorney Paul Markham, one of the co-hosts of the party that Kennedy and Kopechne left together, agreed.
“We all have earlier versions of ourselves that we’re not crazy about. At least I do,” he said. “So there is something very interesting about the journey that Ted goes through, and being exposed to his relationship with his father,” he said. “Look, it’s not a documentary, but there is an attempt to be objective and ask objective questions.”
‘Chappaquiddick’ puts focus on aftermath of Kennedy accident
‘Chappaquiddick’ puts focus on aftermath of Kennedy accident
- Actor rehearsed jumping into Poucha Pond — where Ted Kennedy’s car crashed in July 1969 — resulting in the death of Mary Jo Kopechne.
- Ted Kennedy, who died in 2009, later described his failure to report the incident to police for nine hours as “indefensible.”
Abu Dhabi’s 421 Arts Campus celebrates 10 years with new show
- ‘Rays, Ripples, Residue’ triple exhibition runs until April 16
- Focus on UAE art, director Faisal Al-Hassan tells Arab News
ABU DHABI: Abu Dhabi’s 421 Arts Campus has just turned 10 and is marking the milestone with an exhibition “Rays, Ripples, Residue,” running until April 16, 2026.
The exhibition comprises three sections, each curated independently but with a cohesive thread.
The curators, Emirati Munira Al-Sayegh, Lebanese transplant Nadine Khalil, and Sharjah-born Indian writer, Murtaza Vali, explore how artistic practices and exhibition-making in the UAE has evolved over the past decade.
Faisal Al-Hassan, director of the arts hub and commissioning institution, spoke to Arab News about the showcase.
“‘Rays, Ripples, Residue’ is a landmark exhibition that celebrates this 10-year milestone and reflects on artistic practices over the past decade or so. The exhibition unfolds in three separate chapters, each curated from a distinct point of view,” he said.
Al-Sayegh’s chapter, titled “Leading to the Middle,” is perhaps the most personal and rooted, because of her deep connection to the land and its people. She looked at how seemingly minute moments have a rippling effect.
In her space, she examines the practices of established artists including Emirati Mohammed Ahmed Ibrahim and the late Kuwaiti creative Tarek Al-Ghoussein.
In the adjacent space, Khalil presents “Ghosts of Arrival,” described by Al-Hassan as “an intimate look at what it feels like to arrive after the moment has passed.” This serves as the residue part of the exhibition.
Al-Hassan said: “She (Khalil) brings to the fore the practices of artists from the past 10 years who were influenced by work that was created a decade prior. It is both an analysis of artmaking in the UAE and a personal reflection of her own arrival in the country in 2017.”
Artists featured in the section include Hashel Al-Lamki, Mona Ayyash, and Nadine Ghandour.
Vali’s “SUN” presents the rays part of the show, highlighting a sunny — and shady — survey of the last 10 years and the preoccupation of local artists with the flaming ball in the sky.
According to Al-Hassan, Vali selected “works made between 2015 and today that are focused on the sun as both a symbolic and physical presence in our everyday lives — presented visually and metaphorically — to convey and investigate environmental degradation, hyper-commodification, and urban development.”
The three chapters feature new commissions, as well as previously presented works, or new iterations of existing works.
It also spans a wide range of disciplines, including photography, video, performance, installations and multimedia works.
“When we started our journey 10 years ago, the mission was clear: we wanted to provide a nurturing space for emerging artists to experiment and grow,” Al-Hassan told Arab News.
In the last decade, 421 has supported over 1,500 emerging creative practitioners, presented over 50 exhibitions, including solo, group and traveling shows, and commissioned hundreds of new works across visual art, design, performance and writing.
During that time, it also delivered around 2,000 impactful programs across residencies, grants and exhibitions. This was alongside various public programs including talks, workshops, film screenings and special events, while training and mentoring more than 60 interns and creative facilitators.
“We see our work as complementary to the wider ecosystem,” he said.
“It took some time for the creative community to understand why it was so important for us to include such an extensive set of access points in the exhibitions,” he added.
“To us, these materials, like the tactile books, family labels, glossaries, and wall text annotations for example, are just as important as the artwork itself.”
Mays Albaik, who is 421’s “wall whisperer,” walked Arab News through the overall space and explained how the organization gets it done.
“So from the get-go, 421’s mission has always been about breaking down the wall that makes people say, oh, it’s art, I don’t get it, it’s not for me. And so in everything that we do, we’re constantly thinking, how do we tell people: no, actually, it is for you,” Albaik told Arab News.
“Art spaces should be fun,” she added with a laugh.
Text on the walls are written in English and Arabic and the wording used is aimed to be simple but not simplistic, being mindful of the extensive expatriate community in the UAE who may not be fluent in either language.
“What we actually do is, the version of the wall text that you see — or an earlier version of this wall text — goes to a few different members of our community. We go to our operations team, for example, our housekeeping staff and our security guards,” she said.
Arab News spoke with Rajesh Maurati, 28, who has been a security officer at 421 for the past four years, to find out more.
“Initially, we did not have a lot of context, there was some description about the artist, the curators and about the artist point of view,“ Maurati, who is from Nepal, said.
During his 12-hour shift, he would spend a lot of time walking past the walls. Now those walls are a part of the show for him.
“Initially, it was a little bit hard for me to understand the text. Before, I said nothing. Now, before the exhibition, they give us the text to read and if we don’t understand something, we just underline it. And they listen.”
With this simple shift, he now takes pride in not only responding to questions from visitors, but being able to make the space even more immersive and welcoming. And much more human.
“It is really helpful for me personally, too, to create more knowledge about art. Even English, my communication is better — it was not really good before.”
“When I came here (to 421), I learned a lot of things; how to communicate with our clients, our colleagues—we are a mixed nationality. So every time we communicate with each other it gets better. It is better,” he said.
