Academy Awards For Best Picture

Academy Awards for Best Picture
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Contents
Articles
Overview
Academy of Motion Picture Arts and Sciences Academy Award Academy Award for Best Picture 1 1 7 25 58 58 64 68 74 77 82 85 92 99 102 105 108 123 128 132 137 154 158 163 170 175 183 186 196 200 206 213
Winners
1928 Wings 1929 The Broadway Melody 1930 All Quiet on the Western Front 1931 Cimarron 1932 Grand Hotel 1933 Cavalcade 1934 It Happened One Night 1935 Mutiny on the Bounty 1936 The Great Ziegfeld 1937 The Life of Emile Zola 1938 You Can't Take It With You 1939 Gone with the Wind 1940 Rebecca 1941 How Green Was My Valley 1942 Mrs. Miniver 1943 Casablanca 1944 Going My Way 1945 The Lost Weekend 1946 The Best Years of Our Lives 1947 Gentleman's Agreement 1948 Hamlet 1949 All the King's Men 1950 All About Eve 1951 An American in Paris 1952 The Greatest Show on Earth 1953 From Here to Eternity 1954 On the Waterfront
1955 Marty 1956 Around the World in 80 Days 1957 The Bridge on the River Kwai 1958 Gigi 1959 Ben-Hur 1960 The Apartment 1961 West Side Story 1962 Lawrence of Arabia 1963 Tom Jones 1964 My Fair Lady 1965 The Sound of Music 1966 A Man for All Seasons 1967 In the Heat of the Night 1968 Oliver! 1969 Midnight Cowboy 1970 Patton 1971 The French Connection 1972 The Godfather 1973 The Sting 1974 The Godfather Part II 1975 One Flew Over the Cuckoo's Nest 1976 Rocky 1977 Annie Hall 1978 The Deer Hunter 1979 Kramer vs. Kramer 1980 Ordinary People 1981 Chariots of Fire 1982 Gandhi 1983 Terms of Endearment 1984 Amadeus 1985 Out of Africa 1986 Platoon 1987 The Last Emperor 1988 Rain Man 1989 Driving Miss Daisy 1990 Dances with Wolves 1991 The Silence of the Lambs 1992 Unforgiven
218 220 228 237 243 267 272 281 297 302 310 321 326 331 337 342 348 355 370 376 385 390 399 411 429 434 438 449 455 460 469 475 482 487 491 495 502 508
1993 Schindler's List 1994 Forrest Gump 1995 Braveheart 1996 The English Patient 1997 Titanic 1998 Shakespeare in Love 1999 American Beauty 2000 Gladiator 2001 A Beautiful Mind 2002 Chicago 2003 The Lord of the Rings: The Return of the King 2004 Million Dollar Baby 2005 Crash 2006 The Departed 2007 No Country for Old Men 2008 Slumdog Millionaire 2009 The Hurt Locker 2010 The King's Speech
513 527 543 553 559 582 590 612 624 631 639 652 660 669 677 713 732 746
References
Article Sources and Contributors Image Sources, Licenses and Contributors 762 785
Article Licenses
License 788
Overview
Academy of Motion Picture Arts and Sciences
Headquarters building Abbreviation Formation Type Headquarters Location AMPAS May 11, 1927 Film organization Beverly Hills, California, USA 8949 Wilshire Boulevard Beverly Hills, California 90211 over 6,000 Hawk Koch www.oscars.org [1]
Membership President Website
The Academy of Motion Picture Arts and Sciences (AMPAS) is a professional honorary organization dedicated to the advancement of the arts and sciences of motion pictures. The Academy's corporate management and general policies are overseen by a Board of Governors, which includes representatives from each of the craft branches. The Academy is composed of over 6,000 motion picture professionals. While the great majority of its members are based in the United States, membership is open to qualified filmmakers around the world. The Academy is known around the world for its annual Academy Awards, informally known as the "Oscars". In addition, the Academy gives Student Academy Awards annually to filmmakers at the undergraduate and graduate level; awards up to five Nicholl Fellowships in Screenwriting annually; and operates the Margaret Herrick Library (at the Fairbanks Center for Motion Picture Study) in Beverly Hills, California and the Pickford Center for Motion Picture Study in Hollywood, Los Angeles, California. The current president of the Academy is Hawk Koch.[2]
History
The notion of the Academy of Motion Pictures Arts and Sciences (AMPAS) began with Louis B. Mayer, head of Metro-Goldwyn-Mayer (MGM). He wanted to create an organization that would mediate labor disputes and improve the industrys image. So, on a Sunday evening, Mayer and three other studio big-wigs - actor Conrad Nagel, director Fred Niblo, and the head of the Association of Motion Picture Producers, Fred Beetson - sat down and discussed these matters. The idea of this elite club having an annual banquet was tossed around, but there was no mention of
Academy of Motion Picture Arts and Sciences awards just yet. They also established that membership into the organization would only be open to people involved in one of the five branches of the industry: actors, directors, writers, technicians, and producers.[3] After their brief meeting, Mayer gathered up a group of thirty-six people involved in the film industry and invited them to a formal banquet at the Ambassador Hotel in Los Angeles on January 11, 1927.[4] That evening Mayer presented to those guests what he called the American Academy of Motion Picture Arts and Sciences, and it was open to those who had contributed to the motion picture industry. Everyone in the room that evening became a founder of the Academy. It wasnt until later, when Mayers lawyers wrote up the charter, did the name change to "Academy of Motion Picture Arts and Sciences".[3] Douglas Fairbanks, Sr. was elected as the first president of the Academy. As one of his first acts, he added an activity of bestowing awards of merit for distinctive achievement. However, they were on the brink of forming something historical. A year later the voting system for the Awards was established, and the nomination and selection process began.[5] This "award of merit for distinctive achievement" is what we know now as the Academy Award. In 1929, the Academy, in a joint venture with the University of Southern California, created America's first film school to further the art and science of moving pictures. The Schools founding faculty included Fairbanks (President of the Academy), D. W. Griffith, William C. deMille, Ernst Lubitsch, Irving Thalberg, and Darryl F. Zanuck. In 2009 the inaugural Governors Awards were held, at which the Academy awards the Academy Honorary Award and the Irving G. Thalberg Memorial Award.
Galleries and theaters

The Academys numerous and diverse operations are housed in three facilities in the Los Angeles area: the headquarters building in Beverly Hills, which was constructed specifically for the Academy, and two Centers for Motion Picture Study one in Beverly Hills, the other in Hollywood which were existing structures restored and transformed to contain the Academys Library, Film Archive and other departments and programs. The Academy's main building in Beverly Hills houses two galleries that are open free to the public. The Grand Lobby Gallery and the Fourth Floor Gallery offer changing exhibits related to films, film-making and film personalities. The Samuel Goldwyn Theater seats 1,012, and was designed to present films at maximum technical accuracy, with state-of-the-art projection equipment and sound system. Located in the headquarters building, the theater is busy year-round with the Academy's public programming, members-only screenings, movie premieres and other special activities (including the live television broadcast of the Academy Awards nominations announcement every January). The Academy Little Theater is a 67-seat screening facility also located at the Academy's headquarters in Beverly Hills. The Linwood Dunn Theater is located at the Academys Pickford Center for Motion Picture Study in Hollywood and seats 286 people.
Pickford Center for Motion Picture Study in the Hollywood district
Fairbanks Center for Motion Picture Study building on La Cienega Boulevard in Beverly Hills, California
Academy of Motion Picture Arts and Sciences The Academy also has a New York-based East Coast showcase theater, the Academy Theater at Lighthouse International. The 220-seat venue was redesigned in 2011 by renowned theater designer, Theo Kalomirakis, including an extensive installation of new audio and visual equipment. The theater is in the East 59th Street headquarters of the non-profit vision loss organization, Lighthouse International.[6]
Membership
Membership in the Academy is by invitation only. Invitation comes from the Board of Governors. Membership eligibility may be achieved by earning a competitive Oscar nomination or an existing member may submit a name based on other significant contribution to the field of motion pictures. New membership proposals are considered annually. The Academy does not publicly disclose its full membership, although press releases have announced the names of those who have recently been invited to join. Membership in the Academy does not expire, even if a member struggles later in his or her career.[7] Academy membership is divided into 15 branches, representing different disciplines in motion pictures. Members may not belong to more than one branch. Members whose work does not fall within one of the branches may belong to a group known as "Members At Large." Members at Large have all the privileges of branch membership except for representation on the Board. Associate members are those closely allied to the industry but not actively engaged in motion picture production. They are not represented on the Board and do not vote on Academy Awards. According to a February 2012 study conducted by the Los Angeles Times (sampling over 5,000 of its 5,765 members), the Academy is 94% white, 77% male, 14% under the age of 50, and has a median age of 62. 33% of members are previous winners or nominees of Academy Awards themselves.[8] Members are able to see many new films for free at the Samuel Goldwyn Theater and other facilities within two weeks of their debut, and sometimes before release.[9] Academy Branches Actors Art Directors Cinematographers Directors Documentary Executives Film Editors Makeup Artists & Hairstylists Music Producers Public Relations Short Films and Feature Animation Sound Visual Effects Writers
Original 36 founders of the Academy

Actors Richard Barthelmess Jack Holt Conrad Nagel Milton Sills Douglas Fairbanks Harold Lloyd Mary Pickford Lawyers Edwin Loeb George W. Cohen Technicians J. Arthur Ball Cedric Gibbons Roy J. Pomeroy
Producers Fred Beetson Charles H. Christie Sid Grauman Milton E. Hoffman Jesse L. Lasky M. C. Levee Louis B. Mayer Joseph M. Schenck Irving Thalberg Harry Warner Jack Warner Harry Rapf
Writers Joseph Farnham Benjamin Glazer Jeanie MacPherson Bess Meredyth Carey Wilson Frank E. Woods
Directors Cecil B. DeMille Frank Lloyd Henry King Fred Niblo John M. Stahl Raoul Walsh
Presidents of the Academy

Presidents are elected for one-year terms and may not be elected for more than four consecutive terms. Douglas Fairbanks 19271929 William C. deMille 19291931 M. C. Levee 19311932 Conrad Nagel 19321933 J. Theodore Reed 19331934 Frank Lloyd 19341935 Frank Capra 19351939 Walter Wanger 19391941, 19411945 Bette Davis 1941 (resigned after two months) Jean Hersholt 19451949 Charles Brackett 19491955 George Seaton 19551958 George Stevens 19581959 B. B. Kahane 19591960 (died) Valentine Davies 19601961 (died) Wendell Corey 19611963 Arthur Freed 19631967 Gregory Peck 19671970 Daniel Taradash 19701973 Walter Mirisch 19731977 Howard W. Koch 19771979 Fay Kanin 19791983 Gene Allen 19831985 Robert Wise 19851988 Richard Kahn 19881989 Karl Malden 19891992 Robert Rehme 19921993, 19972001
Academy of Motion Picture Arts and Sciences Arthur Hiller 19931997 Frank Pierson 20012005 Sid Ganis 20052009 Tom Sherak 20092012 Hawk Koch 2012present
Current administration of the Academy

Academy Officers 2011-2012 President Tom Sherak First Vice President Hawk Koch Vice President Robert Rehme Vice President Phil Alden Robinson Treasurer John Lasseter Secretary Annette Bening
Board of Governors 2011-2012

Governor Michael Apted John Bailey Craig Barron Ed Begley, Jr. Curt Behlmer Annette Bening Kathryn Bigelow Jim Bissell Jon Bloom Documentary Cinematographers Visual Effects Actors Sound Actors Directors Art Directors Short Films and Feature Animation Branch
Rosemary Brandenburg Art Directors James L. Brooks Bruce Broughton Anne Coates Richard Crudo Caleb Deschanel Richard Edlund Leonard Engelman Rob Epstein Charles Fox Robert G. Friedman Jim Gianopulos Mark Goldblatt Don Hall Tom Hanks Gale Anne Hurd Writers Music Film Editors Cinematographers Cinematographers Visual Effects Makeup Artists and Hairstylists Documentary Music Public Relations Executives Film Editors Sound Actors Producers
6
Public Relations Producers Producers Short Films and Feature Animation Art Directors Short Films and Feature Animation Public Relations Directors Documentary Music Sound Writers Executives Writers Executives Visual Effects Film Editors Directors
Cheryl Boone Isaacs Mark Johnson Hawk Koch Bill Kroyer Jeffrey Kurland John Lasseter Marvin Levy Paul Mazursky Michael Moore David Newman Kevin O'Connell Frank Pierson Robert Rehme Phil Alden Robinson Tom Sherak Bill Taylor Michael Tronick Edward Zwick
Notes and references

[1] [2] [3] [4] [5] http:/ / www. oscars. org/ (http:/ / www. oscars. org/ press/ pressreleases/ 2012/ 20120731b. html) Wiley, Mason, and Damien Bona. Inside Oscar. New York: Ballantine Books, 1986 pg. 2 Levy, Emanuel. And The Winner Is.... New York: Ungar Publishing, 1987 pg. 1 Wiley, Mason, and Damien Bona. Inside Oscar. New York: Ballantine Books, 1986 pg. 3
[6] Lester, Ahren. "HARMANs JBL loudspeakers installed at New Yorks Academy Theater" (http:/ / www. audioprointernational. com/ news/ read/ harmans-jbl-loudspeakers-installed-at-new-yorks-academy-theater/ 04157). Audio Pro International. . Retrieved 18 February 2012. [7] "Oscar voters aren't always who you might think" (http:/ / www. latimes. com/ entertainment/ news/ movies/ academy/ la-et-movie-academy-surprises-academy-project-html,0,7659145. htmlstory). The Los Angeles Times. 19 February 2012. . Retrieved 26 February 2012. [8] "Oscar voters overwhelmingly white, male" (http:/ / www. latimes. com/ entertainment/ news/ movies/ la-et-unmasking-oscar-academy-project-html,0,6763063. htmlstory). The Los Angeles Times. 19 February 2012. . Retrieved 23 February 2012. [9] Hammond, Pete (2012-03-26). "Oscar Voters Last To See Hunger Games?" (http:/ / www. deadline. com/ 2012/ 03/ oscar-voters-last-to-see-hunger-games/ ). Deadline Hollywood. . Retrieved March 26, 2012.
External links
Academy of Motion Picture Arts and Sciences (http://www.oscars.org/) The Official Academy Awards Database of Winners and Nominees (http://www.oscars.org/awardsdatabase/) Margaret Herrick Library (http://www.oscars.org/mhl/index.html) Pickford Center for Motion Picture Study - Academy Film Archive (http://www.oscars.org/filmarchive/index. html) The Oscars (http://www.youtube.com/oscars) at YouTube (operated by the Academy of Motion Picture Arts and Sciences) Hollywood Is A Union Town, [[The Nation (http://newdeal.feri.org/nation/na38146p381.htm)], 2 April 1938, history of the Academy and Screen Actors Guild]
Academy Award
Academy Award
Academy Award
84th Academy Awards An Academy Award statuette Awarded for Presented by Country First awarded Excellence in cinematic achievements Academy of Motion Picture Arts and Sciences United States May 16, 1929
Official website www.oscars.org [1]
An Academy Award is an award bestowed by the American Academy of Motion Picture Arts and Sciences (AMPAS)[1] to recognize excellence of professionals in the film industry, including directors, actors and writers. The Oscar statuette is officially named the Academy Award of Merit and is one of nine types of Academy Awards. The formal ceremony at which the Awards of Merit are presented is one of the most prominent award ceremonies in the world, and is televised live in more than 100 countries annually. It is also the oldest award ceremony in the media; its equivalents, the Grammy Awards (for music), Emmy Awards (for television), and Tony Awards (for theatre) are modeled after the Academy. The AMPAS was originally conceived by Metro-Goldwyn-Mayer studio boss Louis B. Mayer as a professional honorary organization to help improve the film industrys image and help mediate labor disputes. The Oscar itself was later initiated by the Academy as an award "of merit for distinctive achievement" in the industry.[2] The first Academy Awards ceremony was held on May 16, 1929, at the Hotel Roosevelt in Hollywood to honor the outstanding film achievements of the 1927/1928 film season. The 84th Academy Awards, honoring films in 2011, was held at the Dolby Theatre on February 26, 2012.
Academy Award
History
The first awards were presented on May 16, 1929, at a private brunch at the Hollywood Roosevelt Hotel with an audience of about 270 people. The post Academy Awards party was held at the Mayfair Hotel.[3] The cost of guest tickets for that night's ceremony was $5. Fifteen statuettes were awarded, honoring artists, directors and other personalities of the filmmaking industry of the time for their works during the 19271928 period. Winners had been announced three months earlier; however that was changed in the second ceremony of the Academy Awards in 1930. Since then and during the first decade, the results were given to newspapers for publication at 11pm on the night of the awards.[3] This method was used until the Los Angeles Times announced the winners before the ceremony began; as a result, the Academy has used a sealed envelope to reveal the name of the winners since 1941.[3] For the first six ceremonies, the eligibility period spanned two calendar years. For example, the 2nd Academy Awards presented on April 3, 1930, recognized films that were released between August 1, 1928 and July 31, 1929. Starting with the 7th Academy Awards, held in 1935, the period of eligibility became the full previous calendar year from January 1 to December 31.
Gary Cooper and Joan Fontaine holding their Oscars at the Academy Awards, 1942
The first Best Actor awarded was Emil Jannings, for his performances in The Last Command and The Way of All Flesh. He had to return to Europe before the ceremony, so the Academy agreed to give him the prize earlier; this made him the first Academy Award winner in history. The honored professionals were awarded for all the work done in a certain category for the qualifying period; for example, Jannings received the award for two movies in which he starred during that period. Since the fourth ceremony, the system changed, and professionals were honored for a specific performance in a single film. As of the 83rd Academy Awards ceremony held in 2011, a total of 2,809 Oscars have been given for 1,853 awards.[4] A total of 302 actors have won Oscars in competitive acting categories or have been awarded Honorary or Juvenile Awards. The 1939 film Beau Geste is the only movie that features as many as four Academy Award winners for Best Actor in a Leading Role (Gary Cooper, Ray Milland, Susan Hayward, Broderick Crawford) prior to any of the actors receiving the Best Actor Award. At the 29th ceremony, held on March 27, 1957, the Best Foreign Language Film category was introduced. Until then, foreign-language films were honored with the Special Achievement Award.
Oscar statuette
Design
Although there are seven other types of annual awards presented by the Academy (the Irving G. Thalberg Memorial Award, the Jean Hersholt Humanitarian Award, the Gordon E. Sawyer Award, the Scientific and Engineering Award, the Technical Achievement Award, the John A. Bonner Medal of Commendation, and the Student Academy Award) plus two awards that are not presented annually (the Special Achievement Award in the form of an Oscar statuette and the Honorary Award that may or may not be in the form of an Oscar statuette), the best known one is the Academy Award of Merit more popularly known as the Oscar statuette. Made of gold-plated britannium on a black metal base, it is 13.5in (34cm) tall, weighs 8.5lb (3.85kg) and depicts a knight rendered in Art Deco style
Academy Award holding a crusader's sword standing on a reel of film with five spokes. The five spokes each represent the original branches of the Academy: Actors, Writers, Directors, Producers, and Technicians.[5] In 1928, MGM's art director Cedric Gibbons, one of the original Academy members, supervised the design of the award trophy by printing the design on a scroll.[6] In need of a model for his statuette, Gibbons was introduced by his future wife Dolores del Ro to Mexican film director and actor Emilio "El Indio" Fernndez. Reluctant at first, Fernndez was finally convinced to pose nude to create what today is known as the "Oscar". Then, sculptor George Stanley (who also did the Muse Fountain[7] at the Hollywood Bowl) sculpted Gibbons's design in clay and Sachin Smith cast the statuette in 92.5 percent tin and 7.5 percent copper and then gold-plated it. The only addition to the Oscar since it was created is a minor streamlining of the base. The original Oscar mold was cast in 1928 at the C.W. Shumway & Sons Foundry in Batavia, Illinois, which also contributed to casting the molds for the Vince Lombardi Trophy and Emmy Awards statuettes. Since 1983,[8] approximately 50 Oscars are made each year in Chicago by Illinois manufacturer R.S. Owens & Company.[9] In support of the American effort in World War II, the statuettes were made of plaster and were traded in for gold ones after the war had ended.[10]
Naming
The root of the name Oscar is contested. One biography of Bette Davis claims that she named the Oscar after her first husband, band leader Harmon Oscar Nelson;[11] one of the earliest mentions in print of the term Oscar dates back to a Time magazine article about the 1934 6th Academy Awards.[12] Walt Disney is also quoted as thanking the Academy for his Oscar as early as 1932.[13] Another claimed origin is that the Academy's Executive Secretary, Margaret Herrick, first saw the award in 1931 and made reference to the statuette's reminding her of her "Uncle Oscar" (a nickname for her cousin Oscar Pierce).[14] Columnist Sidney Skolsky was present during Herrick's naming and seized the name in his byline, "Employees have affectionately dubbed their famous statuette 'Oscar'".[15] The trophy was officially dubbed the "Oscar" in 1939 by the Academy of Motion Pictures Arts and Sciences.[16] Another legend reports that the Norwegian-American Eleanor Lilleberg, executive secretary to Louis B. Mayer, saw the first statuette and exclaimed, "It looks like King Oscar II!".[17]
Ownership of Oscar statuettes

Since 1950, the statuettes have been legally encumbered by the requirement that neither winners nor their heirs may sell the statuettes without first offering to sell them back to the Academy for US$1. If a winner refuses to agree to this stipulation, then the Academy keeps the statuette. Academy Awards not protected by this agreement have been sold in public auctions and private deals for six-figure sums.[18] In December 2011, Orson Welles' 1941 Oscar for Citizen Kane was put up for auction, after his heirs won a 2004 court decision that Welles did not sign any agreement to return the statue to the Academy.[19] While the Oscar is under the ownership of the recipient, it is essentially not on the open market.[20] The case of Michael Todd's grandson trying to sell Todd's Oscar statuette illustrates that there are some who do not agree with this idea. When Todd's grandson attempted to sell Todd's Oscar statuette to a movie prop collector, the Academy won the legal battle by getting a permanent injunction. Although Oscar sales transactions have been successful, some buyers have subsequently returned the statuettes to the Academy, which keeps them in its treasury.[21]
Academy Award
10
Nomination
Since 2004, Academy Award nomination results have been announced to the public in late January. Prior to that, the results were announced in early February.
Voters
The Academy of Motion Picture Arts and Sciences (AMPAS), a professional honorary organization, maintains a voting membership of 5,783 as of 2012.[22] Academy membership is divided into different branches, with each representing a different discipline in film production. Actors constitute the largest voting bloc, numbering 1,311 members (22 percent) of the Academy's composition. Votes have been certified by the auditing firm PricewaterhouseCoopers (and its predecessor Price Waterhouse) for the past 73 annual awards ceremonies.[23] All AMPAS members must be invited to join by the Board of Governors, on behalf of Academy Branch Executive Committees. Membership eligibility may be achieved by a competitive nomination or a member may submit a name based on other significant contribution to the field of motion pictures. New membership proposals are considered annually. The Academy does not publicly disclose its membership, although as recently as 2007 press releases have announced the names of those who have been invited to join. The 2007 release also stated that it has just under 6,000 voting members. While the membership had been growing, stricter policies have kept its size steady since then.[24] In May 2011, the Academy sent a letter advising its 6,000 or so voting members that an online system for Oscar voting will be implemented in 2013.[25]
Rules
Currently, according to Rules 2 and 3 of the official Academy Awards Rules, a film must open in the previous calendar year, from midnight at the start of January 1 to midnight at the end of December 31, in Los Angeles County, California, to qualify (except for the Best Foreign Language Film).[26] For example, the 2010 Best Picture winner, The Hurt Locker, was actually first released in 2008, but did not qualify for the 2009 awards as it did not play its Oscar-qualifying run in Los Angeles until mid-2009, thus qualifying for the 2010 awards. Rule 2 states that a film must be feature-length, defined as a minimum of 40minutes, except for short subject awards, and it must exist either on a 35 mm or 70 mm film print or in 24frame/s or 48frame/s progressive scan digital cinema format with native resolution not less than 1280x720. Producers must submit an Official Screen Credits online form before the deadline; in case it is not submitted by the defined deadline, the film will be ineligible for Academy Awards in any year. The form includes the production credits for all related categories. Then, each form is checked and put in a Reminder List of Eligible Releases. In late December ballots and copies of the Reminder List of Eligible Releases are mailed to around 6000 active members. For most categories, members from each of the branches vote to determine the nominees only in their respective categories (i.e. only directors vote for directors, writers for writers, actors for actors, etc.). There are some exceptions in the case of certain categories, like Foreign Film, Documentary and Animated Feature Film, in which movies are selected by special screening committees made up of members from all branches. In the special case of Best Picture, all voting members are eligible to select the nominees for that category. Foreign films must include English subtitles, and each country can submit only one film per year.[27] The members of the various branches nominate those in their respective fields, while all members may submit nominees for Best Picture. The winners are then determined by a second round of voting in which all members are then allowed to vote in most categories, including Best Picture.[28]
Academy Award
11
Ceremony
Telecast
The major awards are presented at a live televised ceremony, most commonly in February or March following the relevant calendar year, and six weeks after the announcement of the nominees. It is the culmination of the film awards season, which usually begins during November or December of the previous year. This is an elaborate extravaganza, with the invited guests walking up the red carpet in the creations of the most prominent fashion designers of the day. Black tie dress is the most common outfit for men, although fashion may dictate not wearing a bow-tie, and musical performers sometimes do not adhere to this. (The artists who recorded the nominees for Best Original Song quite often perform those songs live at the awards ceremony, and the fact that they are performing is often used to promote the television broadcast).
31st Academy Awards Presentations, Pantages Theater, Hollywood, 1959
The Academy Awards is televised live across the United States (excluding Hawaii; they aired live for the first time in Alaska in 2011), Canada, the United Kingdom, and gathers millions of viewers elsewhere throughout the world.[29] The 2007 ceremony was watched by more than 40 81st Academy Awards Presentations, Kodak Theater, Hollywood, 2009 million Americans.[30] Other awards ceremonies (such as the Emmys, Golden Globes, and Grammys) are broadcast live in the East Coast but are on tape delay in the West Coast and might not air on the same day outside North America (if the awards are even televised). The Academy has for several years claimed that the award show has up to a billion viewers internationally, but this has so far not been confirmed by any independent sources. The Awards show was first televised on NBC in 1953. NBC continued to broadcast the event until 1960 when the ABC Network took over, televising the festivities through 1970, after which NBC resumed the broadcasts. ABC once again took over broadcast duties in 1976; it is under contract to do so through the year 2020.[31] After more than 60 years of being held in late March or early April, the ceremonies were moved up to late February or early March starting in 2004 to help disrupt and shorten the intense lobbying and ad campaigns associated with Oscar season in the film industry. Another reason was because of the growing TV ratings success of the NCAA Men's Division I Basketball Championship, which would cut into the Academy Awards audience. The earlier date is also to the advantage of ABC, as it now usually occurs during the highly profitable and important February sweeps
Academy Award period. (Some years, the ceremony is moved into early March in deference to the Winter Olympics.) Advertising is somewhat restricted, however, as traditionally no movie studios or competitors of official Academy Award sponsors may advertise during the telecast. The Awards show holds the distinction of having won the most Emmys in history, with 47 wins and 195 nominations.[32] After many years of being held on Mondays at 9:00p.m. Eastern/6:00 p.m Pacific, in 1999 the ceremonies were moved to Sundays at 8:30p.m. Eastern/5:30p.m. Pacific.[33] The reasons given for the move were that more viewers would tune in on Sundays, that Los Angeles rush-hour traffic jams could be avoided, and that an earlier start time would allow viewers on the East Coast to go to bed earlier.[34] For many years the film industry had opposed a Sunday broadcast because it would cut into the weekend box office.[35] On March 30, 1981, the awards ceremony was postponed for one day after the shooting of President Ronald Reagan and others in Washington, D.C. In 1993, an In Memoriam segment was introduced,[36] honoring those who had made a significant contribution to cinema who had died in the preceding 12 months, a selection compiled by a small committee of Academy members.[37] This segment has drawn criticism over the years for the omission of some names. In 2010, the organizers of the Academy Awards announced that winners' acceptance speeches must not run past 45seconds. This, according to organizer Bill Mechanic, was to ensure the elimination of what he termed "the single most hated thing on the show" overly long and embarrassing displays of emotion.[38] The Academy has also had recent discussions about moving the ceremony even further back into January, citing TV viewers' fatigue with the film industry's long awards season. But such an accelerated schedule would dramatically decrease the voting period for its members, to the point where some voters would only have time to view the contending films streamed on their computers (as opposed to traditionally receiving the films and ballots in the mail). Also, a January ceremony may have to compete with National Football League playoff games.[39]
12
Awards ceremonies
The following is a listing of all Academy Awards ceremonies since 1929.[40][41][42]
Ceremony Date Best Picture winner Wings Length of broadcast No broadcast Number of Rating viewers Host(s) Venue
1st Academy Awards
May 16, 1929
Douglas Fairbanks, William C. deMille William C. deMille
Hollywood Roosevelt Hotel Ambassador Hotel / Millennium Biltmore [43] Hotel
2nd Academy April 3, 1930 Awards 3rd Academy Awards 4th Academy Awards 5th Academy Awards 6th Academy Awards 7th Academy Awards 8th Academy Awards 9th Academy Awards November 5, 1930 November 10, 1931 November 18, 1932 March 16, 1934 February 27, 1935 March 5, 1936 March 4, 1937
The Broadway Melody All Quiet on the Western Front Cimarron
Conrad Nagel
Lawrence Grant
Grand Hotel
Lionel Barrymore, Conrad Nagel Will Rogers
Cavalcade
It Happened One Night Mutiny on the Bounty The Great Ziegfeld
Irvin S. Cobb
Frank Capra
George Jessel
Academy Award
13
March 10, 1938 The Life of Emile Zola Bob Burns
10th Academy Awards 11th Academy Awards 12th Academy Awards 13th Academy Awards 14th Academy Awards 15th Academy Awards 16th Academy Awards 17th Academy Awards 18th Academy Awards 19th Academy Awards 20th Academy Awards 21st Academy Awards 22nd Academy Awards 23rd Academy Awards 24th Academy Awards 25th Academy Awards
February 23, 1939
You Can't Take It With You
None
February 29, 1940
Gone with the Wind
Bob Hope
February 27, 1941
Rebecca
February 26, 1942
How Green Was My Valley
None
March 4, 1943
Mrs. Miniver
Bob Hope
March 2, 1944
Casablanca
Jack Benny
Grauman's Chinese Theater
March 15, 1945
Going My Way
Bob Hope, John Cromwell
March 7, 1946
The Lost Weekend
Bob Hope, James Stewart
March 13, 1947
The Best Years of Our Lives
Jack Benny
Shrine Auditorium
March 20, 1948
Gentleman's Agreement
Agnes Moorehead, Dick Powell
March 24, 1949 March 23, 1950
Hamlet
Robert Montgomery
Pantages Theatre
All the King's Men
Paul Douglas
March 29, 1951
All About Eve
Fred Astaire
March 20, 1952
An American in Paris
Danny Kaye
March 19, 1953
The Greatest Show on Earth
40 million
Bob Hope, Conrad Nagel
Pantages Theatre / NBC International Theatre
Academy Award
14
March 25, 1954 From Here to Eternity 43 million Donald O'Connor, Fredric March Pantages Theatre / NBC Century Theatre
26th Academy Awards 27th Academy Awards 28th Academy Awards 29th Academy Awards 30th Academy Awards
March 30, 1955
On the Waterfront
Bob Hope, Thelma Ritter
March 21, 1956
Marty
Jerry Lewis, Claudette Colbert, Joseph L. Mankiewicz
March 27, 1957
Around the World in 80 Days
Jerry Lewis, Celeste Holm
March 26, 1958
The Bridge on the River Kwai
Bob Hope, David Niven, James Stewart, Jack Lemmon, Rosalind Russell Bob Hope, David Niven, Tony Randall, Mort Sahl, Laurence Olivier, Jerry Lewis Bob Hope
Pantages Theatre
31st Academy April 6, 1959 Awards
Gigi
32nd Academy Awards 33rd Academy Awards 34th Academy Awards 35th Academy Awards 36th Academy Awards 37th Academy Awards 38th Academy Awards 39th Academy Awards 40th Academy Awards
April 4, 1960
Ben-Hur
1 hour, 40 minutes
April 17, 1961
The Apartment
Santa Monica Civic Auditorium
April 9, 1962
West Side Story
2 hours, 10 minutes
April 8, 1963
Lawrence of Arabia
Frank Sinatra
April 13, 1964
Tom Jones
Jack Lemmon
April 5, 1965
My Fair Lady
Bob Hope
April 18, 1966
The Sound of Music
April 10, 1967
A Man for All Seasons
2 hours, 31 minutes
April 10, 1968
In the Heat of the Night
Academy Award
15
April 14, 1969 Oliver! None Dorothy Chandler Pavilion
41st Academy Awards 42nd Academy Awards 43rd Academy Awards 44th Academy Awards 45th Academy Awards 46th Academy Awards 47th Academy Awards 48th Academy Awards
April 7, 1970 Midnight Cowboy
2 hours, 25 minutes
43.40
April 15, 1971
Patton
April 10, 1972
The French Connection
Helen Hayes, Alan King, Sammy Davis, Jr., Jack Lemmon Carol Burnett, Michael Caine, Charlton Heston, Rock Hudson
March 27, 1973
The Godfather
2 hours, 38 minutes
April 2, 1974
The Sting
3 hours, 23 minutes
John Huston, Burt Reynolds, David Niven, Diana Ross
April 8, 1975
The Godfather Part II
3 hours, 20 minutes
Sammy Davis, Jr., Bob Hope, Shirley MacLaine, Frank Sinatra Goldie Hawn, Gene Kelly, Walter Matthau, George Segal, Robert Shaw
March 29, 1976
One Flew Over the Cuckoo's Nest
3 hours, 12 minutes
Academy Award
16
March 28, 1977 Rocky 3 hours, 38 minutes Warren Beatty, Ellen Burstyn, Jane Fonda, Richard Pryor
49th Academy Awards 50th Academy Awards
April 3, 1978
Annie Hall
3 hours, 30 minutes
39.73 million
31.10
Bob Hope
51st Academy April 9, 1979 Awards 52nd Academy Awards 53rd Academy Awards 54th Academy Awards 55th Academy Awards 56th Academy Awards 57th Academy Awards 58th Academy Awards 59th Academy Awards 60th Academy Awards 61st Academy Awards April 14, 1980
The Deer Hunter
3 hours, 25 minutes 3 hours, 12 minutes
Johnny Carson
Kramer vs. Kramer
March 31, 1981
Ordinary People
3 hours, 13 minutes
March 29, 1982
Chariots of Fire
3 hours, 24 minutes
April 11, 1983
Gandhi
3 hours, 15 minutes
Liza Minnelli, Dudley Moore, Richard Pryor, Walter Matthau
April 9, 1984
Terms of Endearment
3 hours, 42 minutes
38.00
Johnny Carson
March 25, 1985
Amadeus
3 hours, 10 minutes
Jack Lemmon
March 24, 1986
Out of Africa
3 hours, 02 minutes
38.65 million
25.71
Alan Alda, Jane Fonda, Robin Williams
March 30, 1987
Platoon
3 hours, 19 minutes
39.72 million
25.94
Chevy Chase, Goldie Hawn, Paul Hogan
April 11, 1988
The Last Emperor
3 hours, 33 minutes
42.04 million
27.80
Chevy Chase
Shrine Auditorium
March 29, 1989
Rain Man
3 hours, 19 minutes
42.77 million
28.41
None
Academy Award
17
March 26, 1990 Driving Miss Daisy 3 hours, 37 minutes 40.22 million 26.42 Billy Crystal Dorothy Chandler Pavilion
62nd Academy Awards 63rd Academy Awards 64th Academy Awards 65th Academy Awards 66th Academy Awards 67th Academy Awards 68th Academy Awards 69th Academy Awards 70th Academy Awards 71st Academy Awards 72nd Academy Awards 73rd Academy Awards 74th Academy Awards 75th Academy Awards 76th Academy Awards
March 25, 1991
Dances with Wolves
3 hours, 35 minutes
42.79 million
28.06
Shrine Auditorium
March 30, 1992
The Silence of the Lambs
3 hours, 33 minutes
44.44 million
29.84
Dorothy Chandler Pavilion
March 29, 1993
Unforgiven
3 hours, 30 minutes
45.84 million
32.85
March 21, 1994
Schindler's List
3 hours, 18 minutes
46.26 million
31.86
Whoopi Goldberg
March 27, 1995
Forrest Gump
3 hours, 35 minutes
48.87 million
33.47
David Letterman
Shrine Auditorium
March 25, 1996
Braveheart
3 hours, 38 minutes
44.81 million
30.48
Whoopi Goldberg
Dorothy Chandler Pavilion
March 24, 1997
The English Patient
3 hours, 34 minutes
40.83 million
25.83
Billy Crystal
Shrine Auditorium
March 23, 1998
Titanic
3 hours, 47 minutes
57.25 million
35.32
March 21, 1999 March 26, 2000
Shakespeare in Love American Beauty
45.63 million 46.53 million
28.51
Whoopi Goldberg
Dorothy Chandler Pavilion Shrine Auditorium
29.64
Billy Crystal
March 25, 2001
Gladiator
3 hours, 23 minutes
42.93 million
25.86
Steve Martin
March 24, 2002
A Beautiful Mind
4 hours, 23 minutes
40.54 million
25.13
Whoopi Goldberg
Kodak Theatre
March 23, 2003
Chicago
3 hours, 30 minutes
33.04 million
20.58
Steve Martin
February 29, 2004
The Lord of the Rings: The Return of the King Million Dollar Baby
3 hours, 44 minutes
43.56 million
26.68
Billy Crystal
77th Academy Awards 78th Academy Awards
February 27, 2005
3 hours, 14 minutes
42.16 million
25.29
Chris Rock
March 5, 2006
Crash
3 hours, 33 minutes
38.64 million
22.91
Jon Stewart
Academy Award
18
February 25, 2007 The Departed 3 hours, 51 minutes 39.92 million 23.65 Ellen DeGeneres
79th Academy Awards 80th Academy Awards 81st Academy Awards 82nd Academy Awards 83rd Academy Awards 84th Academy Awards 85th Academy Awards Ceremony
February 24, 2008
No Country for Old Men
3 hours, 21 minutes
31.76 million
18.66
Jon Stewart
February 22, 2009 March 7, 2010
Slumdog Millionaire The Hurt Locker
36.94 million 41.62 million
21.68
Hugh Jackman
24.75
Steve Martin, Alec Baldwin
February 27, The King's Speech 2011
3 hours, 15 minutes
37.63 million
21.97
James Franco, Anne Hathaway
February 26, 2012
The Artist
3 hours, 14 minutes
39.30 million
25.50
Billy Crystal
Hollywood and Highland Center
February 24, [44] 2013 Date
Dolby Theatre
Best Picture winner
Length of broadcast
Number of Rating viewers
Host(s)
Venue
Historically, the "Oscarcast" has pulled in a bigger haul when box-office hits are favored to win the Best Picture trophy. More than 57.25 million viewers tuned to the telecast for the 70th Academy Awards in 1998, the year of Titanic, which generated close to US$600 million at the North American box office pre-Oscars.[45] The 76th Academy Awards ceremony in which The Lord of the Rings: The Return of the King (pre-telecast box office earnings of US$368 million) received 11 Awards including Best Picture drew 43.56 million viewers.[46] The most watched ceremony based on Nielsen ratings to date, however, was the 42nd Academy Awards (Best Picture Midnight Cowboy) which drew a 43.4% household rating on April 7, 1970.[47] By contrast, ceremonies honoring films that have not performed well at the box office tend to show weaker ratings. The 78th Academy Awards which awarded low-budgeted, independent film Crash (with a pre-Oscar gross of US$53.4 million) generated an audience of 38.64 million with a household rating of 22.91%.[48] In 2008, the 80th Academy Awards telecast was watched by 31.76 million viewers on average with an 18.66% household rating, the lowest rated and least watched ceremony to date, in spite of celebrating 80 years of the Academy Awards.[49] The Best Picture winner of that particular ceremony was another low-budget, independently financed film (No Country for Old Men).
Academy Award
19
Venues
In 1929, the first Academy Awards were presented at a banquet dinner at the Hollywood Roosevelt Hotel. From 19301943, the ceremony alternated between two venues: the Ambassador Hotel on Wilshire Boulevard and the Biltmore Hotel in downtown Los Angeles. Grauman's Chinese Theater in Hollywood then hosted the awards from 1944 to 1946, followed by the Shrine Auditorium in Los Angeles from 1947 to 1948. The 21st Academy Awards in 1949 were held at the Academy Award Theater at what was the Academy's headquarters on Melrose Avenue in Hollywood.[50] From 1950 to 1960, the awards were presented at Hollywood's Pantages Theatre. Pantages Theatre, 2008 With the advent of television, the 19531957 awards took place simultaneously in Hollywood and New York first at the NBC International Theatre (1953) and then at the NBC Century Theatre (19541957), after which the ceremony took place solely in Los Angeles. The Oscars moved to the Santa Monica Civic Auditorium in Santa Monica, California in 1961. By 1969, the Academy decided to move the ceremonies back to Los Angeles, this time to the Dorothy Chandler Pavilion at the Los Angeles County Music Center. In 2002, the Kodak Theatre became the permanent home of the award ceremonies. However, due to Eastman Kodak's bankruptcy issues, this theatre was renamed the Hollywood and Highland Center in the days preceding the February 26, 2012, awards ceremony. As of May 2012 the theatre was once again renamed the Dolby Theatre after Dolby Laboratories acquired the naming rights.[51]
Academy Awards of Merit

Current awards
Best Actor in a Leading Role: since 1928 Best Actor in a Supporting Role: since 1936 Best Actress in a Leading Role: since 1928 Best Animated Feature: since 2001 Best Animated Short Film: since 1931 Best Art Direction: since 1928 Best Cinematography: since 1928 Best Costume Design: since 1948 Best Director: since 1928 Best Documentary Feature: since 1943 Best Documentary Short: since 1941 Best Film Editing: since 1935 Best Foreign Language Film: since 1947 Best Live Action Short Film: since 1931 Best Makeup and Hairstyling: since 1981 Best Original Score: since 1934 Best Original Song: since 1934 Best Picture: since 1928 Best Sound Editing: since 1963 Best Sound Mixing: since 1930 Best Visual Effects: since 1939 Best Adapted Screenplay: since 1928 Best Original Screenplay: since 1940
Best Actress in a Supporting Role: since 1936
In the first year of the awards, the Best Director award was split into two separate categories (Drama and Comedy). At times, the Best Original Score award has also been split into separate categories (Drama and Comedy/Musical). From the 1930s through the 1960s, the Art Direction, Cinematography, and Costume Design awards were likewise split into two separate categories (black-and-white films and color films). Another award, entitled the Academy Award for Best Original Musical, is still in the Academy rulebooks and has yet to be retired. However, due to continuous insufficient eligibility each year, it has not been awarded since 1984 (when Purple Rain won).[52]
Academy Award
20
Retired awards
Best Assistant Director: 1933 to 1937 Best Dance Direction: 1935 to 1937 Best Engineering Effects: 1928 only Best Original Musical or Comedy Score: 1995 to 1999 Best Original Story: 1928 to 1956 Best Score Adaptation or Treatment: 1962 to 1969; 1973 Best Short Film Color: 1936 and 1937 Best Short Film Live Action 2 Reels: 1936 to 1956 Best Short Film Novelty: 1932 to 1935 Best Title Writing: 1928 only Best Unique and Artistic Quality of Production: 1928 only
Proposed awards
The Board of Governors meets each year and considers new awards. To date, the following proposed awards have not been approved: Best Casting: rejected in 1999 Best Stunt Coordination: rejected in 1999; rejected in 2005;[53] rejected in 2011[54] Best Title Design: rejected in 1999
Special Academy Awards

These awards are voted on by special committees, rather than by the Academy membership as a whole. They are not always presented on a consistent annual basis.
Current special awards

Academy Honorary Award: since 1929 Academy Scientific and Technical Award: since 1931 Gordon E. Sawyer Award: since 1981 Jean Hersholt Humanitarian Award: since 1956 Irving G. Thalberg Memorial Award: since 1938
Retired special awards

Academy Juvenile Award: 1934 to 1960 Academy Special Achievement Award: 1972 to 1995
Criticism
Due to the positive exposure and prestige of the Academy Awards, studios spend millions of dollars and hire publicists specifically to promote their films during what is typically called the "Oscar season". This has generated accusations of the Academy Awards being influenced more by marketing than quality. William Friedkin, an Academy Award-winning film director and former producer of the ceremony, expressed this sentiment at a conference in New York in 2009, describing it as "the greatest promotion scheme that any industry ever devised for itself".[55] In addition, some winners critical of the Academy Awards have boycotted the ceremonies and refused to accept their Oscars. The first to do so was Dudley Nichols (Best Writing in 1935 for The Informer). Nichols boycotted the 8th Academy Awards ceremony because of conflicts between the Academy and the Writers' Guild.[56] George C. Scott became the second person to refuse his award (Best Actor in 1970 for Patton) at the 43rd Academy Awards ceremony. Scott described it as a 'meat parade', saying 'I don't want any part of it."[57][58][59] The third winner, Marlon Brando, refused his award (Best Actor in 1972 for The Godfather), citing the film industry's discrimination and mistreatment of Native Americans. At the 45th Academy Awards ceremony, Brando sent Sacheen Littlefeather
Academy Award to read a 15-page speech detailing his criticisms.[56] Tim Dirks, editor of AMC's filmsite.org, has written of the Academy Awards, Unfortunately, the critical worth, artistic vision, cultural influence, and innovative qualities of many films are not given the same voting weight. Especially since the 1980s, moneymaking "formula-made" blockbusters with glossy production values have often been crowd-pleasing titans (and Best Picture winners), but they haven't necessarily been great films with depth or critical acclaim by any measure.[60] Acting prizes in certain years have been criticized for not recognizing superior performances so much as being awarded for sentimental reasons,[61] personal popularity,[62] atonement for past mistakes,[63] or presented as a "career honor" to recognize a distinguished nominee's entire body of work.[64]
21
Associated events
The following events are closely associated with the annual Academy Awards ceremony: Nominees luncheon Governors Awards The 25th Independent Spirit Awards (in 2010), usually held in Santa Monica the Saturday before the Oscars, marked the first time it was moved to a Friday and a change of venue to L.A. Live. The 8th annual "Night Before", traditionally held at the Beverly Hills Hotel (eight years running in 2010) and generally known as THE party of the season, benefits the Motion Picture and Television Fund, which operates a retirement home for SAG actors in the San Fernando Valley. Elton John AIDS Foundation Academy Award Party airs the awards live at the nearby Pacific Design Center. The Governors' Ball is the Academy's official after-party, including dinner (until 2011), and is held adjacent to the awards-presentation venue. In 2012, the three course meal was replaced by appetizers. The Vanity Fair after-party, historically held at the former Morton's restaurant, since 2009 has been held at the Sunset Tower.
Notes
[1] "About the Academy Awards" (http:/ / web. archive. org/ web/ 20070407234926/ http:/ / www. oscars. org/ aboutacademyawards/ index. html). Academy of Motion Picture Arts and Sciences. Archived from the original (http:/ / www. oscars. org/ aboutacademyawards/ index. html) on April 7, 2007. . Retrieved April 13, 2007. [2] Essex, Andrew (May 14, 1999). "The Birth of Oscar" (http:/ / www. ew. com/ ew/ article/ 0,,273341,00. html). Entertainment Weekly. . Retrieved March 2, 2011. [3] "History of the Academy Awards" (http:/ / www. oscars. org/ awards/ academyawards/ about/ history. html). Academy of Motion Picture Arts and Sciences. . [4] "A Brief History of the Oscar" (http:/ / www. oscars. org/ awards/ academyawards/ about/ awards/ oscar. html). Academy of Motion Picture Arts and Sciences. . Retrieved January 23, 2012. [5] "Oscar Statuette: Legacy" (http:/ / www. oscars. org/ awards/ academyawards/ about/ awards/ oscar. html/ ?pn=statuette). Academy of Motion Picture Arts and Sciences. . Retrieved April 13, 2007. [6] "Academy to Commemorate Oscar Designer Cedric Gibbons" (http:/ / www. oscars. org/ press/ pressreleases/ 2000/ 00. 05. 03. html) (Press release). Academy of Motion Picture Arts and Sciences. May 3, 2007. . Retrieved April 13, 2007. [7] "Muse Fountain" (http:/ / www. hollywoodbowl. com/ about/ history. cfm). . [8] "Eladio Gonzalez sands and buffs Oscar #3453" (http:/ / www. boston. com/ bigpicture/ 2009/ 02/ at_work. html#photo14). The Boston Globe. February 20, 2009. Archived (http:/ / web. archive. org/ web/ 20090223085458/ http:/ / www. boston. com/ bigpicture/ 2009/ 02/ at_work. html) from the original on 23 February 2009. . Retrieved February 21, 2009. [9] Babwin, Don (January 27, 2009). "Oscar 3453 is 'born' in Chicago factory" (http:/ / www. webcitation. org/ 5e8JdSe3B). Associated Press. Archived from the original (http:/ / www. google. com/ hostednews/ ap/ article/ ALeqM5jL1cVq-oMS6qeuUPUWfAQpf85fewD95V3MV80) on January 27, 2009. . [10] "Oscar Statuette: Manufacturing, Shipping and Repairs" (http:/ / web. archive. org/ web/ 20070927134712/ http:/ / www. oscars. com/ legacy/ ?pn=statuette& page=2). Academy of Motion Picture Arts and Sciences. Archived from the original (http:/ / www. oscars. com/ legacy/ ?pn=statuette& page=2) on September 27, 2007. . Retrieved April 13, 2007.
Academy Award
[11] "Bette Davis biography" (http:/ / www. imdb. com/ name/ nm0000012/ bio). The Internet Movie Database. Archived (http:/ / web. archive. org/ web/ 20070308152931/ http:/ / www. imdb. com/ name/ nm0000012/ bio) from the original on 8 March 2007. . Retrieved April 13, 2007. [12] "Cinema: Oscars" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,747239,00. html). Time. March 26, 1934. . [13] "Oscar-Winning Walt" (http:/ / d23. disney. go. com/ news/ 2010/ 03/ oscar-winning-walt/ ). Disney.Go.com. . Retrieved February 25, 2012. [14] "Oscar" in The Oxford English Dictionary, June 2008 Draft Revision. [15] Levy, Emanuel (2003) All About Oscar: The History and Politics of the Academy Awards Continuum, New York. ISBN 0-8264-1452-4 [16] "OSCAR.com 80th Annual Academy Awards Oscar Statuette" (http:/ / www. oscar. com/ oscarhistory/ ?pn=statuette). Academy of Motion Picture Arts and Sciences. . [17] In Honor of King Oscar II of Norway (http:/ / www. lewrockwell. com/ baltzersen/ baltzersen16. html) by Jrn K. Baltzersen, LewRockwell.com [18] (Levy 2003, pg 28) [19] Duke, Alan (December 12, 2011). "Orson Welles' 'Citizen Kane' Oscar for sale" (http:/ / www. cnn. com/ 2011/ 12/ 12/ showbiz/ orson-welles-oscar/ index. html). CNN.com. . Retrieved = December 12, 2011. [20] Lacey Rose (February 28, 2005). "Psst! Wanna Buy An Oscar?" (http:/ / www. forbes. com/ 2005/ 02/ 28/ cx_lr_0228oscarsales. html). Forbes. . Retrieved April 13, 2007. [21] (Levy 2003, pg 29) [22] Sandy Cohen (January 30, 2008). "Academy Sets Oscars Contingency Plan" (http:/ / news. aol. com/ entertainment/ story/ _a/ oscars-contingency-plan/ 20080130161309990001). AOL News. . Retrieved March 19, 2008. [23] Jackie Finlay (March 3, 2006). "The men who are counting on Oscar" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ 4769730. stm). BBC News. Archived (http:/ / web. archive. org/ web/ 20070319204536/ http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ 4769730. stm) from the original on 19 March 2007. . Retrieved April 13, 2007. [24] "Academy Invites 115 to Become Members" (http:/ / web. archive. org/ web/ 20070827031611/ http:/ / www. oscars. org/ press/ pressreleases/ 2007/ 07. 06. 18. html). Academy of Motion Picture Arts and Sciences. Archived from the original (http:/ / www. oscars. org/ press/ pressreleases/ 2007/ 07. 06. 18. html) on August 27, 2007. . Retrieved September 4, 2007. [25] Cieply, Michael (May 23, 2011). "Electronic Voting Comes to The Oscars (Finally)" (http:/ / mediadecoder. blogs. nytimes. com/ 2011/ 05/ 23/ electronic-voting-comes-to-the-oscars-finally). The New York Times. . [26] "Rule Two: Eligibility" (http:/ / www. oscars. org/ awards/ academyawards/ rules/ rule02. html). Academy of Motion Picture Arts and Sciences. . Retrieved April 13, 2007. [27] "The Academy and its Oscar Awards Reminder List of Eligible Releases" (http:/ / www. youbioit. com/ en/ article/ shared-information/ 949/ academy-and-its-oscar-awards). . [28] "Rule Five: Balloting and Nominations" (http:/ / www. oscars. org/ awards/ academyawards/ rules/ rule05. html). Academy of Motion Picture Arts and Sciences. . Retrieved April 13, 2007. [29] "International Broadcasters from Oscars.com" (http:/ / oscar. com/ oscarnight/ ?pn=internationalbroadcasters). Oscars.com. . [30] Nielsen Press Release: The Nielsen Company's 2008 Guide to the Academy Awards (http:/ / www. nielsen. com/ media/ 2008/ pr_080221a. html) [31] "ABC and Academy Extend Oscar Telecast Agreement" (http:/ / www. oscars. org/ press/ pressreleases/ 2011/ 20110224b. html) (Press release). Academy of Motion Picture Arts and Sciences. February 24, 2011. . Retrieved February 24, 2011. [32] Tom O'Neil (July 12, 2010). "Emmys love for Oscars continues with 12 nominations" (http:/ / goldderby. latimes. com/ awards_goldderby/ 2010/ 07/ emmys-love-for-oscars-continues-with-12-nominations. html). Los Angeles Times. Archived (http:/ / web. archive. org/ web/ 20100819172053/ http:/ / goldderby. latimes. com/ awards_goldderby/ 2010/ 07/ emmys-love-for-oscars-continues-with-12-nominations. html) from the original on 19 August 2010. . Retrieved August 13, 2010. [33] Bill Carter (April 8, 1998). "TV Notes; Moving Oscar Night" (http:/ / www. nytimes. com/ 1998/ 04/ 08/ movies/ tv-notes-moving-oscar-night. html). New York Times. . Retrieved March 8, 2010. [34] Academy Awards will move to Sunday night (http:/ / news. google. com/ newspapers?nid=1955& dat=19980701& id=-CsiAAAAIBAJ& sjid=eqYFAAAAIBAJ& pg=6637,43314) Reading Eagle July 1, 1998; From Google News Archive [35] Never Say Never: Academy Awards move to Sunday (http:/ / news. google. com/ newspapers?nid=1980& dat=19990319& id=sKEiAAAAIBAJ& sjid=laoFAAAAIBAJ& pg=1224,4570799) The Item March 19, 1999; From Google News Archive [36] Child, Ben (March 10, 2010). "Farrah Fawcett:Oscars director apologises for 'In Memoriam' omission" (http:/ / www. guardian. co. uk/ film/ 2010/ mar/ 10/ oscars-farrah-fawcett). The Guardian (London). Archived (http:/ / web. archive. org/ web/ 20100414020632/ http:/ / www. guardian. co. uk/ film/ 2010/ mar/ 10/ oscars-farrah-fawcett) from the original on 14 April 2010. . Retrieved March 8, 2010. [37] Cohen, Sandy (March 3, 2010). "Oscar's 'In Memoriam' segment is touching to watch, painful to make" (http:/ / www. usatoday. com/ life/ movies/ movieawards/ oscars/ 2010-03-03-oscar-memorial-segment_N. htm). USA Today. Associated Press. . Retrieved March 8, 2010. [38] Jones, Sam (February 16, 2010). "Cut all change at Oscars as winners are given just 45 seconds to say thanks" (http:/ / www. guardian. co. uk/ film/ 2010/ feb/ 16/ oscar-winners-speeches-cut). The Guardian (London). . [39] John Horn (October 5, 2010). "Academy looks to move 2012 Oscar ceremony up several weeks" (http:/ / articles. latimes. com/ 2010/ oct/ 05/ entertainment/ la-et-oscars-20101005). Los Angeles Times. . Retrieved February 28, 2011. [40] Scott Bowles (February 26, 2008). "Low Oscar Ratings Cue Soul-Searching" (http:/ / www. usatoday. com/ life/ movies/ movieawards/ oscars/ 2008-02-26-oscar-ratings_N. htm). USAToday. . Retrieved March 19, 2008.
22
Academy Award
[41] Nikki Finke (February 26, 2007). "UPDATE: 39.9 Million Watch 79th Oscars" (http:/ / www. deadline. com/ 2007/ 02/ overnights-show-2-nielsen-oscar-ratings/ ). Nikki Finke's Deadline Hollywood Daily (LA Weekly). . Retrieved February 21, 2011. [42] Bill Gorman (March 8, 2010). "Academy Awards Averages 41.3 Million Viewers; Most Since 2005" (http:/ / tvbythenumbers. com/ 2010/ 03/ 08/ academy-awards-averages-41-3-million-viewers-most-since-2005/ 44217). TVbytheNumbers. Archived (http:/ / web. archive. org/ web/ 20100310080531/ http:/ / tvbythenumbers. com/ 2010/ 03/ 08/ academy-awards-averages-41-3-million-viewers-most-since-2005/ 44217) from the original on 10 March 2010. . Retrieved March 12, 2010. [43] From 1930 through 1942 the venue alternated each year between the Ambassaor and Biltmore Hotels [44] Academy Sets Date for Next Year's Oscars | The Wrap Awards (http:/ / www. thewrap. com/ awards/ column-post/ academy-sets-date-next-years-oscars-36245) [45] James, Meg (February 23, 2008). "Academy's red carpet big stage for advertisers" (http:/ / seattletimes. nwsource. com/ html/ businesstechnology/ 2004196530_oscarads23. html). The Seattle Times. . [46] Bowles, Scott (January 26, 2005). "Oscars lack blockbuster to lure TV viewers" (http:/ / www. usatoday. com/ life/ movies/ movieawards/ oscars/ 2005-01-26-oscar-telecast_x. htm). USA Today. . Retrieved November 8, 2006. [47] Charts and Data: Top 100 TV Shows of All Time by Variety (http:/ / www. variety. com/ index. asp?layout=chart_pass& charttype=chart_topshowsalltime) [48] Levin, Gary (March 7, 2006). "Low Ratings Crash Party" (http:/ / www. usatoday. com/ life/ television/ news/ 2006-03-07-nielsen-analysis_x. htm). USA Today. . Retrieved April 14, 2010. [49] "Oscar ratings worst ever" (http:/ / www. capecodonline. com/ apps/ pbcs. dll/ article?AID=/ 20080227/ LIFE/ 802270307). The Washington Post. . [50] "Oscars Award Venues" (http:/ / web. archive. org/ web/ 20061212063803/ http:/ / www. oscars. org/ aboutacademyawards/ venues. html). Academy of Motion Picture Arts and Sciences. Archived from the original (http:/ / www. oscars. org/ aboutacademyawards/ venues. html) on December 12, 2006. . Retrieved April 13, 2007. [51] Derrick J. Lang (May 12, 2012). "Oscars venue reopens as Dolby Theatre" (http:/ / www. accessatlanta. com/ atlanta-movies/ oscars-venue-reopens-as-1456115. html?cxntlid=thbz_hm). The Associated Press. . Retrieved May 12, 2012. [52] Music Awards | Rules for the 84th Academy Awards | Academy of Motion Picture Arts & Sciences (http:/ / www. oscars. org/ awards/ academyawards/ rules/ rule16. html) [53] Michael Hiltzik (August 4, 2005). "One stunt they've been unable to pull off" (http:/ / theenvelope. latimes. com/ movies/ env-fi-stunts4aug04,0,3864314. story?coll=env-movies). Los Angeles Times. . Retrieved April 13, 2007. [54] Handel, Jonathan (June 15, 2011). "Academy Votes Against Creating Oscar Category for Stunt Coordinators" (http:/ / www. hollywoodreporter. com/ race/ academy-votes-creating-oscar-category-202123). The Hollywood Reporter. . [55] Friedkin, William (Director) (February 24, 2009). Director William Friedkin at the Hudson Union Society (http:/ / fora. tv/ 2009/ 02/ 24/ Director_William_Friedkin_at_the_Hudson_Union_Society#William_Friedkin_Says_Oscars_Simply_a_Promotion_Scheme). Archived (http:/ / web. archive. org/ web/ 20090310081013/ http:/ / fora. tv/ 2009/ 02/ 24/ Director_William_Friedkin_at_the_Hudson_Union_Society) from the original on 10 March 2009. . Retrieved March 11, 2009. [56] "The Oscars Did You Know?" (http:/ / www. biography. com/ oscars/ oscars_didyouknow. jsp). Archived (http:/ / web. archive. org/ web/ 20090623000022/ http:/ / www. biography. com/ oscars/ oscars_didyouknow. jsp) from the original on 23 June 2009. . Retrieved June 18, 2009. [57] "George C Scott: The man who refused an Oscar" (http:/ / news. bbc. co. uk/ 2/ hi/ obituaries/ 455563. stm). BBC News. September 23, 1999. . [58] "Show Business: Meat Parade" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,904789,00. html). Time. March 8, 1971. . [59] "Fast Facts Did You Know?" (http:/ / www. biography. com/ oscars/ oscars_didyouknow. jsp). Biography.com. May 16, 1929. Archived (http:/ / web. archive. org/ web/ 20100210075430/ http:/ / www. biography. com/ oscars/ oscars_didyouknow. jsp) from the original on 10 February 2010. . Retrieved February 6, 2010. [60] "Academy Awards The Oscars" (http:/ / www. filmsite. org/ oscars. html). . Retrieved October 4, 2009. [61] "Taylor, Elizabeth" (http:/ / encyclopedia2. thefreedictionary. com/ Taylor,+ Elizabeth). . Retrieved October 4, 2009. [62] "Whats the worst Best Actor choice of all time?" (http:/ / incontention. com/ ?p=1045). . Retrieved October 4, 2009. [63] "Being an Oscar voter *doesn't* mean never having to say you're sorry" (http:/ / latimesblogs. latimes. com/ files/ 2009/ 02/ being-a-member. html). The Los Angeles Times. . Retrieved October 4, 2009. [64] All about Oscar: the history and politics of the Academy Awards The Career Oscars (http:/ / books. google. com/ books?id=dH2Lb_YhIhAC& pg=RA1-PA268& lpg=RA1-PA268& dq=Career+ Oscars+ particular+ performance+ for+ which+ an+ artist+ wins+ serves+ as+ a+ vehicle+ to+ reward+ a+ body+ of+ stellar+ work. #v=onepage& q=& f=false). 2003. ISBN978-0-8264-1452-6. . Retrieved October 4, 2009.
23
Academy Award
24
References
Brokaw, Lauren (2010). "Wanna see an Academy Awards invite? We got it along with all the major annual events surrounding the Oscars" (http://thedailytruffle.com/2010/03/ oscar-week-parties-the-weekly-juice-oscar-edition/). Los Angeles: The Daily Truffle. Cotte, Oliver (2007). Secrets of Oscar-winning animation: Behind the scenes of 13 classic short animations. Focal Press. ISBN978-0-240-52070-4. Gail, K., and Piazza, J. (2002). The Academy Awards: The Complete History of Oscar. Black Dog & Leventhal Publishers, Inc. ISBN 1-57912-240-X. Levy, Emanuel (2003). All About Oscar: The History and Politics of the Academy Awards. New York: Continuum. ISBN 0-8264-1452-4. Wright, Jon (2007). The Lunacy of Oscar: The Problems with Hollywood's Biggest Night. Thomas Publishing, Inc.
External links
Media and images from Commons
Look up in Wiktionary
Official website (http://www.oscars.org) Oscar.com (http://www.oscar.com/)official Academy Award ceremony site Academy Awards (http://www.dmoz.org/Arts/Movies/Awards/Academy_Awards/) at the Open Directory Project "Oscar Greats" (http://www.time.com/time/archive/collections/0,21428,c_oscars,00.shtml) at Time magazine Academy Awards USA (http://www.imdb.com/event/ev0000003/overview) at IMDB
Academy Award for Best Picture
25

Awarded for Presented by Country First awarded Best Picture of the Year Academy of Motion Picture Arts and Sciences United States 1929 (for films released in 1927 and 1928)
Currently held by The Artist (2011) Official website oscars.org [1]
The Academy Award for Best Picture is one of the Academy Awards of Merit presented annually by the Academy of Motion Picture Arts and Sciences (AMPAS) to artists working in the motion picture industry. The Best Picture category is the only category in which every member of the Academy is eligible not only to vote on the final ballot, but also to nominate. During the annual Academy Awards ceremony, Best Picture is reserved as the final award presented and, since 1951, is collected at the podium by the film's producers. The Academy Award for Best Motion Picture is considered the most important of the Academy Awards, as it is the final award presented, and represents all the directing, acting, music composing and writing efforts put forth for a film. The Grand Staircase columns at the Dolby Theatre in Los Angeles, where the Academy Awards ceremonies have been held since 2002, showcase every film that has won the Best Picture title since the award's inception 83 years ago. On June 14, 2011, AMPAS announced that the number of nominees would vary between five and ten films starting with the 2012 ceremony, provided that the film earned 5% of first-place votes during the nomination process.[2]
History
At the 1st Academy Awards ceremony (for 1927 and 1928), there was no Best Picture award. Instead, there were two separate awards, one called Most Outstanding Production, won by the epic Wings, and one called Most Artistic Quality of Production, won by the art film Sunrise. The awards were intended to honor different and equally important aspects of superior filmmaking, and in fact the judges and the studio bosses who sought to influence their decisions paid more attention to the latter - MGM head Louis B. Mayer, who had disliked the realism of King Vidor's The Crowd, another of the nominees (the third was Merian C. Cooper and Ernest B. Schoedsack's Chang) pressured the judges not to honor his own studio's film, and to select Sunrise instead. The next year, the Academy instituted a single award called Best Production, and decided retroactively that the award won by Wings had been the equivalent of that award, with the result that Wings is often listed as the winner of a sole Best Picture award for the first year. The title of the award was eventually changed to Best Picture for the 1931 awards. From 1944 to 2008, the Academy restricted nominations to five Best Picture nominees per year. As of the 84th Academy Awards ceremony (for 2011), there have been 494 films nominated for the Best Picture award. Invariably, the Academy Awards for Best Picture and Best Director have been very closely linked throughout their history. Of the 84 films that have been awarded Best Picture, 62 have also been awarded Best Director.[3] Only three films have won Best Picture without their directors being nominated (though only one since the early 1930s): Wings (1927/28), Grand Hotel (1931/32), and Driving Miss Daisy (1989). The only two Best Director winners to win for films which did not receive a Best Picture nomination are likewise in the early years: Lewis Milestone (1927/28) and Frank Lloyd (1928/29). On June 24, 2009, AMPAS announced that the number of films nominated in the Best Picture award category would increase from five to ten, starting with the 82nd Academy Awards (2009).[4] The expansion was a throwback to the Academy's early years in the 1930s and 1940s, when anywhere between eight and 12 films were shortlisted (or
Academy Award for Best Picture longlisted). "Having 10 Best Picture nominees is going to allow Academy voters to recognize and include some of the fantastic movies that often show up in the other Oscar categories but have been squeezed out of the race for the top prize," AMPAS President Sid Ganis said in a press conference. "I can't wait to see what that list of 10 looks like when the nominees are announced in February."[4] At the same time, the voting system was switched from first-past-the-post to Alternative Vote (also known as Instant Run-off Vote).[5] Two years after this change, the Academy adjusted the rule again so the number of films nominated per year were instead between 5 and 10 provided that the film earned 5% of first-place votes during the nomination process. Academy Executive Bruce Davis cited "A Best Picture nomination should be an indication of extraordinary merit. If there are only eight pictures that truly earn that honor in a given year, we shouldn't feel an obligation to round out the number."[2] One point of contention is the lack of consideration of non-English language films for categories other than Best Foreign Language Film. Very few foreign language films have been nominated for any other categories, regardless of artistic merit. To date, only eight foreign language films (and three partly foreign language films) have been nominated for Best Picture: Grand Illusion (French, 1938); Z (French, 1969); The Emigrants (Swedish, 1972); Cries and Whispers (Swedish, 1973); Il Postino (Italian/Spanish, 1995); Life Is Beautiful (Italian, 1998); Crouching Tiger, Hidden Dragon (Mandarin Chinese, 2000); and Letters from Iwo Jima (Japanese, 2006), which was ineligible for the Best Foreign Language Oscar because it was an American production. The only partly foreign language films to win Best Picture are The Godfather Part II (English/Sicilian, 1974), The Last Emperor (English/Mandarin, 1987) and Slumdog Millionaire (English/Hindi, 2008). Another point of contention is the recent bias toward 2-plus hour films: Crash (2005, 112m) is the shortest film to win Best Picture in the past 20 years, with the exception being The Artist which clocks in at 100 minutes. It has been criticized for ignoring films that were huge commercial and critical successes. Furthermore, no animated film has won the award (Disney's Beauty and the Beast and Disney-Pixar's Up and Toy Story 3 were nominated); no science fiction film has won despite a number of successful nominees; and only two comedies (Shakespeare in Love, 1998; and The Artist, 2011) have won in the last 30 years. To date, twelve films exclusively financed outside the United States have won Best Picture; eleven of which were financed, in part or in whole, by the United Kingdom. Those films were, in chronological order: Hamlet, The Bridge on the River Kwai, Lawrence of Arabia, Tom Jones, A Man for All Seasons, Oliver!, Chariots of Fire, Gandhi, The Last Emperor, Slumdog Millionaire and The King's Speech. The Artist, which was financed by France, is the twelfth Best Picture winner financed outside the United States and the only one of these financed outside of the United Kingdom. No Best Picture winner has been lost, though a few such as All Quiet on the Western Front and Lawrence of Arabia exist only in a form altered from their original, award-winning release form, usually due to editing for reissue (and subsequently partly restored by archivists). Other winners and nominees such as Tom Jones and Star Wars are widely available only in subsequently altered versions. The 1928 film The Patriot is the only Best Picture nominee that is lost; The Racket was believed lost for many years but a print existed in producer Howard Hughes' archives and it has since been shown on Turner Classic Movies. In addition to being the only Best Picture winner to date financed entirely outside of the US or UK, The Artist (with the exception of a single scene of dialogue) was the first silent film since Wings to win Best Picture, although a part-silent version of All Quiet on the Western Front was created for foreign-language release and survives. The Artist was also the first silent nominee (other than the silent version of a nominated talkie) since The Patriot, as well as the first Best Picture winner shot entirely in black-and-white since 1960's The Apartment. (Schindler's List, the 1993 winner, was predominantly black-and-white but contained some brief color sequences.)
26
27
Winners and nominees

In the list below, the winner of the award for each year is shown first, followed by the other nominees. Except for the early years (when the Academy used a non-calendar year), the year shown is the one in which the film first premiered in Los Angeles County, California; normally this is also the year of first release, but it may be the year after first release (as with Casablanca and, if the film-festival premiere is considered, Crash). This is the year before the ceremony at which the award is given; for example, a film exhibited theatrically during 2005 was eligible for consideration for the 2005 Best Picture Oscar, awarded in 2006. The number of the ceremony (1st, 2nd, etc.) appears in parentheses after the awards year, linked to the article (if any) on that ceremony. Each individual entry shows the title followed by the production company, and the producer. For foreign language films, the original title is also shown. Until 1950, the Best Picture award was given to the production company; from 1951 on, it has gone to the producer. The official name of the award has changed several times over the years: 1927/28 1928/29: Outstanding Picture 1929/30 1940: Outstanding Production 1941 1943: Outstanding Motion Picture 1944 1961: Best Motion Picture 1962 present: Best Picture
For the first ceremony, three films were nominated for the award. For the following three years, five films were nominated for the award. This was expanded to eight in 1933, to ten in 1934, and to twelve in 1935, before being dropped back to ten in 1937. In 1945 it was reduced back to five. This number remained until 2010, when it was once again raised to ten. For the first six ceremonies, the eligibility period spanned two calendar years. For example, the 2nd Academy Awards presented on April 3, 1930, recognized films that were released between August 1, 1928 and July 31, 1929. Starting with the 7th Academy Awards, held in 1935, the period of eligibility became the full previous calendar year from January 1 to December 31.
1920s 1927/28[A] (1st)

Film Wings The Racket Production Company(ies) Producer(s)
Paramount, Famous Players-Lasky Lucien Hubbard Caddo, Paramount Howard Hughes William Fox
Seventh Heaven Fox
1928/29 (2nd)
Film The Broadway Melody Alibi Production Company(ies) Metro-Goldwyn-Mayer[L] Producer(s) Irving Thalberg & Lawrence Weingarten
Feature Productions, United Artists Roland West Harry Rapf Winfield Sheehan[G] Ernst Lubitsch
The Hollywood Revue of 1929 Metro-Goldwyn-Mayer In Old Arizona The Patriot Fox Paramount
28
1930s 1929/30[B] (3rd)

Film Production company(s) Producer(s) Carl Laemmle, Jr. Irving Thalberg Jack Warner, Darryl F. Zanuck Robert Z. Leonard Ernst Lubitsch
All Quiet on the Western Front Universal The Big House Disraeli The Divorcee The Love Parade Metro-Goldwyn-Mayer Warner Bros. Metro-Goldwyn-Mayer Paramount
1930/31 (4th)
Film Cimarron East Lynne Production company(s) RKO Radio Fox Producer(s) William LeBaron Winfield Sheehan[G] Howard Hughes Adolph Zukor Irving G. Thalberg
The Front Page Caddo, United Artists Skippy Trader Horn Paramount Metro-Goldwyn-Mayer
1931/32 (5th)
Film Grand Hotel Arrowsmith Bad Girl The Champ Five Star Final One Hour with You Shanghai Express Production company(s) Producer(s)
Metro-Goldwyn-Mayer Irving Thalberg Goldwyn, United Artists Samuel Goldwyn Fox Metro-Goldwyn-Mayer First National Paramount Paramount Winfield Sheehan[G] King Vidor Hal B. Wallis Ernst Lubitsch Adolph Zukor Ernst Lubitsch
The Smiling Lieutenant Paramount
1932/33 (6th)
Film Cavalcade[H] A Farewell to Arms[H] 42nd Street Production company(s) Fox Paramount Warner Bros. Producer(s) Winfield Sheehan[G] Adolph Zukor Darryl F. Zanuck Hal B. Wallis Frank Capra Merian C. Cooper, Kenneth MacGowan
I Am a Fugitive from a Chain Gang Warner Bros. Lady for a Day Little Women[H] Columbia RKO Radio
29
London Films, United Artists Alexander Korda Paramount Metro-Goldwyn-Mayer Fox William LeBaron Irving Thalberg Winfield Sheehan[G]
The Private Life of Henry VIII She Done Him Wrong Smilin' Through State Fair
1934 (7th)
Film It Happened One Night[I] Production company(s) Columbia Producer(s) Harry Cohn & Frank Capra Irving Thalberg Cecil B. DeMille Jack L. Warner, Hal B. Wallis, Robert Lord Pandro S. Berman Lou Edelman
The Barretts of Wimpole Street[I] Metro-Goldwyn-Mayer Cleopatra Flirtation Walk The Gay Divorcee Here Comes the Navy The House of Rothschild[I] Imitation of Life One Night of Love The Thin Man Viva Villa! The White Parade Paramount First National RKO Radio Warner Bros.
20th Century, United Artists Darryl F. Zanuck, William Goetz, Raymond Griffith Universal Columbia Metro-Goldwyn-Mayer Metro-Goldwyn-Mayer Fox John M. Stahl Harry Cohn, Everett Riskin Hunt Stromberg David O. Selznick Jesse L. Lasky
1935 (8th)
Film Mutiny on the Bounty[J] Alice Adams Broadway Melody of 1936 Captain Blood[J] David Copperfield The Informer[J] Production company(s) Metro-Goldwyn-Mayer RKO Radio Metro-Goldwyn-Mayer Producer(s) Irving Thalberg, Albert Lewin Pandro S. Berman John W. Considine, Jr.
Warner Bros., Cosmopolitan Hal B. Wallis, Harry Joe Brown, Gordon Hollingshead Metro-Goldwyn-Mayer RKO Radio David O. Selznick Cliff Reid Louis D. Lighton Henry Blanke
The Lives of a Bengal Lancer Paramount A Midsummer Night's Dream Warner Bros. Les Misrables Naughty Marietta Ruggles of Red Gap Top Hat
20th Century, United Artists Darryl F. Zanuck Metro-Goldwyn-Mayer Paramount RKO Radio Hunt Stromberg Arthur Hornblow, Jr. Pandro S. Berman
30
1936 (9th)
Film The Great Ziegfeld Anthony Adverse Dodsworth Libeled Lady Mr. Deeds Goes to Town Romeo and Juliet San Francisco Production company(s) Producer(s)
Metro-Goldwyn-Mayer Hunt Stromberg Warner Bros. Henry Blanke
Goldwyn, United Artists Samuel Goldwyn, Merritt Hulbert Metro-Goldwyn-Mayer Columbia Metro-Goldwyn-Mayer Metro-Goldwyn-Mayer Lawrence Weingarten Frank Capra Irving Thalberg John Emerson, Bernard H. Hyman Henry Blanke David O. Selznick Joe Pasternak, Charles R. Rogers
The Story of Louis Pasteur Warner Bros. A Tale of Two Cities Three Smart Girls Metro-Goldwyn-Mayer Universal
1937 (10th)
Film The Life of Emile Zola The Awful Truth Captains Courageous Dead End The Good Earth In Old Chicago Lost Horizon Production company(s) Warner Bros. Columbia Metro-Goldwyn-Mayer Goldwyn, United Artists Metro-Goldwyn-Mayer 20th Century Fox Columbia Producer(s) Henry Blanke Leo McCarey, Everett Riskin Louis Lighton Samuel Goldwyn, Merritt Hulbert Irving Thalberg, Albert Lewin Darryl F. Zanuck, Kenneth MacGowan Frank Capra Charles R. Rogers, Joe Pasternak Pandro S. Berman
One Hundred Men and a Girl Universal Stage Door A Star Is Born RKO Radio
Selznick International, United Artists David O. Selznick
1938 (11th)
Film You Can't Take It With You Production company(s) Columbia Producer(s) Frank Capra Hal B. Wallis, Henry Blanke Darryl F. Zanuck, Harry Joe Brown John W. Considine, Jr. Victor Saville
The Adventures of Robin Hood Warner Bros. Alexander's Ragtime Band Boys Town The Citadel Four Daughters Grand Illusion Jezebel Pygmalion Test Pilot 20th Century Fox Metro-Goldwyn-Mayer Metro-Goldwyn-Mayer
Warner Bros., First National Hal B. Wallis, Henry Blanke R. A. O., World Pictures Warner Bros. Metro-Goldwyn-Mayer Metro-Goldwyn-Mayer Frank Rollmer, Albert Pinkovitch Hal B. Wallis, Henry Blanke Gabriel Pascal Louis Lighton
31
1939 (12th)
Film Gone with the Wind Dark Victory Goodbye, Mr. Chips Love Affair Production company(s) Producer(s)
Selznick, Metro-Goldwyn-Mayer David O. Selznick Warner Bros. Metro-Goldwyn-Mayer RKO Radio David Lewis Victor Saville Leo McCarey Frank Capra Sidney Franklin Lewis Milestone Walter Wanger Mervyn LeRoy Samuel Goldwyn
Mr. Smith Goes to Washington Columbia Ninotchka Of Mice and Men Stagecoach The Wizard of Oz Wuthering Heights Metro-Goldwyn-Mayer Roach, United Artists United Artists Metro-Goldwyn-Mayer Goldwyn, United Artists
1940s 1940 (13th)

Film Rebecca Production company(s) Selznick, United Artists Producer(s) David O. Selznick Jack L. Warner, Hal B. Wallis, David Lewis Walter Wanger Darryl F. Zanuck, Nunnally Johnson Charlie Chaplin David Hempstead Hal B. Wallis
All This, and Heaven Too Warner Bros. Foreign Correspondent The Grapes of Wrath The Great Dictator Kitty Foyle The Letter The Long Voyage Home Our Town The Philadelphia Story Wanger, United Artists 20th Century Fox Chaplin, United Artists RKO Radio Warner Bros.
Argosy, Wanger, United Artists John Ford Lesser, United Artists Metro-Goldwyn-Mayer Sol Lesser Joseph L. Mankiewicz
1941[C] (14th)
Film Production company(s) Producer(s) Darryl F. Zanuck Irving Asher Orson Welles Everett Riskin Arthur Hornblow, Jr. Samuel Goldwyn Hal B. Wallis Hal B. Wallis
How Green Was My Valley 20th Century Fox Blossoms in the Dust Citizen Kane Here Comes Mr. Jordan Hold Back the Dawn The Little Foxes The Maltese Falcon One Foot in Heaven Metro-Goldwyn-Mayer RKO Radio Columbia Paramount RKO Radio Warner Bros. Warner Bros.
32
Warner Bros. RKO Radio Hal B. Wallis, Jesse L. Lasky Alfred Hitchcock
Sergeant York Suspicion
1942 (15th)
Film Mrs. Miniver 49th Parallel Kings Row Production company(s) Producer(s)
Metro-Goldwyn-Mayer Sidney Franklin GFD, Columbia Warner Bros. Michael Powell Hal B. Wallis Orson Welles Nunnally Johnson Samuel Goldwyn Sidney Franklin George Stevens Joseph Sistrom Jack Warner, Hal B. Wallis, William Cagney
The Magnificent Ambersons Mercury, RKO Radio The Pied Piper The Pride of the Yankees Random Harvest The Talk of the Town Wake Island Yankee Doodle Dandy 20th Century Fox Goldwyn, RKO Radio Metro-Goldwyn-Mayer Columbia Paramount Warner Bros.
1943 (16th)
Film Casablanca Production company(s) Warner Bros. Producer(s) Hal B. Wallis Sam Wood Ernst Lubitsch Clarence Brown Nol Coward Sidney Franklin George Stevens Lamar Trotti William Perlberg Hal B. Wallis
For Whom the Bell Tolls Paramount Heaven Can Wait The Human Comedy In Which We Serve Madame Curie The More the Merrier The Ox-Bow Incident The Song of Bernadette Watch on the Rhine 20th Century Fox Metro-Goldwyn-Mayer United Artists Metro-Goldwyn-Mayer Columbia 20th Century Fox 20th Century Fox Warner Bros.
1944[D] (17th)
Film Going My Way Double Indemnity Gaslight Production company(s) Paramount Paramount Metro-Goldwyn-Mayer Producer(s) Leo McCarey Joseph Sistrom Arthur Hornblow, Jr. David O. Selznick Darryl F. Zanuck
Since You Went Away Selznick, United Artists Wilson 20th Century Fox
33
1945 (18th)
Film The Lost Weekend Anchors Aweigh Production company(s) Paramount Metro-Goldwyn-Mayer Producer(s) Charles Brackett Joe Pasternak Leo McCarey Jerry Wald David O. Selznick
The Bells of St. Mary's RKO Radio Mildred Pierce Spellbound Warner Bros. United Artists
1946 (19th)
Film Production company(s) Producer(s) Samuel Goldwyn Laurence Olivier Frank Capra Darryl F. Zanuck Sidney Franklin
The Best Years of Our Lives RKO Radio Henry V It's a Wonderful Life The Razor's Edge The Yearling United Artists RKO Radio 20th Century Fox Metro-Goldwyn-Mayer
1947 (20th)
Film Production company(s) Producer(s) Darryl F. Zanuck Samuel Goldwyn Adrian Scott Ronald Neame William Perlberg
Gentleman's Agreement 20th Century Fox The Bishop's Wife Crossfire Great Expectations Miracle on 34th Street RKO Radio RKO Radio Rank-Cineguild, U-I 20th Century Fox
1948 (21st)
Film Hamlet Johnny Belinda The Red Shoes The Snake Pit Production company(s) J. Arthur Rank-Two Cities Films, Universal International Warner Bros. Producer(s) Laurence Olivier Jerry Wald
Rank Organisation, Powell and Pressburger, Eagle-Lion Films Michael Powell, Emeric Pressburger 20th Century Fox Anatole Litvak, Robert Bassler Henry Blanke
The Treasure of the Sierra Madre Warner Bros.
34
1949 (22nd)
Film All the King's Men Battleground The Heiress Production company(s) Rossen, Columbia Metro-Goldwyn-Mayer Paramount Producer(s) Robert Rossen Dore Schary William Wyler Sol C. Siegel Darryl F. Zanuck
A Letter to Three Wives 20th Century Fox Twelve O'Clock High 20th Century Fox
1950s 1950 (23rd)

Film All About Eve Born Yesterday Father of the Bride Production company(s) 20th Century Fox Columbia Metro-Goldwyn-Mayer Producer(s) Darryl F. Zanuck S. Sylvan Simon Sam Zimbalist Sam Zimbalist Charles Brackett
King Solomon's Mines Metro-Goldwyn-Mayer Sunset Boulevard Paramount
1951 (24th)
Film An American in Paris Decision Before Dawn A Place in the Sun Quo Vadis Production company(s) Producer(s)
Metro-Goldwyn-Mayer Arthur Freed 20th Century Fox Paramount Metro-Goldwyn-Mayer Anatole Litvak, Frank McCarthy George Stevens Sam Zimbalist Charles K. Feldman
A Streetcar Named Desire Warner Bros.
1952 (25th)
Film Production company(s) Producer(s) Cecil B. DeMille Stanley Kramer Pandro S. Berman John Huston John Ford, Merian C. Cooper
The Greatest Show on Earth Paramount High Noon Ivanhoe Moulin Rouge The Quiet Man United Artists Metro-Goldwyn-Mayer United Artists Republic
35
1953 (26th)
Film Production company(s) Producer(s) Buddy Adler John Houseman Frank Ross William Wyler George Stevens
From Here to Eternity Columbia Julius Caesar The Robe Roman Holiday Shane Metro-Goldwyn-Mayer 20th Century Fox Paramount Paramount
1954 (27th)
Film On the Waterfront The Caine Mutiny The Country Girl Production company(s) Columbia Columbia Paramount Producer(s) Sam Spiegel[N] Stanley Kramer William Perlberg Jack Cummings Sol C. Siegel
Seven Brides for Seven Brothers Metro-Goldwyn-Mayer Three Coins in the Fountain 20th Century Fox
1955 (28th)
Film Marty Production company(s) United Artists Producer(s) Harold Hecht Buddy Adler Leland Hayward Fred Kohlmar Hal B. Wallis
Love Is a Many-Splendored Thing 20th Century Fox Mister Roberts Picnic The Rose Tattoo Warner Bros. Columbia Paramount
1956 (29th)
Film Production company(s) Producer(s) Michael Todd William Wyler George Stevens, Henry Ginsberg Charles Brackett Cecil B. DeMille
Around the World in 80 Days United Artists Friendly Persuasion Giant The King and I The Ten Commandments Allied Artists Warner Bros. 20th Century Fox Paramount
36
1957 (30th)
Film Production company(s) Producer(s) Sam Spiegel Jerry Wald William Goetz Henry Fonda, Reginald Rose Arthur Hornblow, Jr.
The Bridge on the River Kwai Columbia Peyton Place Sayonara 12 Angry Men Witness for the Prosecution 20th Century Fox Warner Bros. United Artists United Artists
1958 (31st)
Film Gigi Auntie Mame Production company(s) Producer(s)
Metro-Goldwyn-Mayer Arthur Freed Warner Bros. Jack L. Warner Lawrence Weingarten Stanley Kramer Harold Hecht
Cat on a Hot Tin Roof Metro-Goldwyn-Mayer The Defiant Ones Separate Tables Kramer, United Artists United Artists
1959 (32nd)
Film Ben-Hur Anatomy of a Murder Production company(s) Metro-Goldwyn-Mayer Columbia Producer(s) Sam Zimbalist Otto Preminger George Stevens Henry Blanke
The Diary of Anne Frank 20th Century Fox The Nun's Story Room at the Top Warner Bros.
Continental, British Lion Films John Woolf, James Woolf
1960s 1960 (33rd)

Film The Apartment The Alamo Elmer Gantry Production company(s) United Artists United Artists United Artists Producer(s) Billy Wilder John Wayne Bernard Smith Jerry Wald Fred Zinnemann
Sons and Lovers 20th Century Fox The Sundowners Warner Bros.
37
1961 (34th)
Film West Side Story Fanny The Guns of Navarone The Hustler Production company(s) United Artists Warner Bros. Columbia 20th Century Fox Producer(s) Robert Wise Joshua Logan Carl Foreman Robert Rossen Stanley Kramer
Judgment at Nuremberg United Artists
1962[E] (35th)
Film Lawrence of Arabia The Longest Day The Music Man Production company(s) Columbia 20th Century Fox Warner Bros. Producer(s) Sam Spiegel Darryl F. Zanuck Morton DaCosta Aaron Rosenberg Alan J. Pakula
Mutiny on the Bounty Metro-Goldwyn-Mayer To Kill a Mockingbird U-I
1963 (36th)
Film Tom Jones America, America Cleopatra Production company(s) United Artists Warner Bros. 20th Century Fox Producer(s) Tony Richardson Elia Kazan Walter Wanger
How the West Was Won Metro-Goldwyn-Mayer, Cinerama Bernard Smith Lilies of the Field United Artists Ralph Nelson
1964 (37th)
Film My Fair Lady Becket Production company(s) Warner Bros. Paramount Producer(s) Jack L. Warner Hal B. Wallis Stanley Kubrick Walt Disney, Bill Walsh Michael Cacoyannis
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb Columbia Mary Poppins Zorba the Greek Walt Disney Pictures 20th Century Fox
38
1965 (38th)
Film Production company(s) Producer(s) Robert Wise Joseph Janni Carlo Ponti Stanley Kramer Fred Coe
The Sound of Music 20th Century Fox Darling Doctor Zhivago Ship of Fools Embassy Metro-Goldwyn-Mayer Columbia
A Thousand Clowns United Artists
1966 (39th)
Film A Man for All Seasons Alfie Production company(s) Columbia Paramount Producer(s) Fred Zinnemann Lewis Gilbert Norman Jewison Robert Wise Ernest Lehman
The Russians Are Coming, the Russians Are Coming United Artists The Sand Pebbles Who's Afraid of Virginia Woolf? 20th Century Fox Warner Bros.
1967 (40th)
Film In the Heat of the Night Bonnie and Clyde Doctor Dolittle The Graduate Production company(s) United Artists Producer(s) Walter Mirisch
Warner Bros., Seven Arts Warren Beatty 20th Century Fox Embassy Arthur P. Jacobs Lawrence Turman Stanley Kramer
Guess Who's Coming to Dinner Columbia
1968 (41st)
Film Oliver! Funny Girl Production company(s) Columbia Columbia John Woolf Ray Stark Martin Poll Paul Newman Anthony Havelock-Allan, John Brabourne Producer(s)
The Lion in Winter Avco Embassy Rachel, Rachel Romeo and Juliet Warner Bros. Paramount
39
1969 (42nd)
Film Midnight Cowboy Anne of the Thousand Days Production company(s) United Artists Universal Producer(s) Jerome Hellman Hal B. Wallis John Foreman Ernest Lehman Jacques Perrin, Ahmed Rachedi
Butch Cassidy and the Sundance Kid 20th Century Fox Hello, Dolly! Z[K] 20th Century Fox Cinema V
1970s 1970 (43rd)

Film Patton Airport Production company(s) 20th Century Fox Universal Producer(s) Frank McCarthy Ross Hunter Bob Rafelson, Richard Wechsler Howard G. Minsky Ingo Preminger
Five Easy Pieces Columbia Love Story MASH Paramount 20th Century Fox
1971 (44th)
Film Production company(s) Producer(s) Philip D'Antoni Stanley Kubrick Norman Jewison Stephen J. Friedman Sam Spiegel
The French Connection 20th Century Fox A Clockwork Orange Fiddler on the Roof The Last Picture Show Warner Bros. United Artists Columbia
Nicholas and Alexandra Columbia
1972 (45th)
Film The Godfather Cabaret Deliverance Production company(s) Paramount Allied Artists Warner Bros. Producer(s) Albert S. Ruddy Cy Feuer John Boorman Bengt Forslund Robert B. Radnitz
The Emigrants[K] Warner Bros. Sounder 20th Century Fox
40
1973 (46th)
Film The Sting American Graffiti Production company(s) Universal Lucasfilm, Universal Producer(s) Tony Bill, Michael Phillips, Julia Phillips Francis Ford Coppola, Gary Kurtz Ingmar Bergman William Peter Blatty Melvin Frank
Cries and Whispers[K] New World Pictures The Exorcist A Touch of Class Warner Bros. Avco Embassy
1974 (47th)
Film Production company(s) Producer(s) Francis Ford Coppola, Gray Frederickson, Fred Roos Robert Evans Francis Ford Coppola Marvin Worth
The Godfather Part II[O] Paramount Chinatown The Conversation Lenny The Towering Inferno Paramount Paramount United Artists
20th Century Fox, Warner Bros. Irwin Allen
1975 (48th)
Film Production company(s) Producer(s) Saul Zaentz[N], Michael Douglas Stanley Kubrick Martin Bregman, Martin Elfand Richard D. Zanuck Robert Altman
One Flew Over the Cuckoo's Nest United Artists Barry Lyndon Dog Day Afternoon Jaws Nashville Warner Bros. Warner Bros. Universal Paramount
1976 (49th)
Film Rocky Production company(s) United Artists Producer(s) Irwin Winkler, Robert Chartoff Walter Coblenz Robert F. Blumofe, Harold Leventhal
All the President's Men Warner Bros. Bound for Glory Network Taxi Driver United Artists
Metro-Goldwyn-Mayer, United Artists Howard Gottfried Columbia Michael Phillips, Julia Phillips
41
1977 (50th)
Film Annie Hall The Goodbye Girl Julia Star Wars Production company(s) United Artists Producer(s) Charles H. Joffe
Metro-Goldwyn-Mayer, Warner Bros. Ray Stark 20th Century Fox Lucasfilm, 20th Century Fox Richard Roth Gary Kurtz Herbert Ross, Arthur Laurents
The Turning Point 20th Century Fox
1978 (51st)
Film The Deer Hunter Coming Home Heaven Can Wait Midnight Express Production company(s) Universal United Artists Paramount Columbia Producer(s) Barry Spikings, Michael Deeley, Michael Cimino, John Peverall Jerome Hellman Warren Beatty Alan Marshall, David Puttnam Paul Mazursky, Tony Ray
An Unmarried Woman 20th Century Fox
1979 (52nd)
Film Production company(s) Stanley R. Jaffe Robert Alan Aurthur Francis Ford Coppola, Fred Roos, Gray Frederickson, Tom Sternberg Peter Yates Tamara Asseyev, Alex Rose Producer(s)
Kramer vs. Kramer Columbia All That Jazz Apocalypse Now Breaking Away Norma Rae 20th Century Fox United Artists 20th Century Fox 20th Century Fox
1980s 1980 (53rd)

Film Ordinary People Production company(s) Paramount Producer(s) Ronald L. Schwary Bernard Schwartz Jonathan Sanger Irwin Winkler, Robert Chartoff Claude Berri, Timothy Burrill
Coal Miner's Daughter Universal The Elephant Man Raging Bull Tess Paramount United Artists Columbia
42
1981 (54th)
Film Chariots of Fire Atlantic City On Golden Pond Production company(s) Producer(s)
The Ladd Company, Warner Bros. David Puttnam Paramount ITC, Universal Denis Hroux Bruce Gilbert Frank Marshall Warren Beatty
Raiders of the Lost Ark Lucasfilm, Paramount Reds Paramount
1982 (55th)
Film Gandhi Production company(s) Columbia Producer(s) Richard Attenborough Steven Spielberg, Kathleen Kennedy[M] Edward Lewis, Mildred Lewis Sydney Pollack, Dick Richards Richard D. Zanuck, David Brown
E.T. the Extra-Terrestrial Universal Missing Tootsie The Verdict Universal Columbia 20th Century Fox
1983 (56th)
Film Production company(s) Producer(s) James L. Brooks Michael Shamberg Peter Yates
Terms of Endearment Paramount The Big Chill The Dresser The Right Stuff Tender Mercies Columbia Columbia
Warner Bros., The Ladd Company Irwin Winkler, Robert Chartoff EMI Films, Universal Philip S. Hobel
1984 (57th)
Film Amadeus The Killing Fields Production company(s) Orion Warner Bros. Saul Zaentz David Puttnam John Brabourne, Richard Goodwin Arlene Donovan Norman Jewison, Ronald L. Schwary, Patrick Palmer Producer(s)
A Passage to India Columbia Places in the Heart Tri-Star A Soldier's Story Columbia
43
1985 (58th)
Film Out of Africa The Color Purple Production company(s) Universal Warner Bros. Sydney Pollack Steven Spielberg, Kathleen Kennedy, Frank Marshall, Quincy Jones David Weisman Producer(s)
Kiss of the Spider Woman Island Alive Prizzi's Honor Witness
20th Century Fox, ABC Motion Pictures John Foreman Paramount Edward S. Feldman
1986 (59th)
Film Platoon Production company(s) Orion Producer(s) Arnold Kopelson Burt Sugarman, Patrick J. Palmer Robert Greenhut Fernando Ghia, David Puttnam Ismail Merchant
Children of a Lesser God Paramount Hannah and Her Sisters The Mission A Room with a View Orion Warner Bros. Cinecom
1987 (60th)
Film Production company(s) Producer(s) Jeremy Thomas James L. Brooks Stanley R. Jaffe, Sherry Lansing John Boorman Patrick J. Palmer, Norman Jewison
The Last Emperor[O] Columbia Broadcast News Fatal Attraction Hope and Glory Moonstruck 20th Century Fox Paramount Columbia Metro-Goldwyn-Mayer
1988 (61st)
Film Rain Man Production company(s) United Artists Mark Johnson Lawrence Kasdan, Charles Okun, Michael Grillo Norma Heyman, Hank Moonjean Frederick Zollo, Robert F. Colesberry Douglas Wick Producer(s)
The Accidental Tourist Warner Bros. Dangerous Liaisons Mississippi Burning Working Girl Warner Bros. Orion 20th Century Fox
44
1989 (62nd)
Film Driving Miss Daisy Production company(s) Warner Bros. Producer(s) Richard D. Zanuck, Lili Fini Zanuck A. Kitman Ho, Oliver Stone Steven Haft, Paul Junger Witt, Tony Thomas Lawrence Gordon, Charles Gordon Noel Pearson
Born on the Fourth of July Universal Dead Poets Society Field of Dreams My Left Foot Touchstone Pictures Universal Miramax
1990s 1990 (63rd)

Film Dances with Wolves Awakenings Ghost Production company(s) Orion Columbia Paramount Producer(s) Jim Wilson, Kevin Costner Walter F. Parkes, Lawrence Lasker Lisa Weinstein Francis Ford Coppola Irwin Winkler
The Godfather Part III Paramount Goodfellas Warner Bros.
1991 (64th)
Film The Silence of the Lambs Orion Beauty and the Beast Bugsy JFK The Prince of Tides Production company(s) Producer(s) Edward Saxon, Kenneth Utt, Ron Bozman
Walt Disney Animation Studios, Walt Disney Pictures Don Hahn TriStar Warner Bros. Columbia Mark Johnson, Barry Levinson, Warren Beatty A. Kitman Ho, Oliver Stone Barbra Streisand, Andrew S. Karsch
1992 (65th)
Film Unforgiven Production company(s) Warner Bros. Producer(s) Clint Eastwood Stephen Woolley
The Crying Game Miramax A Few Good Men Howards End
Columbia, Castle Rock Entertainment Rob Reiner, Andrew Scheinman Sony Pictures Classics Ismail Merchant Martin Brest
Scent of a Woman Universal
45
1993 (66th)
Film Schindler's List The Fugitive Production company(s) Universal Warner Bros. Producer(s) Steven Spielberg, Gerald R. Molen, Branko Lustig Arnold Kopelson Jim Sheridan Jan Chapman Mike Nichols, John Calley, Ismail Merchant
In the Name of the Father Universal The Piano The Remains of the Day Miramax Columbia
1994 (67th)
Film Forrest Gump Production company(s) Paramount Producer(s) Wendy Finerman, Steve Tisch, Steve Starkey
Four Weddings and a Funeral PolyGram Filmed Entertainment, Gramercy Duncan Kenworthy Pulp Fiction Quiz Show The Shawshank Redemption Miramax Hollywood Pictures Columbia, Castle Rock Entertainment Lawrence Bender Michael Jacobs, Julian Krainin, Michael Nozick, Robert Redford Niki Marvin
1995 (68th)
Film Braveheart Apollo 13 Babe Production company(s) Producer(s)
Paramount, Icon, 20th Century Fox Mel Gibson, Alan Ladd, Jr., Bruce Davey Universal, Imagine Entertainment Universal Brian Grazer Bill Miller, George Miller, Doug Mitchell Mario Cecchi Gori, Vittorio Cecchi Gori, Gaetano Daniele Lindsay Doran
The Postman (Il Postino)[K] Miramax Sense and Sensibility Columbia
1996 (69th)
Film Production company(s) Saul Zaentz Producer(s)
The English Patient Miramax Fargo Jerry Maguire Secrets & Lies Shine
PolyGram Filmed Entertainment, Gramercy Ethan Coen Gracie Films, TriStar October Films Fine Line Features James L. Brooks, Laurence Mark, Richard Sakai, Cameron Crowe Simon Channing-Williams Jane Scott
46
1997 (70th)
Film Titanic As Good as It Gets The Full Monty Production company(s) Producer(s)
Lightstorm Entertainment, 20th Century Fox, Paramount James Cameron, Jon Landau TriStar Fox Searchlight James L. Brooks, Bridget Johnson, Kristi Zea Umberto Pasolini Lawrence Bender Curtis Hanson, Arnon Milchan, Michael G. Nathanson
Good Will Hunting Miramax L.A. Confidential Warner Bros.
1998 (71st)
Film Shakespeare in Love Elizabeth Production company(s) Miramax/Universal Producer(s) David Parfitt, Donna Gigliotti, Harvey Weinstein, Edward Zwick, Marc Norman Shekhar Kapur, Alison Owen, Eric Fellner, Tim Bevan
PolyGram Filmed Entertainment, Gramercy Miramax DreamWorks, Paramount
Life Is Beautiful[K] Saving Private Ryan The Thin Red Line
Elda Ferri, Gianluigi Braschi Steven Spielberg, Ian Bryce, Mark Gordon, Gary Levinsohn
20th Century Fox
Robert Michael Geisler, John Roberdeau, Grant Hill
1999 (72nd)
Film American Beauty Production company(s) DreamWorks Producer(s) Bruce Cohen, Dan Jinks Richard N. Gladstein
The Cider House Rules Miramax The Green Mile The Insider The Sixth Sense
Castle Rock Entertainment, Warner Bros. Frank Darabont, David Valdes Touchstone Pictures Hollywood Pictures Pieter Jan Brugge, Michael Mann Frank Marshall, Kathleen Kennedy, Barry Mendel
2000s 2000 (73rd)

Film Gladiator Chocolat Production company(s) Producer(s)
DreamWorks, Universal Douglas Wick, David Franzoni, Branko Lustig Miramax David Brown, Kit Golden, Leslie Holleran William Kong, Hsu Li Kong, Ang Lee Danny DeVito, Michael Shamberg, Stacey Sher Edward Zwick, Marshall Herskovitz, Laura Bickford
Crouching Tiger, Hidden Dragon[K] Sony Pictures Classics Erin Brockovich Traffic Universal, Columbia USA Films
47
2001 (74th)
Film A Beautiful Mind Gosford Park In the Bedroom Production company(s) Producer(s)
Universal, DreamWorks Brian Grazer, Ron Howard USA Films Miramax Robert Altman, Bob Balaban, David Levy Graham Leader, Ross Katz, Todd Field Peter Jackson, Fran Walsh, Barrie M. Osborne Martin Brown, Baz Luhrmann, Fred Baron
The Lord of the Rings: The Fellowship of the Ring New Line Cinema Moulin Rouge! 20th Century Fox
2002 (75th)
Film Chicago Gangs of New York The Hours Production company(s) Miramax Miramax Paramount, Miramax Producer(s) Martin Richards Alberto Grimaldi, Harvey Weinstein Scott Rudin, Robert Fox Barrie M. Osborne, Fran Walsh, Peter Jackson Roman Polanski, Robert Benmussa, Alain Sarde
The Lord of the Rings: The Two Towers New Line Cinema The Pianist Focus Features
2003 (76th)
Film The Lord of the Rings: The Return of the King Lost in Translation Master and Commander: The Far Side of the World Mystic River Seabiscuit Production company(s) New Line Cinema Focus Features 20th Century Fox, Miramax, Universal Warner Bros. Universal, DreamWorks Producer(s) Barrie M. Osborne, Peter Jackson, Fran Walsh Ross Katz, Sofia Coppola Samuel Goldwyn, Jr., Peter Weir, Duncan Henderson Robert Lorenz, Judie G. Hoyt, Clint Eastwood Kathleen Kennedy, Frank Marshall, Gary Ross
2004 (77th)
Film Production company(s) Producer(s) Clint Eastwood, Albert S. Ruddy, Tom Rosenberg Michael Mann, Graham King Richard N. Gladstein, Nellie Bellflower Taylor Hackford, Stuart Benjamin, Howard Baldwin Michael London
Million Dollar Baby Warner Bros. The Aviator Finding Neverland Ray Sideways Warner Bros., Miramax Miramax Universal Fox Searchlight
48
2005 (78th)
Film Crash Brokeback Mountain Capote Production company(s) Lions Gate Entertainment Focus Features United Artists Producer(s) Paul Haggis, Cathy Schulman Diana Ossana, James Schamus Caroline Baron, William Vince, Michael Ohoven
Good Night, and Good Luck Warner Independent Pictures Grant Heslov Munich DreamWorks, Universal Steven Spielberg, Kathleen Kennedy, Barry Mendel
2006 (79th)
Film The Departed Babel Production company(s) Warner Bros. Paramount Vantage Graham King Alejandro Gonzlez Irritu, Steve Golin, Jon Kilik Clint Eastwood, Steven Spielberg, Robert Lorenz David T. Friendly, Peter Saraf, Marc Turtletaub Andy Harries, Christine Langan, Tracey Seaward Producer(s)
Letters from Iwo Jima[K] Warner Bros. Little Miss Sunshine The Queen Fox Searchlight Miramax
2007 (80th)
Film Production company(s) Producer(s)
No Country for Old Men Miramax, Paramount Vantage Scott Rudin, Ethan Coen, Joel Coen Atonement Juno Michael Clayton There Will Be Blood Focus Features Fox Searchlight Warner Bros. Paramount Vantage, Miramax Tim Bevan, Eric Fellner, Paul Webster Lianne Halfon, Mason Novick, Russell Smith Jennifer Fox, Kerry Orent, Sydney Pollack Paul Thomas Anderson, Daniel Lupi, JoAnne Sellar
2008 (81st)
Film Slumdog Millionaire[O] Production company(s) Fox Searchlight, Warner Bros. Christian Colson Kathleen Kennedy, Frank Marshall, Cean Chaffin Ron Howard, Brian Grazer, Eric Fellner Bruce Cohen, Dan Jinks Anthony Minghella, Sydney Pollack, Donna Gigliotti, Redmond Morris Producer(s)
The Curious Case of Benjamin Button Paramount, Warner Bros. Frost/Nixon Milk The Reader Universal Focus Features The Weinstein Co.
49
2009 (82nd)
Film The Hurt Locker Avatar The Blind Side District 9 An Education Production company(s) Summit Entertainment Producer(s) Kathryn Bigelow, Mark Boal, Nicolas Chartier, Greg Shapiro
Lightstorm Entertainment, 20th Century Fox James Cameron, Jon Landau Warner Bros. TriStar Sony Pictures Classics Gil Netter, Andrew A. Kosove, Broderick Johnson Peter Jackson, Carolynne Cunningham Finola Dwyer, Amanda Posey Lawrence Bender Lee Daniels, Sarah Siegel-Magness, Gary Magness Joel Coen, Ethan Coen Jonas Rivera Daniel Dubiecki, Ivan Reitman, Jason Reitman
Inglourious Basterds The Weinstein Co., Universal Precious A Serious Man Up Up in the Air Lions Gate Entertainment Focus Features Pixar, Walt Disney Pictures Paramount
2010s 2010 (83rd)

Film The King's Speech Black Swan The Fighter Inception Production company(s) The Weinstein Co. Fox Searchlight Paramount Warner Bros. Producer(s) Iain Canning, Emile Sherman [6] and Gareth Unwin
Scott Franklin, Mike Medavoy and Brian Oliver David Hoberman, Todd Lieberman [7] and Mark Wahlberg
Christopher Nolan and Emma Thomas Gary Gilbert, Jeffrey Levy-Hinte and Celine Rattray Danny Boyle, John Smithson and Christian Colson Dana Brunetti, Cen Chaffin [9] , Michael De Luca and Scott Rudin [8]
The Kids Are All Right Focus Features 127 Hours The Social Network Toy Story 3 True Grit Winter's Bone Fox Searchlight Columbia
Pixar, Walt Disney Pictures Darla K. Anderson Paramount Roadside Attractions Ethan Coen, Joel Coen, and Scott Rudin Alix Madigan [10] and Anne Rosellini [11]
2011 (84th)
Film The Artist Production company(s) La Petite Reine, ARP Slection, Weinstein Thomas Langmann Co. Fox Searchlight Warner Bros. Jim Burke, Alexander Payne and Jim Taylor Scott Rudin Producer(s)
The Descendants Extremely Loud and Incredibly Close The Help Hugo Midnight in Paris
Touchstone, DreamWorks Paramount Sony Pictures Classics
Brunson Green, Chris Columbus and Michael Barnathan Graham King and Martin Scorsese Letty Aronson and Stephen Tenenbaum
50
Columbia Fox Searchlight Michael De Luca, Rachael Horovitz and Brad Pitt Sarah Green Grant Hill [12] , Bill Pohlad [13] , Dede Gardner [14] and
Moneyball The Tree of Life
War Horse
Touchstone, DreamWorks
Steven Spielberg and Kathleen Kennedy
Notes
A: The official name of the award from 1927/1928 and 1928/1929 was Outstanding Picture. B: The official name of the award from 1929/1930 to 1940 was Outstanding Production. C: The official name of the award from 1941 to 1943 was Outstanding Motion Picture. D: The official name of the award from 1944 to 1961 was Best Motion Picture. E: The official name of the award from 1962 was Best Picture. F: There were two categories for "Outstanding Picture" with the other being Academy Award for Best Unique and Artistic Production where the winner was Sunrise (production company: Fox; producer: William Fox). This category was dropped immediately after the first year of the Academy Award.[15] G12345: Head of studio H123: The Academy also announced that A Farewell to Arms came in second, and Little Women third. I123: The Academy also announced that The Barretts of Wimpole Street came in second, and The House of Rothschild third. J123: The Academy also announced that The Informer came in second, and Captain Blood third. K12345678: Nominated motion picture with non-English dialogue track (AMPAS: foreign language film).[16] Three of which, Z, Life is Beautiful and Crouching Tiger, Hidden Dragon won the Academy Award for Best Foreign Language Film.[17] L: Production company with the most nominations (38) and the most awards (5). Applying only from 1927/1928 to 1950.[18] M: Person with the most nominations (6 nominations, 0 awards). Applying only from 1951 to 2008.[18] N: Person with the most awards (3 awards, Spiegel 4 nominations, Zaentz 3 nominations). Applying only from 1951 to 2008.[18] O123: Winner with partly non-English dialogue track (AMPAS: foreign language).[19]
Milestones
Listed below are various milestones for Best Picture that various films and individuals have achieved since the inception of the Academy Awards.
Milestones related to acting
51
Annual 2nd 7th 15th
Year
Film
Awards Noms 1 5 6 3 5 12
Milestone First winner for Best Picture to receive an acting nomination First Best Picture nominee to win both Best Actor and Best Actress First Best Picture nominee to receive nominations in all of the four acting categories Most-recent Best Picture winner to receive nominations in all of the four acting categories Only Best Picture winner to have credited roles for actors of only one gender Most-recent Best Picture nominee to receive nominations in all four of the acting categories Most-recent Best Picture winner to win both Best Actor and Best Actress Most-recent Best Picture nominee to win both Best Actor and Best Actress First (and only) film to win more than 10 awards (including Best Picture) and not receive an acting nomination Most-recent film to win Best Picture without receiving any acting nominations
1928/29 The Broadway Melody 1934 1942 It Happened One Night Mrs. Miniver
26th
1953
From Here to Eternity
13
35th
1962
Lawrence of Arabia
10
54th
1981
Reds
12
64th 70th 76th
1991 1997 2003
The Silence of the Lambs As Good As It Gets The Lord of the Rings: The Return of the King Slumdog Millionaire
5 2 11
7 7 11
81st
2008
10
Milestones related to country or language

Annual 6th Year Film Awards Noms 1 2 Milestone First foreign film to be nominated for Best Picture and to win any Academy Award (British) First foreign language film to be nominated for Best Picture (French) First foreign film to win Best Picture (British) Most-recent foreign language film nominated for Best Picture with the most number of Academy Award nominations First (and only) Mandarin film to be nominated for Best Picture
1932/33 The Private Life of Henry VIII 1938 1948 2000 Grand Illusion Hamlet Crouching Tiger, Hidden Dragon Crouching Tiger, Hidden Dragon Letters from Iwo Jima The Departed Slumdog Millionaire
11th 21st 73rd
0 4 4
1 7 10
73rd
2000
10
79th
2006
Most-recent foreign language film to be nominated for Best Picture (Japanese)
79th 81st
2006 2008
4 8
5 10
First (and only) remake of a foreign film to win Best Picture Tied with Gandhi as Best Picture winner with second most Oscars for a British production (behind The English Patient and The Last Emperor both with nine [20] each). First production from a non-English speaking country to win Best Picture [21] (French)
84th
2011
The Artist
10
52
Milestones related to directing

Annual Year 34th Film Awards Noms 10 11 Milestone First of only two Best Picture winners to have more than one credited director (Jerome Robbins and Robert Wise) First film directed by a woman (Randa Haines) to be nominated for Best Picture
1961 West Side Story
59th
1986 Children of a Lesser God 1989 Driving Miss Daisy 1997 Titanic
62nd 70th
4 11
9 14
Most-recent film to win Best Picture without being nominated for Best Director First Best Picture winner to be produced, directed, written, and edited by the same person (James Cameron) Most Oscars without a Best Director win Most-recent Best Picture winner to have more than one credited director (Joel and Ethan Coen) First (and only) Best Picture winner directed by a woman (Kathryn Bigelow) First (and only) Best Picture nominee directed by an African-American (Lee Daniels)
71st 80th
1998 Shakespeare in Love 2007 No Country for Old Men 2009 The Hurt Locker 2009 Precious
7 4
13 8
82nd 82nd
6 2
9 6
Milestones related to genre

Annual 1st 2nd 4th 7th 10th 12th 13th 40th 44th 46th 49th 58th 64th 64th 73rd Year 1927/28 Wings 1928/29 The Broadway Melody 1930/31 Cimarron 1934 1937 1939 1940 1967 1971 1973 1976 1985 1991 1991 2000 It Happened One Night The Life of Emile Zola The Wizard of Oz Rebecca In the Heat of the Night A Clockwork Orange The Exorcist Rocky Kiss of the Spider Woman Beauty and the Beast The Silence of the Lambs Crouching Tiger, Hidden Dragon Film Awards Noms 2 1 3 5 3 2 2 5 0 2 3 1 2 5 4 2 3 7 5 10 6 11 7 4 10 10 4 6 7 10 Milestone First war film to be nominated and win Best Picture First musical to win Best Picture First Western to win Best Picture First comedy to win Best Picture First biographical picture (biopic) to win Best Picture First children's film to be nominated for Best Picture First thriller to win Best Picture First (and only) mystery to win Best Picture First science fiction film to be nominated for Best Picture First horror film to be nominated for Best Picture First sports film to win Best Picture First Independent film to be nominated for Best Picture First animated film to be nominated for Best Picture First (and only) horror film to win Best Picture First (and only) martial arts film to be nominated for Best Picture Most-recent musical to win Best Picture First (and only) fantasy film to win Best Picture
75th 76th
2002 2003
Chicago The Lord of the Rings: The Return of the King The King's Speech The Artist
6 11
13 11
83rd 84th
2010 2011
4 5
12 10
Most-recent biopic to win Best Picture Most-recent comedy to win Best Picture
53
Milestones related to other Academy Awards

Annual 1st 2nd 4th Year 1927/28 Wings 1928/29 The Broadway Melody 1930/31 Cimarron Film Awards Noms 2 1 3 2 3 7 Milestone Winner of the first Academy award for Best Picture First film to win Best Picture without winning any other Academy Awards First film to be nominated for every major Academy Award, including Best Picture First (and only) film to win Best Picture without receiving any other nominations First of only three films to win every major Academy Award, including Best Picture Most-recent film to win Best Picture without winning any other Academy Awards Most-recent film to be nominated for Best Picture and no other award First film to be nominated for Best Picture and only one other award after the switch to five nominees in 1944 First (and only) Best Picture nominee to be nominated for every award category in which it was eligible Second of only three films to win every major Academy Award, including Best Picture Most-recent film to win Best Picture without a Best Film Editing nomination. Third of only three films to win every major Academy Award, including Best Picture Most-recent film to win Best Picture without a screenplay nomination (Adapted or Original) Most-recent film to win Best Picture and all of its other nominated categories
5th
1931/32 Grand Hotel
7th
1934
It Happened One Night
8th
1935
Mutiny on the Bounty
16th 24th
1943 1951
The Ox-Bow Incident Decision Before Dawn
0 0
1 2
39th
1966
Who's Afraid of Virginia Woolf?
13
48th
1975
One Flew Over the Cuckoo's Nest Ordinary People
53rd
1980
64th
1991
70th
1997
Titanic
11
14
76th
2003
The Lord of the Rings: The Return of the King
11
11
Milestones related to other awards ceremonies

Annual Year 11th Film Awards Noms 7 Milestone First of only two Best Picture winners to have been adapted for the screen from plays which won the Pulitzer Prize Only film to win both Best Picture and the Cannes Film Festival Grand Prix du Festival International du Film Only film to win both Best Picture and the Cannes Film Festival Palme d'Or First of only two films to win Best Picture without being nominated for either of the three Golden Globes for Best Motion Picture (drama, comedy/musical or foreign film). First (and only) film to win Berlin Golden Bear and Best Picture Second of only two Best Picture winners to have been adapted for the screen from plays having won the Pulitzer Prize First of only three film festival acquisitions to win Best Picture Second of only two films to win Best Picture without being nominated for either of the three Golden Globes for Best Motion Picture (drama, comedy/musical or foreign film).
1938 You Can't Take It 2 With You 1945 The Lost Weekend 1955 Marty 1973 The Sting 4
18th
28th 46th
4 7
8 10
61st 62nd
1988 Rain Man 1989 Driving Miss Daisy 2005 Crash 2005 Crash
4 4
8 9
78th 78th
3 3
6 6
54
6 5 9 10 Second of only three film festival acquisitions to win Best Picture [22] Most-recent of only three film festival acquisitions to win Best Picture
82nd 84th
2009 The Hurt Locker 2011 The Artist
Milestones related to rating

Annual Year 41st 41st 42nd 42nd 42nd 43rd 44th 44th 44th 46th 58th 60th 62nd 83rd 84th 1968 Oliver! 1968 Oliver! 1969 Midnight Cowboy 1969 Anne of the Thousand Days Film Awards Noms 6 6 3 1 11 11 7 10 7 10 4 7 8 10 11 9 9 5 11 Milestone First film with an MPAA rating to win Best Picture First (and only) G-rated film to win Best Picture First (and only) X-rated film to win Best Picture First M-rated film to be nominated for Best Picture Most-recent M-rated film to be nominated for Best Picture First (and only) GP-rated film to win Best Picture Most-recent X-rated film to be nominated for Best Picture Most-recent GP-rated film to be nominated for Best Picture First R-rated film to win Best Picture First PG-rated film to win Best Picture First PG-13-rated film to be nominated for Best Picture First PG-13-rated film to win Best Picture Most-recent Best Picture winner with a PG rating Most-recent Best Picture nominee with a G rating. Most-recent Best Picture nominee with a PG rating.
1969 Butch Cassidy and the Sundance Kid 4 1970 Patton 1971 A Clockwork Orange 1971 Nicholas and Alexandra 1971 The French Connection 1973 The Sting 1985 The Color Purple 1987 The Last Emperor 1989 Driving Miss Daisy 2010 Toy Story 3 2011 Hugo 7 0 2 5 7 0 9 4 2 5
Milestones related to sequels, prequels, remakes, and adaptations

Annual 4th Year 1930/31 Skippy Film Awards Noms 1 4 Milestone First (and only) film based on a comic book, comic strip, or graphic novel to be nominated for Best Picture First Shakespeare adaptation to be nominated for Best Picture (* one of its two Oscars was a write-in winner) First sequel to be nominated for Best Picture First (and only) film based on a television film or mini-series to win Best Picture First sequel to win Best Picture. First of only two trilogies to have all three films nominated for Best Picture First film based on a television series to be nominated for Best Picture Most-recent Best Picture nominee to have been based on a television film or mini-series Second of only two trilogies to have all three films nominated for Best Picture, and only one to have the third installment win. Only sequel to be nominated for Best Picture without any of its predecessors being nominated
8th
1935
A Midsummer Night's Dream
2*
18th 28th
1945 1955
The Bells of St. Mary's Marty
1 4
8 8
47th 63rd 66th 73rd
1974 1990 1993 2000
The Godfather Part II The Godfather Part III The Fugitive Traffic
6 0 1 4
11 7 7 5
76th
2003
The Lord of the Rings: The Return of the King Toy Story 3
11
11
83rd
2010
55
Milestones related to superlatives

Annual 6th 12th 23rd Year Film Awards Noms 0 8 6 1 13 14 Milestone Shortest film to be nominated for Best Picture (1 hour 6 minutes) Longest film to win Best Picture (3 hours 54 minutes) First of only two films to receive 14 Academy Award nominations, including Best Picture Shortest film to win Best Picture (1 hour 31 minutes) First of only three films to win 11 Academy Awards, including Best Picture Best Picture nominee to win the most Academy Awards (8) without winning Best Picture First of two Best Picture nominees to receive 11 nominations without winning any Academy Awards Second of two Best Picture nominees to receive 11 nominations without winning any Academy Awards Second of only two films to receive 14 Academy Award nominations, including Best Picture First Best Picture winner to gross more than a billion US dollars [23] worldwide. Second of only three films to win 11 Academy Awards, including Best Picture First and only film with ten or more nominations (11) to win in every nomination it received including Best Picture Most-recent film to be nominated for every major Academy Award, including Best Picture Lowest-grossing film after 1955 to win Best Picture Most-recent film to win the most Academy Awards in its year (five) without winning Best Picture (tied with The Artist on the night)
1932/33 She Done Him Wrong 1939 1950 Gone with the Wind All About Eve
28th 32nd 45th
1955 1959 1972
Marty Ben-Hur Cabaret
4 11 8
8 12 10
50th
1977
The Turning Point
11
58th
1985
The Color Purple
11
70th
1997
Titanic
11
14
70th
1997
Titanic
11
14
70th 76th
1997 2003
Titanic The Lord of the Rings: The Return of the King Million Dollar Baby
11 11
14 11
77th
2004
82nd 84th
2009 2011
The Hurt Locker Hugo
6 5
9 11
Milestones related to technology

Annual 1st 2nd Year 1927/28 Wings 1928/29 The Broadway Melody 1937 1939 1945 1953 1960 1991 2009 2009 2011 A Star Is Born Gone with the Wind Anchors Aweigh The Robe The Apartment Beauty and the Beast Avatar Up The Artist Film Awards Noms 2 1 2 3 Milestone First (of two) silent films to win Best Picture First sound film to win Best Picture
10th 12th 18th 26th 33rd 64th 82nd 82nd 84th
1 8 1 2 5 2 3 2 5
7 13 5 5 10 6 9 5 10
First all-color film nominated for Best Picture First all-color film to win Best Picture First live action/traditional animation hybrid film to be nominated for Best Picture First motion picture (and Best Picture nominee) in CinemaScope Last black-and-white film before 1993 to win Best Picture First (and, to date, only) traditional animated film to be nominated for Best Picture First nominee to be entirely filmed using 3D film technology First computer animated film to be nominated for Best Picture First silent film since 1927/28 to win Best Picture (though with some sound sequences)
56
5 10 Most-recent black-and-white film to win Best Picture
84th
2011
The Artist
Superlatives
Category Most Best Picture Awards by a Studio Record Holder Metro-Goldwyn-Mayer Record 5 awards Notes Note 1
Most Best Picture Nominations by a Studio Most Best Picture Awards by a Producer
Metro-Goldwyn-Mayer Sam Spiegel and Saul Zaentz
40 nominations 3 awards Note 1
Most Best Picture Nominations by a Producer Most Best Picture Awards by a Director Most Best Picture Nominations by a Director Best Picture with the Most Awards
Hal B. Wallis
19 nominations
William Wyler William Wyler Ben-Hur, Titanic, and The Lord of the Rings: The Return of the King All About Eve and Titanic Gone with the Wind
3 awards 13 nominations 11 awards
Best Picture with the Most Nominations Longest Best Picture Winner
14 nominations 3 hours and 54 minutes 4 hours and 3 minutes Note 2 Note 3 Note 4
Longest Best Picture Nominee
Cleopatra
Shortest Best Picture Winner
Marty
1 hour and 31 minutes
Shortest Best Picture Nominee
She Done Him Wrong
1 hour and 6 minutes
Note 1: Until the 23rd Academy Awards (1950), Best Picture was awarded to the studio that produced the film. Beginning with the 24th Academy Awards (1951), however, it has been awarded to the individual producers credited on the film. Note also that until 1943, there were ten (rather than five) nominated films per year. As of 2009, there are once again ten nominated films. The first year in which multiple individuals jointly won was 1973, with three winners for The Sting. The greatest number of joint winners was five, for Shakespeare in Love in 1998. After this, the Academy imposed a limit of three nominated producers per film; however, this limit may be exceeded in a "rare and extraordinary circumstance", such as in 2008 when both Anthony Minghella and Sydney Pollack were posthumously included among four nominees for The Reader.[24] Note 2: It remains a very close call a tie, virtually between the top two "longest" Best Pictures. The total film time (without music) of Gone with the Wind (1939) is almost 221 minutes (3 hours and 41 minutes); with the Overture, Intermission, Entr'acte, and Walkout Music, it reaches 234 minutes (3 hours and 54 minutes). The total film time (without music) of the original Lawrence of Arabia (1962) is just over 222 minutes (3 hours and 42 minutes), slightly longer than Gone with the Wind. Lawrence of Arabia's additional elements extend the film to about 232 minutes (3 hours and 52 minutes). If just counting the film itself, Lawrence of Arabia is the longest of the two contenders. The other longest Best Picture winners are, in order: Ben-Hur (1959) at 212 minutes (3 hours and 32 minutes) and The Lord of Rings: Return of the King (2003) at 201 minutes (3 hours and 21 minutes). However, the Extended Edition of The Lord of the Rings: The Return of the King, which was released almost a year after the shorter theatrical version of the film won Best Picture, runs 251 minutes (4 hours and 12 minutes). Note 3: The longest film to ever win any Academy Award was Russia's War and Peace (1965) at 414 minutes (6 hours and 54 minutes), winner of Best Foreign Language Film.
Academy Award for Best Picture Note 4: After Marty, the second shortest Best Picture winner is Annie Hall (1977) at 93 minutes (1 hour and 33 minutes).
57
References
[1] http:/ / www. oscars. org [2] Nikki Finke (2011-06-14). "OSCAR SHOCKER! Academy Builds Surprise & Secrecy Into Best Picture Race: Now There Can Be Anywhere From 5 To 10 Nominees" (http:/ / www. deadline. com/ 2011/ 06/ oscar-academy-builds-surprise-into-best-picture-race/ ). Deadline Hollywood. MMC. Archived (http:/ / web. archive. org/ web/ 20110723021022/ http:/ / www. deadline. com/ 2011/ 06/ oscar-academy-builds-surprise-into-best-picture-race/ ) from the original on 23 July 2011. . Retrieved June 15, 2011. [3] (http:/ / awardsdatabase. oscars. org/ ampas_awards/ help/ statistics/ bestpixdirdiff. html) [4] Joyce Eng (24 June 2009). "Oscar Expands Best Picture Race to 10 Nominees" (http:/ / www. tvguide. com/ Movie-News/ Oscar-Expands-Best-1007223. aspx). TV Guide Online. . Retrieved 2009-06-24. [5] Poll: Vote on the Oscars Like an Academy Member (http:/ / www. huffingtonpost. com/ rob-richie/ poll-oscars-irv_b_824246. html?ir=Entertainment), Rob Richie, Huffington Post, 16 February 2011 [6] http:/ / www. imdb. com/ name/ nm0792431/ [7] http:/ / www. imdb. com/ name/ nm0509414/ [8] http:/ / www. imdb. com/ name/ nm1488027/ [9] http:/ / www. imdb. com/ name/ nm0149556/ [10] http:/ / www. imdb. com/ name/ nm0534893/ [11] http:/ / www. imdb. com/ name/ nm1367893/ [12] http:/ / www. imdb. com/ name/ nm0338320/ [13] http:/ / www. imdb. com/ name/ nm0688361/ [14] http:/ / www. imdb. com/ name/ nm0306890/ [15] "Best Pictures - Facts & Trivia (part 1)" (http:/ / www. filmsite. org/ bestpics. html). Filmsite.org. Archived (http:/ / web. archive. org/ web/ 20100109130900/ http:/ / www. filmsite. org/ bestpics. html) from the original on 9 January 2010. . Retrieved 2009-12-31. [16] "Oscar Trivia" (http:/ / www. oscars. org/ awards/ academyawards/ trivia. html). Oscars.org. . Retrieved 2009-11-13. [17] Variety Staff (2007-03-01). "Best Foreign Film" (http:/ / www. variety. com/ awardcentral_article/ VR1117856491. html?nav=history). Variety. . Retrieved 2009-11-13. [18] "Academy Awards Statistics" (http:/ / awardsdatabase. oscars. org/ ampas_awards/ help/ helpMain. jsp?helpContentURL=statistics/ indexStats. html). Academy of Motion Picture Arts and Sciences. . Retrieved 2009-11-13. [19] "Best Pictures - Facts & Trivia (part 2)" (http:/ / www. filmsite. org/ bestpics1. html). Filmsite.org. . Retrieved 2009-11-13. [20] "FILMS WITH 10 OR MORE NOMINATIONS" (http:/ / awardsdatabase. oscars. org/ ampas_awards/ help/ helpMain. jsp?helpContentURL=statistics/ indexStats. html). Academy Award Database. Archived (http:/ / web. archive. org/ web/ 20090211121227/ http:/ / awardsdatabase. oscars. org/ ampas_awards/ help/ helpMain. jsp?helpContentURL=statistics/ indexStats. html) from the original on 11 February 2009. . Retrieved 2009-02-10. [21] "Oscars 2012: Billy Crystal's back and 'The Artist' could make history" (http:/ / www. chicagotribune. com/ entertainment/ music/ sns-rt-academy-awards-awardsmt1thewrap35726-20120226,0,3195826. story). Chicago Tribune. . Retrieved 2012-02-27. [22] "Weinstein Co. Says Its Back With Cannes Festival Event" (http:/ / www. nytimes. com/ 2011/ 05/ 13/ business/ media/ 13weinstein. html). The New York Times. 2011-05-13. . [23] "Academy Award Winners, Nominees, Games and Box Office Breakdowns" (http:/ / boxofficemojo. com/ oscar/ ). Boxofficemojo.com. . Retrieved 2012-02-27. [24] Siegel, Tatiana (27 January 2009). "Acad allows 'Reader' 4 producers; Minghella, Pollack to be named as nominees" (http:/ / www. variety. com/ awardcentral_article/ VR1117999153. html?nav=news& categoryid=1982& cs=1). Variety (Reed Business). . Retrieved 2009-05-24.
External links
Oscars.org (http://www.oscars.org/) (official Academy site) Oscar.com (http://www.oscar.com/) (official ceremony promotional site) The Academy Awards Database (http://www.oscars.org/awardsdatabase/index.html) (official site)
58
Winners
1928 Wings
Wings
Film poster
Directed by Produced by William A. Wellman Lucien Hubbard Adolph Zukor Jesse L. Lasky B. P. Schulberg [1][2] Otto Kahn Julian Johnson (Titles) Hope Loring Louis D. Lighton John Monk Saunders Clara Bow Charles "Buddy" Rogers Richard Arlen Gary Cooper J.S. Zamecnik (uncredited)
Written by Screenplay by Story by Starring
Music by
Cinematography Harry Perry Editing by E. Lloyd Sheldon Uncredited: Lucien Hubbard Paramount Pictures
Distributed by Release date(s) Running time
August 12, 1927
141 minutes
1928 Wings
59
Country Language Budget United States Silent film English intertitles US$2 million (est.)
[3]
Wings is a 1927 silent film about World War I fighter pilots, produced by Lucien Hubbard, directed by William A. Wellman and released by Paramount Pictures. Wings was the first of two silent films, the other being The Artist at the 84th Academy Awards in 2012, to win the Academy Award for Best Picture.[4] Wings stars Clara Bow, Charles "Buddy" Rogers, and Richard Arlen. Gary Cooper appears in a role which helped launch his career in Hollywood and also marked the beginning of his affair with Clara Bow.[5] The film, a war picture, was rewritten to accommodate Clara Bow, as she was Paramount's biggest star, but wasn't happy about her part: "(Wings is)..a man's picture and I'm just the whipped cream on top of the pie".[6] The film went on to win the first Academy Award for Best Picture at the first annual AMPAS award ceremony in 1929. The film was re-released to Cinemark theaters for a limited run in May 2012.
Plot
Jack Powell and David Armstrong are rivals in the same small American town, both vying for the attentions of pretty Sylvia Lewis. Jack fails to realize that "the girl next door", Mary Preston, is desperately in love with him. The two young men both enlist to become combat pilots in the Air Service. When they leave for training camp, Jack mistakenly believes Sylvia prefers him. She actually prefers David and lets him know about her feelings, but is too kindhearted to turn down Jack's affection. Jack and David are billeted together. Their tent mate is Cadet White, but their acquaintance is all too brief; White is killed in an air crash the same day. Undaunted, the two men endure a rigorous training period, where they go from being enemies to best friends. Upon graduating, they are shipped off to France to fight the Germans.
Clara Bow as Mary Preston in Wings
Mary joins the war effort by becoming an ambulance driver. She later learns of Jack's reputation as an ace and encounters him while on leave in Paris. She finds him, but he is too drunk to recognize her. She puts him to bed, but when two Military Police barge in while she is innocently changing from a borrowed dress back into her uniform in the same room, she is forced to resign and return to America. The climax of the story comes with the epic Battle of Saint-Mihiel. David is shot down and presumed dead. However, he survives the crash landing, steals a German biplane, and heads for the Allied lines. By a tragic stroke of bad luck, he is spotted and shot down by Jack, who is bent on avenging his friend. When Jack lands to pick up a souvenir, he becomes distraught when he learns what he has done, but before David dies, he forgives his comrade. With the end of the war, Jack returns home to a hero's welcome. When he returns David's effects to his grieving parents, David's mother blames the war, not Jack, for her son's death. Then, Jack is reunited with Mary and realizes he loves her.
1928 Wings
60
Cast
Clara Bow as Mary Preston Charles "Buddy" Rogers as Jack Powell Richard Arlen as David Armstrong Gary Cooper as Cadet White Jobyna Ralston as Sylvia Lewis El Brendel as Herman Schwimpf, a cadet who washes out and becomes an air force mechanic Richard Tucker as Air commander Gunboat Smith as Sergeant Roscoe Karns as Lieutenant Cameron Henry B. Walthall as Mr. Armstrong Julia Swayne Gordon as Mrs. Armstrong Arlette Marchal as Celeste Hedda Hopper (uncredited) as Mrs. Powell George Irving (uncredited) as Mr. Powell
Production
The film, completed with a budget of $2 million, was the first film to win the Academy Award for Best Picture (then called "Best Picture, Production") for the film year 1927/1928, and won a second Academy Award for Engineering Effects. Primary scout aircraft flown in the film were Thomas-Morse MB3s and Curtiss PW-8s. The film was written by John Monk Saunders (original story), Louis D. Lighton and Hope Loring (screenplay), edited and produced by Lucien Hubbard, directed by William A. Wellman, with an original orchestral score by John Stepan Zamecnik, which was uncredited. The movie was shot at Kelly Field, San Antonio, Texas between September 7, 1926 and April 7, 1927.[7] A sneak preview was shown on May 19, 1927 at the Texas Theater on Houston Street in San Antonio. The premiere was held at the Criterion Theater, in New York City, on August 12, 1927.[8] The film was one of the first to show two men kissing: a fraternal moment during the deathbed finale, and one of the first widely released films to show nudity.[9] Clara Bow's breasts can be seen for a second during the Paris bedroom scene when army men barge in as she is changing her clothes. In the Enlistment Office, nude men undergoing physical exams, can be seen from behind, through an open door, which is opened and closed. This film was released a few months before the MPPDA list of "Don'ts and Be Carefuls" was established.[10] Producer Lucien Hubbard hired director Wellman because of his World War I aviator experience. Arlen, Wellman, and John Monk Saunders had all served in World War I as military aviators. Arlen was able to do his own flying in the film and Rogers, a non-pilot, underwent flight training during the course of the production, so that, like Arlen, Rogers could also be filmed in closeup in the air. Lucien Hubbard offered flying lessons to all, and despite the number of aircraft in the air, only two incidents occurred, one involving Dick Grace, a stunt pilot and the other was a fatal crash of a United States Army Air Corps pilot.[11] The original Paramount release was color tinted and had some sequences in an early widescreen process known as Magnascope, also used in the Paramount film Old Ironsides (1926). The original release also had the aerial scenes use the Handschiegl color process for flames and explosions. Some prints had synchronized sound effects and music, using the General Electric Kinegraphone (later RCA Photophone) sound-on-film process.[3]
1928 Wings
61
Reception
Wings was an immediate success, premiering on August 12, 1927 at the Criterion Theatre in New York and playing 63 weeks before being moved to second-run theaters. One of the reasons for its resounding popularity was the public infatuation with aviation in the wake of Charles Lindbergh's transatlantic flight.[12] The critical response was equally enthusiastic as the critic of the New York Times noted that the realism of the flying scenes was impressive.[13]
Academy Awards
On May 16, 1929, the first Academy Award ceremony was held at the Hotel Roosevelt in Hollywood to honor outstanding film achievements of 1927 and 1928. Wings was entered in a number of categories but in contrast with later awards, there was no Best Picture award. Instead, there were two separate awards for production, the Most Artistic Quality of Production, won by Sunrise: A Song of Two Humans (1927) and the Most Outstanding Production, won by Wings as well as Best Effects, Engineering Effects for Roy Pomeroy.[14] The statuette, not yet known as the "Oscar", was presented by Douglas Fairbanks to Clara Bow on behalf of the producers; Adolph Zukor and B.P. Schulberg.[15] The following year, the Academy instituted a single award called Best Production, and decided retroactively that the award won by Wings had been the equivalent of that award, with the result that Wings is often listed as the winner of a sole Best Picture award for the first year. The title of the award was eventually changed to Best Picture for the 1931 awards.
Legacy
For many years, Wings was considered a lost film until a print was found in the Cinmathque Franaise film archive in Paris and quickly copied from nitrate film to safety film stock.[3] It was again shown in theaters, including some theaters where the film was accompanied by Wurlitzer pipe organs.[16] In 1997, Wings was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In 2006, director William A. Wellman's son, William Wellman Jr., authored a book about the film and his father's participation in the making of it, titled The Man and His Wings: William A. Wellman and the Making of the First Best Picture.
Restoration
As the original negatives are lost, the closest to an original print is a spare negative stored in Paramount's vaults. Suffering from decay and defects, the negative was fully restored with modern technology. For the restored version of Wings, the original music score was re-orchestrated. The sound effects were recreated at Skywalker Sound using archived audio. The scenes using the Handschiegl color process were also recreated for the restored version.[17] On January 24, 2012, Paramount released a "meticulously restored" version of Wings in DVD and Blu-ray formats.[18] The restored and remastered version of Wings, presented in high-definition coinciding with the centennial anniversary of Paramount.[17] Three months later, the film was rated PG-13 by the MPAA.[19] On May 2 and 16, 2012, the film saw a limited re-release exclusively in select Cinemark theaters with two showings daily. [20] [21]
1928 Wings
62
References
Notes
[1] Kevin Brownlow and David Gill, Hollywood: A Celebration of American Silent Film (13-part television documentary series). New York: HBO Home Video, 1980. [2] Wellman, William on production of Wings in episode Hollywood Goes to War where he stated Otto Kahn was a financier on Wings visiting the production on location in Texas. [3] Bennett, Carl. "Progressive Silent Film List: Wings." (http:/ / www. silentera. com/ PSFL/ data/ W/ Wings1927. html) Silent Era, 2012. Retrieved: February 27, 2012. [4] "Dorothy Wellman dies at 95." (http:/ / www. variety. com/ article/ VR1118008823. html?categoryId=25& cs=1) Variety Magazine, September 17, 2009. Retrieved: September 20, 2009. [5] "Notes for Wings (1927)." (http:/ / www. tcm. com/ tcmdb/ title. jsp?stid=504086& category=Notes) Turner Classic Movies, 2009. Retrieved: September 20, 2009. [6] Howard Hughes: Hell's Angel, by Darwin Porter, p.147, Blood Moon Productions, 2010 [7] Stenn 2000, p. 300. [8] Thompson 2002, p. 25. [9] Mast 1982, pp. 213214. [10] "Complete list of the 36 'Don'ts and Be Carefuls' of 1927." (http:/ / teaching. arts. usyd. edu. au/ history/ hsty3080/ 3rdYr3080/ 3080site/ don'ts:2fbe carefuls) University of Sydney Arts and Sciences. Retrieved: March 29, 2011. [11] Lusier, Tim. "Daredevils in the Air: Three of the Greats, Wilson, Locklear and Grace." (http:/ / www. silentsaregolden. com/ articles/ aviationstuntmen. html) Silents Are Golden, 2004. Retrieved: September 20, 2009.
[12] Farmer 2006, p. 14. [13] Hall, Mourdant. "Wings (1927), The Screen: The Flying Fighters." (http:/ / movies. nytimes. com/ movie/ review?res=9805E6D9163CEE3ABC4B52DFBE66838C639EDE) The New York Times, August 13, 1927. Retrieved: September 20, 2009. [14] "The 1st Academy Awards (1929) Nominees and Winners." (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 1st-winners. html) oscars.org. Retrieved: February 27, 2012. [15] Stenn, David, Clara Bow Runnin Wild, p. 159, 1998 Penguin Books, a Division of Penguin Viking New York, originally published by Doubleday, New York [16] "Datebook" magazine, San Francisco Chronicle [17] "Paramount Home Entertainment Proudly Presents the Very First Best Picture Academy Award Winner on Blu-ray and DVD for the First Time Ever - Wings." (http:/ / www. prnewswire. com/ news-releases/ paramount-home-entertainment-proudly-presents-the-very-first-best-picture-academy-award-winner-on-blu-ray-and-dvd-for-the-first-time-ever---wings-13386629 html) Paramount Pictures press release via PR Newswire.com, 15 November 2011. [18] http:/ / www. blu-raydefinition. com/ news/ first-best-picture-academy-award-winner-wings-soars-onto-blu-ray. html [19] "MPAA ratings bulletin #2220." (http:/ / www. filmratings. com/ filmRatings_Cara/ downloads/ pdf/ resources/ bulletin/ cara_rating_bulletin. pdf) Classification and Rating Administration: Motion Picture Association of America, Inc., April 25, 2012. [20] BBC News - Oscar-winning silent film returns to cinemas (http:/ / www. bbc. co. uk/ news/ entertainment-arts-17936134) BBC.com Retrieved May 3, 2012 [21] Wings, The First Best Picture Winner to Hit Big Screens Again (http:/ / www. filmschoolrejects. com/ news/ wings-the-first-best-picture-winner-to-hit-big-screens-again. php) Film School Rejects Retrieved May 3, 2012
Bibliography Dolan, Edward F. Jr. Hollywood Goes to War. London: Bison Books, 1985. ISBN 0-86124-229-7. Farmer, Jim. "The Making of Flyboys." Air Classics, Vol. 42, No. 11, November 2006. Hardwick, Jack and Ed Schnepf. "A Viewer's Guide to Aviation Movies". The Making of the Great Aviation Films, General Aviation Series, Volume 2, 1989. Mast, Gerald, ed. The Movies in our Midst: Documents in the Cultural History of Film in America. Chicago: The University of Chicago Press, 1982. ISBN 978-0-226-50979-2. Orriss, Bruce. When Hollywood Ruled the Skies: The Aviation Film Classics of World War II. Hawthorne, California: Aero Associates Inc., 1984. ISBN 0-9613088-0-X. Silke, James R. "Fists, Dames & Wings." Air Progress Aviation Review, Volume 4, No. 4, October 1980. Stenn, David. Clara Bow: Runnin' Wild. New York: Cooper Square Press, 2000, First edition 1988. ISBN 978-0-8154-1025-6. Thompson, Frank. Texas Hollywood: Filmmaking in San Antonio Since 1910. San Antonio, Texas: Maverick Publishing Company, 2002. ISBN 978-1-893271-20-3.
1928 Wings Wellman, William Jr. The Man And His Wings: William A. Wellman and the Making of the First Best Picture. Westport, Connecticut: Praeger Publishers, 2006. ISBN 0-275-98541-5.
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External links
Wings (http://www.imdb.com/title/tt0018578/) at the Internet Movie Database Wings (http://tcmdb.com/title/title.jsp?stid=504086) at the TCM Movie Database Wings (http://www.allrovi.com/movies/movie/v54791) at AllRovi Wings (http://www.rottentomatoes.com/m/wings/) at Rotten Tomatoes Wings (http://www.virtual-history.com/movie/film/1133/wings) at Virtual History Q&A With Paramount's VP of Archives on the restoration of 'Wings' (http://www.criticizethis.ca/2012/01/ qa-with-paramounts-vp-of-archives.html)
1929 The Broadway Melody
64

The Broadway Melody
Theatrical release poster
Directed by Produced by Written by Harry Beaumont Irving Thalberg Lawrence Weingarten Edmund Goulding (story) Norman Houston James Gleason Charles King Anita Page Bessie Love Jed Prouty Nacio Herb Brown George M. Cohan Willard Robison
Starring
Music by
Cinematography John Arnold Editing by Distributed by Release date(s) Running time Country Language Box office Sam S. Zimbalist William LeVanway Metro-Goldwyn-Mayer February 1, 1929 (USA) 110 minutes United States English $3 million
[1]
The Broadway Melody (also known as The Broadway Melody of 1929[2]) is a 1929 American musical film and the first sound film to win an Academy Award for Best Picture. It was one of the first musicals to feature a Technicolor sequence, which sparked the trend of color being used in a flurry of musicals that would hit the screens in 1929-1930. Today the Technicolor sequence is presumed lost and only a black and white copy survives in the complete film. The film was the first musical released by Metro-Goldwyn-Mayer and was Hollywood's first all-talking musical. The film was written by Norman Houston and James Gleason from a story by Edmund Goulding, and directed by Harry Beaumont. Original music was written by Arthur Freed and Nacio Herb Brown, including the popular hit "You Were Meant For Me". The George M. Cohan classic "Give My Regards To Broadway" is used under the opening establishing shots of New York City, its film debut. Bessie Love was nominated for an Academy Award for Best Actress for her performance.
65
Plot
The plot involves the romances of musical comedy stars, set against the backstage hubbub of a Broadway revue. Anita Page and Bessie Love play a vaudeville sister act who have come to New York for their big break on Broadway. Charles King plays the song-and-dance man whose affection for one sister (Harriet alias Hank) is supplanted by his growing love for the younger, more beautiful sister (Queenie). Queenie tries to protect her sister and derail the love triangle by dating a wealthy but unscrupulous "stage door Johnny." The movie opens with Eddie Kearns debuting The Broadway Melody. He tells some chorus girls hes brought the Mahoney Sisters to New York to perform it with him in Francis Zanfields latest revue. Hank and Queenie Mahoney are awaiting Eddies arrival at their apartment. Hank, the older sister, prides herself on her business sense and talent while Queenie is lauded for her beauty. Hank is confident they will make it big while Queenie is less eager to put everything on the line to be stars. Their Uncle Jed arrives to tell them hes gotten them a job with a 30-week traveling show. Hank tells him theyre not interested but he says hell give them time to think it over. Eddie, who is engaged to Hank, arrives and sees Queenie for the first time since she was a girl and is instantly taken with her. He tells them to come to rehearsal for Zanfields revue to present their act. Zanfield isnt interested in it but says he might have a use for Queenie, who begs him to give Hank a part as well. She also convinces him to pretend Hanks business skills won him over. Eddie witnesses this exchange and becomes even more enamored of Queenie for her devotion to her sister. During dress rehearsal for the revue Zanfield says the pacing is too slow for The Broadway Melody and cuts Hank and Queenie from the number. Meanwhile, another girl is injured after falling off a prop and Queenie is selected to replace her. Nearly everyone is captivated by Queenie, particularly notorious playboy Jacques Jock Warriner. While Jock begins to woo Queenie, Hank is upset that Queenie is building her success on her looks rather than her talent. Over the next couple weeks Queenie spends a lot of time with Jock, of which Hank and Eddie fervently disapprove. They forbid her to see him, which results in Queenie pushing them away and deterioration of the relationship between the sisters. Queenie is only with Jock to fight growing feelings for Eddie, but Hank thinks shes setting herself up to be hurt. Eventually, Eddie and Queenie confess their love for each other but Queenie, unwilling to break her sisters heart, runs off to Jock once again. Hank, after witnessing Queenies fierce outburst toward Eddie and his devastated reaction to it, finally realizes they are in love. She berates Eddie for letting Queenie run away and tells him to go after her. She claims to never have loved him and that shed only been using him to advance her career. After he leaves she breaks down and alternates between sobs and hysterical laughter. She composes herself enough to call Uncle Jed to accept the job with the 30-week show. Theres a raucous party at the apartment Jock had recently purchased for Queenie but he insists they spend time alone. When she resists his advances he says its the least she could do after all hes done for her. He begins to get physical but Eddie bursts in and attempts to fight Jock, who knocks him through the door with one punch. Queenie runs to Eddie and leaves Jock and the party behind. Sometime later, Hank and Uncle Jed await the arrival of Queenie and Eddie from their honeymoon. The relationship between the sisters is on the mend but there is obvious discomfort between Hank and Eddie. Queenie announces shes through with show business and will settle down in their new house on Long Island. She insists that Hank lives with them when her job is over. After Hank leaves with her new partner and Uncle Jed, Queenie laments the fact that her sister hasnt found the happiness she deserves. The final scene is of a distraught Hank on her way to the train station.
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Production
A silent version was also released, for there were still many motion picture theaters without sound equipment at the time. The film featured a musical sequence for "The Wedding of the Painted Doll" that was presented in early two-color Technicolor (red and green). Color would quickly come to be associated with the musical genre, and numerous features were released in 1929 and 1930 that either featured color sequences or were filmed entirely in color, movies like On With the Show (1929), Gold Diggers of Broadway (1929), Sally (1929), The Life of the Party (1930), and others. No known color prints of the sequence survive, only black-and-white.
Musical numbers
Music by Nacio Herb Brown, lyrics by Arthur Freed except as noted "Broadway Melody" "Love Boat" "You Were Meant For Me" "Wedding of the Painted Doll" "Boy Friend" "Truthful Deacon Brown", music and lyrics by Willard Robison
[3][4]
"Lovely Lady"
Sources
Reception
The Broadway Melody was a substantial success. It was the top grossing picture of 1929, and won the Academy Award for Best Picture. Historically, it is often considered the first complete example of the Hollywood musical. However, the film has since come to be seen as weak, clich-ridden, and overly melodramatic. Even in 1929, the creaky stereotypes of backstage show biz were something less than fresh. Most believe that the primary reason for its success in the Academy Awards was due to the films with which it competed being equally unimpressive. Filmsite.org describes the 1929 Oscars as follows: "The films nominated for this year's awards were some of the weakest films in the history of American cinema, reflecting the chaos of the transition from silents to sound films."
Sequels
Three more movies were later made by MGM with similar titles, Broadway Melody of 1936, Broadway Melody of 1938 and Broadway Melody of 1940, were released by MGM. Although not direct sequels in the traditional sense, they all had the same basic premise of a group of people putting on a show (the films also had recurring cast members playing different roles, most notably dancer Eleanor Powell who appeared in all three). The original movie was also remade in 1940 as Two Girls on Broadway. Another Broadway Melody film was planned for 1942 (starring Gene Kelly and Eleanor Powell) but production was cancelled at the last minute. Broadway Rhythm, a 1944 musical by MGM, was originally to have been titled Broadway Melody of 1944.
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Awards and honors

Academy Awards
Wins Best Picture Nominations Best Actress - Bessie Love (lost to Mary Pickford for Coquette) Best Director - Harry Beaumont (lost to Frank Lloyd for The Divine Lady) No nominations were announced prior to the 1930 ceremonies. Love and Beaumont are presumed to have been under consideration, and are listed as such by the Academy of Motion Picture Arts and Sciences.
References
Notes
[1] "WHICH CINEMA FILMS HAVE EARNED THE MOST MONEY SINCE 1914?." (http:/ / nla. gov. au/ nla. news-article11816878). The Argus (Melbourne, Vic. : 1848 - 1956) (Melbourne, Vic.: National Library of Australia): p.3 Supplement: The Argus Weekend magazine. 4 March 1944. . Retrieved 6 August 2012. [2] The Broadway Melody - AKAs (http:/ / www. imdb. com/ title/ tt0019729/ releaseinfo#akas) - IMDB.com [3] Bloom, Ken. Hollywood Song: The Complete Film Musical Companion, Vol. 1, 1995. Published by Facts On File, Inc. ISBN 0-8160-2668-8 [4] "Music, The Broadway Melody (1929)" (http:/ / www. tcm. com/ tcmdb/ title. jsp?stid=12482& category=Music) tcm.com, accessed March 4, 2011
External links
The Broadway Melody (http://www.imdb.com/title/tt0019729/) at the Internet Movie Database The Broadway Melody (http://tcmdb.com/title/title.jsp?stid=12482) at the TCM Movie Database The Broadway Melody (http://www.allrovi.com/movies/movie/v7192) at AllRovi The Broadway Melody (http://www.rottentomatoes.com/m/broadway_melody/) at Rotten Tomatoes
1930 All Quiet on the Western Front
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All Quiet on the Western Front
film poster
Directed by Produced by Written by Lewis Milestone Carl Laemmle, Jr. Erich Maria Remarque (novel) Maxwell Anderson (adaptation & dialogue) George Abbott (screenplay) Del Andrews (adaptation) C. Gardner Sullivan (supervising story chief) Lewis Milestone (uncredited) Louis Wolheim Lew Ayres David Broekman
Starring Music by
Cinematography Arthur Edeson Editing by Distributed by Release date(s) Running time Country Language Budget Edgar Adams Universal Studios
April 21, 1930
138 minutes United States English $1.2 million

[1]
All Quiet on the Western Front is a 1930 American war film based on the Erich Maria Remarque novel of the same name. It was directed by Lewis Milestone, and stars Louis Wolheim, Lew Ayres, John Wray, Arnold Lucy and Ben Alexander. All Quiet on the Western Front is considered a realistic and harrowing account of warfare in World War I, and was named #54 on the AFI's 100 Years... 100 Movies. However, it fell out of the top 100 in the AFI's 2007 revision. In June 2008, after polling over 1,500 workers in the creative community, AFI announced its 10 Top 10the ten best films in each of ten "classic" American film genres; All Quiet on the Western Front was ranked the seventh-best film in the epic genre.[2][3] In 1990, the film was selected and preserved by the United States Library of Congress' National Film Registry as being deemed "culturally, historically, or aesthetically significant." The film was the first to win the Academy Awards for both Outstanding Production and Best Director.[4]
Plot
The film opens in a boys' high school in Germany at the beginning of World War I. The instructor, Kantorek, gives an impassioned speech about the glory of serving in the Army and "saving the Fatherland". Almost to a man, the young men are moved to join the army. The young enlistees are shown in basic training, aching for "action" fighting in the war. Their training officer (Himmelstoss, a strict disciplinarian who is hated by all the recruits) tells them to forget everything they know; they are going to become soldiers. Rigorous training diminishes the recruits' enthusiasm some, but after little more than marching drills, suddenly the boys' are told they are "going up front".
1930 All Quiet on the Western Front The new soldiers arrive by train at the combat zone, which is mayhem, with soldiers everywhere, incoming shells, horse-drawn wagons racing about, and prolonged rain. One in the group is killed before the new recruits can reach their post, to the alarm of one of the new soldiers (Behm). The new soldiers are assigned to a unit composed of older soldiers, who are not exactly accommodating. The young soldiers find that there is no food available at the moment. They have not eaten since breakfast but the men they have joined have not had food for two days. One of them (Katczinsky) had gone to locate something to eat and he returns with a slaughtered hog. The young soldiers "pay" for their dinner with cigarettes. "For the Fatherland" the young soldiers' unit is sent out on night duty and they move into position packed into a flat cargo truck. As the driver drops them off at their destination, he tells them, "If there's any of you left, there will be someone here to pick you up in the morning." The young recruits watch the truck intensely as it leaves. Katczinsky gives the "schoolboys" some real world instructions, telling them how to deal with incoming shells, "When you see me flop, you flop. Only try to beat me to it." The unit strings up barbed-wire and tries to avoid shells. Flares light up the night sky as the enemy tries to spot them, machine guns hammer and a bombardment begins. Behm is killed by machine gun fire; most of the soldiers keep low in the trenches. Franz Kemmerich runs out to retrieve Behm, but, upon returning to the trench, realizes that he's carrying a corpse. He is scolded by Katczinsky for risking his life. When the truck arrives in the morning most of the unit has survived. Back at the bunker in the trenches, the soldiers play cards and fight off the rats who eat their food and gear. The young soldiers are showing signs of great stress: nightmares, shaking uncontrollably, and screaming about the unrelenting bombs. One recruit (Kemmerich) loses control, runs out of the trench and is injured. Some of the soldiers want to leave the trench and attack, but the enemy seems to have superior firepower. When food finally comes, the men have to fight to get their share. Then they are overcome by rats and kill them with spades. Suddenly there is a break in the bombing and the men are ordered out to fight. A loud rumbling can be heard as the enemy approaches. The soldiers are in trenches with their rifles ready as incoming shells move closer and closer. They can do nothing but wait. The enemy French soldiers come into view, running toward the trenches, but the Germans hold their fire until the enemy is closer. Paul witnesses several soldiers die from shellfire. The Germans use machine gun fire, hand grenades and rifles to mow down the enemy. The enemy suffers great losses, but succeeds in entering the trenches, where hand-to-hand combat with bayonets begins. The Germans retreat to a second line, from where they launch a counterattack. At great cost they enter the French front line, but are unable to hold their position, and are ordered to withdraw to their original positions. The men of Second Company return from the battle and line up for a meal. The cook refuses to feed them because he wants the entire company to arrive. The men explain that this is all that is left of the company 80 of the original 150 and the cook refuses to give them all the food he has prepared. An argument follows and violence seems imminent when an officer arrives and orders the cook to give all the food to the men The men start out eating greedily, but then settle into a satiated torpor. They hear that they are to return to the front the next day and begin a semi-serious discussion about the causes of the war and of wars in general. They speculate about whether geographical entities offend each other and whether these disagreements involve them. Tjaden speaks familiarly about himself and the Kaiser. They speculate about whether it is the Kaiser or the manufacturers that need the war or whether it is the result of a fever. Katczinsky suggests roping off a field and stripping the kings and their ministers down to their underwear and letting them fight it out with clubs. It is finally decided that they should go see their friend Kemmerich, who was wounded in the battle and is in a dressing station, and bring him his things. Five of the men find Kemmerich in a very bad condition, complaining that his watch was stolen while he was under ether, and that he is in pain in his right foot. Not realizing that Kemmerich did not know, Mueller lets slip that his right leg has been amputated; Kemmerich becomes upset. Kemmerich expresses regret that he would never become a forester and Paul tries to reassure him. Mueller sees Kemmerich's boots under the bed and tactlessly asks him for them. Kemmerich asks Paul to give his boots to Mueller and then loses consciousness. Paul tries to summon a doctor, but the doctor and the medic can do nothing. As Kemmerich finally succumbs to his wounds, Paul leaves the
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1930 All Quiet on the Western Front dressing station with Kemmerich's boots and breaks into a run. Mueller is trying to talk about math to Katczinsky when Paul brings him the boots. Mueller is pleased and says that he will not mind returning to the front in such fine boots. Paul describes how he reacted to Kemmerich's death by running and how it made him feel more alive and then hungry. In a sequence of battle scenes, Mueller is wounded and his boots are passed on to another soldier, who is also wounded and presumed killed. One day Corporal Himmelstoss arrives to the front and is immediately spurned because of his bad reputation. In an attack on a cemetery, Paul stabs a French soldier, but finds himself trapped in a hole with the dying man in for an entire night. Throughout the night, he desperately tries to help him, bringing him water, but fails miserably to stop him from dying. He cries bitterly and begs the dead body to speak so he can be forgiven. Later, he returns to the German lines. Then the company have a day off the front line, and soon everyone gets drunk and eats as much as they can. While washing in the river, the men catch the attention of French women who invite them in their house at night. Going back to the front line, Paul is severely wounded and taken to a Catholic hospital, along with his good friend Albert Kropp. Kropp's leg is amputated, but he does not find out until some time afterwards. Around this time, Paul is taken to the bandaging ward, from which, according to its reputation, nobody has ever returned alive; but he later returns to the normal rooms triumphantly, only to find Kropp in agony. Earning a furlough, Paul then takes a brief trip back to his home, where he finds his mother is ailing. The people in his town are mindlessly patriotic and ignorant about what is happening at the front. He visits Kantorek, only to find him lecturing another class about the "glory of war." Disgusted, he returns to the front, where only a few men of the Second Company have survived, including an old hand, Tjaden. Paul asks Tjaden about Katczinsky, thinking that he is dead, but Tjaden reveals that Katczinsky is still alive. Paul goes looking for Kat, finds him scrounging for food, to no avail. Kat is wounded in the ankle by a bomb dropped from an airplane. So Paul decides to carry Kat to the field hospital. Enroute, though, the same plane drops another bomb, and the shrapnel from this explosion kills Kat, while Paul, in ignorance, continues to carry him to the field hospital. Paul is grief-stricken. In the final scene, Paul is back on the front lines. He pats each of the young soldiers arms as he and his fellow comrades were patted in the beginning of the movie. He sees a butterfly just beyond his trench. Paul stands up from his crouched position in the trench to get a better look, but becoming too exposed, he is shot and killed by an enemy sniper.
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Cast
Richard Alexander as Westhus Ben Alexander as Franz Kemmerich Lew Ayres as Paul Bumer William Bakewell as Albert Kropp Edmund Breese as Herr Meyer G. Pat Collins as Lieutenant Bertinck Owen Davis, Jr. as Peter Russell Gleason as Mller Harold Goodwin as Detering Scott Kolk as Leer Arnold Lucy as Professor Kantorek Beryl Mercer as Mrs. Bumer, Paul's mother Walter E. Rogers as Behn
Slim Summerville as Tjaden Louis Wolheim as Stanislaus Katczinsky John Wray as Himmelstoss
1930 All Quiet on the Western Front Arthur Gardner as classroom student; the last living member of the cast or crew
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Production
In the film, Paul is shot while trying to draw a butterfly just outside his trench. The scene was shot during the editing phase, so the actors were no longer available and Milestone had to use his own hand as Paul's. Noted comedienne Zasu Pitts was originally cast as Paul's mother and completed the film but preview audiences, used to seeing her in comic roles, laughed when she appeared onscreen so Milestone re-shot her scenes with Beryl Mercer before the film was released. The preview audience remains the only one who saw Pitts in the role, although she does appear for about 30 seconds in the film's original preview trailer. The film was shot with two cameras side by side, with one negative edited as a sound film and the other edited as a silent film for international distribution. A great number of German Army veterans were living in Los Angeles at the time of filming and were recruited as bit players and technical advisers. Around 2,000 extras were utilized during production.[5] Among them was future director Fred Zinnemann, who was fired for impudence.
Releases
Universal re-released the film in 1939. It contained anti-Nazi announcements read out throughout the film in a March of Time style; yet the aim was to remind people of the horrors of wars in a time of international unrest. Later re-releases by Universal International were substantially cut and the film's ending scored with new music against the wishes of director Lewis Milestone.[6] Before his death in 1980, Milestone requested Universal fully restore the film with the removal of the end music cue. Two decades later, Milestone's wishes were finally granted when the United States Library of Congress undertook an exhaustive restoration of the film, which is vastly superior in sound and picture quality to most other existent prints. The film got tremendous praise in the United States, but there would be controversy over the film's subject matter in other places, including Europe. On its release, Variety wrote: The League of Nations could make no better investment than to buy up the master-print, reproduce it in every language, to be shown in all the nations until the word "war" is taken out of the dictionaries. Some of the credit for the film's success has been ascribed to the direction of Lewis Milestone: Without diluting or denying any... criticisms, it should be said that from World War I to Korea, Milestone could put the viewer into the middle of a battlefield, and make the hellish confusion of it seem all too real to the viewer. Steven Spielberg noted as much when he credited Milestone's work as partial inspiration for Saving Private Ryan ...Lewis Milestone made significant contributions to [the genre of] the war film.[7] Due to its anti-war and perceived anti-German messages, Adolf Hitler and the Nazi Party banned the film from Germany in the 1930s and early 1940s. During its brief run in German cinemas in the early 1930s, the Nazis disrupted the viewings by releasing rats in the theaters.[8] Also, between the period of 1928 to 1941, this was one of many films to be banned in Australia by the Chief Censor Creswell O'Reilly. The film was also banned in Italy in 1929, Austria in 1931, with the prohibition officially raised only in the 1980s, and in France up to 1963.[9] The silent version, restored by the Library of Congress, premiered on Turner Classic Movies on Sept. 28, 2011.
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Awards and honors

192930 Academy Awards
Carl Laemmle holding the Best Picture Oscar.
Award Outstanding Production Best Director Best Writing
Result Won Won Nominated Universal (Carl Laemmle, Jr., Producer) Lewis Milestone
Winner
George Abbott, Maxwell Anderson and Del Andrews Winner was Joseph Farnham, Martin Flavin, Frances Marion and Lennox Robinson - The Big House Arthur Edeson Winner was Joseph T. Rucker and Willard Van Der Veer - With Byrd at the South Pole
Best Cinematography
Nominated
It was the first talkie war film to win Oscars. Other wins: 1930 Photoplay Medal of Honor - Carl Laemmle Jr. 1931 Kinema Junpo Award for Best Foreign Language Film - Sound to Lewis Milestone 1990 National Film Registry American Film Institute recognition AFI's 100 Years... 100 Movies - #54 AFI's 100 Years... 100 Thrills - Nominated[10] AFI's 100 Years... 100 Movie Quotes: "And our bodies are earth. And our thoughts are clay. And we sleep and eat with death." - Nominated[11] AFI's 100 Years... 100 Movies (10th Anniversary Edition) - Nominated[12]
1930 All Quiet on the Western Front AFI's 10 Top 10 - #7 Epic film
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Notes
[1] Box Office Information for All Quiet on the Western Front. (http:/ / boxofficemojo. com/ movies/ ?id=allquietonthewesternfront. htm) Box Office Mojo. Retrieved April 13, 2012. [2] American Film Institute (2008-06-17). "AFI Crowns Top 10 Films in 10 Classic Genres" (http:/ / www. comingsoon. net/ news/ movienews. php?id=46072). ComingSoon.net. Archived (http:/ / web. archive. org/ web/ 20080619034738/ http:/ / www. comingsoon. net/ news/ movienews. php?id=46072) from the original on 19 June 2008. . Retrieved 2008-06-18. [3] "Top 10 Epic" (http:/ / www. afi. com/ 10top10/ epic. html). American Film Institute. Archived (http:/ / web. archive. org/ web/ 20080619174209/ http:/ / www. afi. com/ 10top10/ epic. html) from the original on 19 June 2008. . Retrieved 2008-06-18. [4] http:/ / www. imdb. com/ title/ tt0020629/ awards [5] TCM Notes (http:/ / www. tcm. com/ tcmdb/ title. jsp?stid=67079& category=Notes) [6] American Movie Classics' segments on film preservation that aired in the mid-1990s. [7] Mayo, Mike: War Movies: Classic Conflict on Film, Visible Ink Press, 1999 [8] The film was finally re-released in Germany on April 25, 1952, in the Capitol Theatre in West Berlin. [9] German movie institute (http:/ / www. deutsches-filminstitut. de/ zengut/ dt2tb00154e. htm) [10] AFI's 100 Years...100 Thrills Nominees (http:/ / www. afi. com/ Docs/ 100Years/ thrills400. pdf) [11] AFI's 100 Years...100 Movie Quotes Nominees (http:/ / www. afi. com/ Docs/ 100Years/ quotes400. pdf) [12] AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot (http:/ / www. afi. com/ Docs/ 100Years/ Movies_ballot_06. pdf)
External links
All Quiet on the Western Front (http://www.imdb.com/title/tt0020629/) at the Internet Movie Database All Quiet on the Western Front (http://tcmdb.com/title/title.jsp?stid=67079) at the TCM Movie Database All Quiet on the Western Front (http://www.allrovi.com/movies/movie/v1579) at AllRovi All Quiet on the Western Front (http://www.rottentomatoes.com/m/1000642-all_quiet_on_the_western_front/ ) at Rotten Tomatoes Two speeches from the film in text, audio, video (http://www.americanrhetoric.com/moviespeeches.htm) from AmericanRhetoric.com
1931 Cimarron
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1931 Cimarron
Cimarron
theatrical release poster
Directed by Produced by Written by Based on Wesley Ruggles William LeBaron Howard Estabrook Cimarron (novel) by Edna Ferber Richard Dix Irene Dunne Max Steiner
Starring Music by
Cinematography Edward Cronjager Editing by Distributed by Release date(s) Running time Country Language Budget Box office William Hamilton RKO Pictures
February 9, 1931
123 minutes United States English $1.5 million $2 million

[1]
Cimarron is a 1931 Pre-Code film directed by Wesley Ruggles, starring Richard Dix and Irene Dunne, and featuring Estelle Taylor and Roscoe Ates. The script was written by Howard Estabrook based on the Edna Ferber novel Cimarron.
Plot
Yancy Cravat (Richard Dix) moves his wife Sabra (Irene Dunne) and their family from Wichita, Kansas to the Oklahoma territory, which the U.S. government has opened up for settlement. Cravat is a lawyer and newspaper editor who quickly becomes a leading citizen of the boomtown settlement of Osage, but when he disappears to settle the new Cherokee Strip, his wife must fend for herself.
Cast
Richard Dix as Yancey Cravat Irene Dunne as Sabra Cravat Estelle Taylor as Dixie Lee Nance O'Neil as Felice Venable William Collier Jr. as The Kid Roscoe Ates as Jesse Rickey George E. Stone as Sol Levy Stanley Fields as Lon Yountis
1931 Cimarron Robert McWade as Louis Hefner Edna May Oliver as Mrs Tracy Wyatt Judith Barrett as Donna Cravat Eugene Jackson as Isaiah
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Production
Despite being in the depths of the Depression, RKO invested more than $1.5 million into their production of Ferber's novel. Filming began in the summer of 1930 at the Jasmin Quinn Ranch outside of Los Angeles, California. The film was a massive production, especially the land rush scenes, which recalled the epic scenes of Intolerance some fifteen years earlier. More than 5,000 extras, twenty-eight cameramen, and numerous camera assistants and photographers were used to capture scenes of wagons racing across grassy hills and prairie. Cinematographer Edward Cronjager carefully planned out every scene in accordance with Ferber's descriptions.
Reception
The film was premiered first in New York City on January 26, 1931, to much praise, and a Los Angeles premiere followed on February 6. Three days later, the film was released to theaters throughout the nation. Despite being a critical success, the high budget and ongoing Great Depression combined against the film. While it was a commercial success in line with other films of the day, RKO could not recoup their investment in the film.
Awards and honors

At the 1931 Academy Awards ceremony at the Biltmore Hotel in Los Angeles, Cimarron was the 1st film to get more than six Academy Awards nominations and nominated for the Big Five awards (Best Picture, Best Director, Best Actor, Best Actress, and Best Writing). It won for three of them, including a special award for make-up to Ern Westmore.[2] It is frequently cited on lists of the most undeserving Academy Award winners.[3]
Award Outstanding Production Best Director Result Won Nominated Winner RKO Radio (William LeBaron, Producer) Wesley Ruggles Winner was Norman Taurog - Skippy Richard Dix Winner was Lionel Barrymore - A Free Soul Irene Dunne Winner was Marie Dressler - Min and Bill Howard Estabrook Max Re Edward Cronjager Winner was Floyd Crosby - Tabu
Best Actor
Nominated
Best Actress
Nominated Won Won Nominated
Best Writing, Adaptation Best Art Direction Best Cinematography
1931 Cimarron
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References
Notes
[1] "WHICH CINEMA FILMS HAVE EARNED THE MOST MONEY SINCE 1914?." (http:/ / nla. gov. au/ nla. news-article11816878). The Argus (Melbourne, Vic. : 1848 - 1956) (Melbourne, Vic.: National Library of Australia): p.3 Supplement: The Argus Weekend magazine. 4 March 1944. . Retrieved 6 August 2012. [2] Westmore, Frank and Davidson, Muriel. The Westmores of Hollywood. Mew York: Lippincott, 1976. [3] Bernadelli, James "Cimarron" (http:/ / www. reelviews. net/ php_review_template. php?identifier=1905) on Reelviews.net (November 27, 2009)
External links
Cimarron (http://www.imdb.com/title/tt0021746/) at the Internet Movie Database Cimarron (http://tcmdb.com/title/title.jsp?stid=14798) at the TCM Movie Database Cimarron (http://www.rottentomatoes.com/m/1004177-cimarron/) at Rotten Tomatoes
1932 Grand Hotel
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1932 Grand Hotel

Grand Hotel
Original poster
Directed by Produced by Written by Based on Edmund Goulding Irving Thalberg William A. Drake Bla Balzs The playby William A. Drake and Menschen im Hotelby Vicki Baum Greta Garbo John Barrymore Joan Crawford Wallace Beery Lionel Barrymore Lewis Stone Jean Hersholt William Axt Charles Maxwell
Starring
Music by
Cinematography William H. Daniels Editing by Distributed by Release date(s) Running time Country Language Budget Box office Blanche Sewell Metro-Goldwyn-Mayer
September 11, 1932
112 minutes United States English $700,000 $2,250,000

[1]
Grand Hotel is a 1932 American drama film directed by Edmund Goulding. The screenplay by William A. Drake and Bla Balzs is based on the 1930 play of the same title by Drake, who had adapted it from the 1929 novel Menschen im Hotel by Vicki Baum. As of 2012, the film is the only one to have won the Academy Award for Best Picture without it or its participants being nominated in any other category. In 2007, Grand Hotel was selected for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant." The line "I want to be alone," famously delivered by Greta Garbo, placed #30 in AFI's 100 Years...100 Movie Quotes. The film was remade as Week-End at the Waldorf in 1945. It also served as the basis for the 1989 stage musical of the same title. The phrase "Grand Hotel theme" came to be used for any dramatic movie following the activities of various people in a large busy place, with some of the characters' lives overlapping in odd ways and some of them remaining unaware of one another's existence. Such "grand hotel" films have been set at airports, aboard ocean liners, in large department stores, etc., as well as in hotels. Neil Simon alone used the format in both play and film versions of Plaza Suite, California Suite, and London Suite.
1932 Grand Hotel
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Plot
Doctor Otternschlag (Lewis Stone), a disfigured veteran of World War I and a permanent resident of the Grand Hotel in Berlin, wryly observes, "People come and go. Nothing ever happens," after which a great deal transpires. Baron Felix von Geigern (John Barrymore), who squandered his fortune and supports himself as a card player and occasional jewel thief, befriends Otto Kringelein (Lionel Barrymore), a meek accountant who, having discovered he is dying, has decided to spend his remaining days in the lap of luxury. Kringelein's former employer, industrialist General Director Preysing (Wallace Beery), is at the hotel to close an important deal, and he hires stenographer Flaemmchen (Joan Crawford) to assist him. She aspires to be an actress and shows Preysing some magazine photos for which she posed, implying she is willing to offer him more than typing if he is willing to help advance her career. Another guest is Russian ballerina Grusinskaya (Greta Garbo), whose career is on the wane. She is high strung and seemingly on the verge of a breakdown and utters the famous line "I want to be alone." When the Baron is in her room to steal her jewelry and she returns from the theatre, he hides in her room and overhears her as she talks to herself in despair about wanting to end it all, holding a vial of medication in her hand. He comes out of hiding and engages her in conversation, and Grusinskaya finds herself attracted to him.
Greta Garbo and John Barrymore
The following morning, a repentant Baron returns Grusinskaya's jewels, but she is able to forgive his crime. Instead, she invites him
to accompany her to Vienna, an offer he accepts. The Baron joins Kringelein and Flaemmchen at the hotel bar, and she cajoles the ailing man into dancing with her. Preysing interrupts them and imperiously demands she join him. Irritated by his former employer's coarse behavior, Kringelein - who is aware of Preysing's many swindles - tells him what he thinks of him. Surprised by his uncharacteristic audacity, Preysing attacks Kringelein and the two men must be separated. The Baron is desperate for money to pay his way out of the criminal group he had been working with. He and Kringelein decide to get a card game going, and Kringelein wins everything, and then becomes intoxicated. When he drops his wallet, the Baron locates and quietly stashes it in his jacket pocket, intending to keep the winnings for himself. However, after Kringelein begins to frantically search for his lost belongings, the Baron - who desperately needs the money but has become very fond of Kringelein - pretends to have suddenly discovered the wallet and returns it to him. As part of a current desperate merger plan, Preysing must travel to London, and he asks Flaemmchen to accompany him. Later, when the two are in her room, which opens on to his, Preysing sees the shadow of the Baron rifling through his belongings. He confronts the Baron; the two struggle, and Preysing bludgeons the Baron with the telephone, killing him. Flaemmchen comes in and sees what happened and tells Kringelein, who confronts Preysing. He insists he acted in self-defense, but Kringelein summons the police and Preysing is arrested. Grusinskaya departs for the train station, fully expecting to find the Joan Crawford as Flaemmchen and Wallace Baron waiting for her there. Meanwhile, Kringelein offers to take care Beery as Preysing in Grand Hotel (1932) of Flaemmchen, who suggests they go to Paris and seek a cure for his illness. As they leave the hotel, Doctor Otternschlag once again observes, "Grand Hotel. People come and go. Nothing ever happens."
1932 Grand Hotel
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Cast
In credits order: Greta Garbo as Grusinskaya - The Dancer John Barrymore as The Baron Felix von Gaigern Joan Crawford as Flaemmchen - The Stenographer Wallace Beery as General Director Preysing Lionel Barrymore as Otto Kringelein Lewis Stone as Dr Otternschlag Jean Hersholt as Senf - The Porter Robert McWade as Meierheim Purnell Pratt as Zinnowitz Ferdinand Gottschalk as Pimenov Rafaela Ottiano as Suzette Morgan Wallace as Chauffeur Tully Marshall as Gerstenkorn Frank Conroy as Rohna Murray Kinnell as Schweimann
Edwin Maxwell as Dr Waitz
Production
Producer Irving Thalberg purchased the rights to Vicki Baum's novel Menschen im Hotel for $13,000 and then commissioned William A. Drake to adapt it for the stage.[2] It opened on Broadway at the National Theatre on November 13, 1930 and ran for 459 performances.[3] Pleased with its success, Thalberg had Drake and Bla Balzs write the screenplay and budgeted the project at $700,000.[2] There was also some controversy about Greta Garbo, with her strong Swedish accent, playing a Russian.[4] The film was also seen as an artistic achievement in its art direction John Barrymore and Greta Garbo and production quality. The lobby scenes were extremely well done, portraying a three hundred and sixty degree desk. This allowed audiences to watch the hotel action from all around the characters. It changed the way sets were made from that point onward.[5] Garbo and Crawford do not appear together in any scene of the movie.
1932 Grand Hotel
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Critical reception
Alfred Rushford Greason of Variety said the film "may not entirely please the theatregoers who were fascinated by its deft stage direction and restrained acting, but it will attract and hold the wider public to which it is now addressed." He added, "The drama unfolds with a speed that never loses its grip, even for the extreme length of nearly two hours, and there is a captivating pattern of unexpected comedy that runs through it all, always fresh and always pat."[6] In later years, Channel 4 said the film "was possibly the first of the portmanteau films and has a place in cinema history as a work that interweaves stories and characters like a tapestry to emerge eventually as a complete picture . . . Goulding, a master of camp, shepherds rather than directs his famous cast through the series of adventures and misadventures."[7] Blake Goble of The Michigan Daily called it "the original Ocean's Eleven for its star power" and compared it to Gosford Park "for its dense structure and stories." He added, "[T]he pacing is quick, the acting is eloquent and the stories are actually interesting. Its pure theatricality. But Hotel lasted thanks to its simplicity, and the star power doesn't hurt either. This is grand, old Hollywood captured on film."[8]
DVD release
Warner Home Video released the first Region 1 DVD on February 3, 2004. The film is in fullscreen format with audio tracks in English and French and subtitles in English, French, and Spanish. Bonus features include Checking Out: Grand Hotel, a documentary about the making of the film; a 1932 newsreel with highlights of the Hollywood premiere; Nothing Ever Happens, a 1933 Vitaphone short film spoofing Grand Hotel; and theatrical trailers.
"I want to be alone"

As Grusinskaya, Greta Garbo clearly delivers the line "I want to be alone" twice. She insisted during a later interview[9] "I only said 'I want to be let alone.' There is all the difference." This statement has been repeated in numerous articles about Garbo,[10] to the point that many people may actually believe that the line in the film was "I want to be let alone."
References
[1] "WHICH CINEMA FILMS HAVE EARNED THE MOST MONEY SINCE 1914?." (http:/ / nla. gov. au/ nla. news-article11816878). The Argus (Melbourne, Vic. : 1848 - 1956) (Melbourne, Vic.: National Library of Australia): p.3 Supplement: The Argus Weekend magazine. 4 March 1944. . Retrieved 6 August 2012. [2] Chandler, Charlotte, Not the Girl Next Door: Joan Crawford, A Personal Biography. New York: Simon & Schuster 2008. ISBN 1-4165-4751-7, p. 100 [3] Grand Hotel at the Internet Broadway Database (http:/ / www. ibdb. com/ production. php?id=11262) [4] Matthews, Herbert L. "The Cinema in Paris; To Dub or Not to Dub Films--Successful Original American Pictures." The New York Times. 4 June 1933: 9D. [5] Balio, Tino (1993). History of the American Cinema. New York: Simon & Schuster Macmillam. p. 199. [6] Variety review (http:/ / www. variety. com/ index. asp?layout=Variety100& reviewid=VE1117487992& content=jump& jump=review& category=1935& cs=1) [7] Channel 4 review (http:/ / www. channel4. com/ film/ reviews/ film. jsp?id=103933& section=review) [8] Michigan Daily review (http:/ / www. michigandaily. com/ node/ 47167) [9] John Bainbridge, " The Braveness To Be Herself (http:/ / www. garboforever. com/ 1955_Life-3. htm)", part 3 of "The Divine Garbo" in Life, January 24, 1955. Reprinted in its entirety at garboforever.com, page found 2010-06-23. [10] For example, in her obituary, New York Times April 16, 1990 (http:/ / www. nytimes. com/ learning/ general/ onthisday/ bday/ 0918. html), page found 2010-06-23.
1932 Grand Hotel
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External links
Grand Hotel (http://www.imdb.com/title/tt0022958/) at the Internet Movie Database Grand Hotel (http://tcmdb.com/title/title.jsp?stid=183) at the TCM Movie Database Grand Hotel (http://www.rottentomatoes.com/m/grand_hotel/) at Rotten Tomatoes
1933 Cavalcade
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1933 Cavalcade
Cavalcade
theatrical poster
Directed by Produced by Written by Frank Lloyd Frank Lloyd Winfield R. Sheehan Reginald Berkeley Sonya Levien Based on the play by Nol Coward Diana Wynyard Clive Brook Una O'Connor Herbert Mundin Peter Brunelli Louis De Francesco Arthur Lange J.S. Zamecnik
Starring
Music by
Cinematography Ernest Palmer Editing by Distributed by Release date(s) Running time Country Language Budget Box office Margaret Clancey Fox Film Corporation April 15, 1933 110 minutes United States English $1,180,280 $3.5 million
[1]
Cavalcade is a 1933 American drama film directed by Frank Lloyd. The screenplay by Reginald Berkeley and Sonya Levien is based on the 1931 play of the same title by Nol Coward.
Plot
Offering a view of English life from New Year's Eve 1899 through New Year's Day 1933, the film is presented from the point of view of well-to-do London residents Jane and Robert Marryot. Several historical events serve as background for the film, including the Second Boer War, the death of Queen Victoria, the sinking of the Titanic, and World War I.
Production
Fox Movietone newsreel cameramen were sent to London to record the original stage production as a guide for the film adaptation. The soundtrack includes "Girls of the C.I.V.," "Mirabelle," "Lover of My Dreams," and "Twentieth Century Blues" by Nol Coward, "A Bird in a Gilded Cage" by Harry von Tilzer, "I Do Like to Be Beside the Seaside" by John Glover Kind, "Take Me Back to Yorkshire" by Harry Castling[2] and Fred Godfrey, "Nearer My God, To Thee" by
1933 Cavalcade Lowell Mason, "Your King and Country Want You" by Paul Rubens, "It's a Long, Long Way to Tipperary" by Jack Judge and Harry Williams, "Pack Up Your Troubles in Your Old Kit Bag and Smile, Smile, Smile" by Felix Powell and George Asaf, "Keep The Home Fires Burning" by Ivor Novello and Lena Guilbert Ford, "Oh, You Beautiful Doll" by Nat Ayer and Seymour Brown, "Hinky Dinky Parlay Voo (Mad'moiselle from Armentieres)" by Irwin Dash, Al Dubin, and Joe Mittenthal, and "Over There" by George M. Cohan. The film premiered in New York City on January 5, 1933 but did not go into general theatrical release until April 15.
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Cast
Diana Wynyard as Jane Marryot Clive Brook as Robert Marryot Una O'Connor as Ellen Bridges Herbert Mundin as Alfred Bridges Irene Browne as Margaret Harris Margaret Lindsay as Edith Harris John Warburton as Edward Marryot Bonita Granville as Young Fanny Douglas Walton as Soldier
Reception
The film was the second most popular movie at the US in 1933.[3] Mordaunt Hall of the New York Times called the film "most affecting and impressive" and added, "In all its scenes there is a meticulous attention to detail, not only in the settings ... but also in the selection of players ... It is unfurled with such marked good taste and restraint that many an eye will be misty after witnessing this production."[4] However, modern audiences have often found the film stilted and overacted.[5]
Awards and honors

Cavalcade won the Academy Award for Best Picture, Frank Lloyd won the Academy Award for Best Director, and the Academy Award for Best Art Direction went to William S. Darling.[6] Diana Wynyard was nominated for the Academy Award for Best Actress but lost to Katharine Hepburn for Morning Glory. Cavalcade is the first film produced by the Fox film studio to win the Best Picture Oscar.
DVD release
The film is, at present, the only Best Picture Oscar winner not currently available on a solitary DVD in Region 1 (with Wings released on January 24, 2012). Cavalcade was released on DVD December 7, 2010, as part of the three-volume "Twentieth Century Fox 75th Anniversary Collection", a collection that sells for well over four hundred dollars. [7] Fox has no plans to release Cavalcade separately.
1933 Cavalcade
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References
Notes
[1] "WHICH CINEMA FILMS HAVE EARNED THE MOST MONEY SINCE 1914?." (http:/ / nla. gov. au/ nla. news-article11816878). The Argus (Melbourne, Vic. : 1848 - 1956) (Melbourne, Vic.: National Library of Australia): p.3 Supplement: The Argus Weekend magazine. 4 March 1944. . Retrieved 6 August 2012. [2] "Harry Castling (18651933)" (http:/ / www. fredgodfreysongs. ca/ Collaborators/ harry_castling. htm). Fredgodfreysongs.ca. . Retrieved 2012-07-12. [3] 'Actual Receipts at the Wickets Now Decide "Box-Office Champions of 1933": Seven Ratings Entail Listing Thirteen Films Vary From Ten Voted Best; Robson Vice Barrymore; About Showshops.' The Washington Post (1923-1954) [Washington, D.C] 06 Feb 1934: 14. [4] New York Times review (http:/ / movies. nytimes. com/ movie/ review?res=9B03E1DD1E3BEF3ABC4E53DFB7668388629EDE) [5] "Flicks - Jan 2000" (http:/ / cinescene. com/ flicks/ flicksjan00. htm). Cinescene.com. . Retrieved 2012-07-12. [6] "NY Times: Cavalcade" (http:/ / movies. nytimes. com/ movie/ 8678/ Cavalcade/ details). NY Times. . Retrieved 2008-12-07. [7] Fox 75th Anniversary Collection. "Fox 75th Anniversary Collection: Will Smith, Bill Pullman, Jeff Goldblum, Mark Hamill, Harrison Ford, Carrie Fisher, Alec Guinness, Sam Worthington, Zoe Saldana, Sigourney Weaver, Michelle Rodriguez, Tom Skerritt, Alexander Payne, Andrew Marton, Baz Luhrmann, Bernhard Wicki, Billy Wilder, Bob Fosse, Bobby Farrelly, Brian De Palma: Movies & TV" (http:/ / www. amazon. com/ dp/ B0041T4LZQ). Amazon.com. . Retrieved 2012-07-12.
External links
Cavalcade (http://www.imdb.com/title/tt0023876/) at the Internet Movie Database Cavalcade (http://www.allrovi.com/movies/movie/v8678) at AllRovi Cavalcade (http://www.rottentomatoes.com/m/cavalcade/) at Rotten Tomatoes Cavalcade at Turner Classic Movies (http://www.tcm.com/tcmdb/title.jsp?stid=70523) Cavalcade (http://ia700209.us.archive.org/14/items/Lux01/Lux_36-12-28_Cavalcade.mp3) on Lux Radio Theater: December 28, 1936
1934 It Happened One Night
85

It Happened One Night
original poster
Directed by Produced by Screenplay by Story by Starring Frank Capra Frank Capra Harry Cohn Robert Riskin Samuel Hopkins Adams Clark Gable Claudette Colbert Walter Connolly Howard Jackson Louis Silvers
Music by
Cinematography Joseph Walker Editing by Distributed by Release date(s) Gene Havlick Columbia Pictures
[1]
February 22, 1934
Running time Country Language Budget Box office
105 minutes United States English $325,000 $2,500,000 $2,000,000 (theatrical rentals)
[2]
It Happened One Night is a 1934 American romantic comedy film with elements of screwball comedy directed by Frank Capra, in which a pampered socialite (Claudette Colbert) tries to get out from under her father's thumb, and falls in love with a roguish reporter (Clark Gable). The plot was based on the August 1933 short story Night Bus by Samuel Hopkins Adams, which provided the shooting title. It Happened One Night was one of the last romantic comedies created before the MPAA began enforcing the 1930 production code in 1934. In spite of its title the movie takes place over several nights. The film was the first to win all five major Academy Awards (Best Picture, Director, Actor, Actress, and Screenplay), a feat that would not be matched until One Flew Over the Cuckoo's Nest (1975) and later by The Silence of the Lambs (1991). In 1993, It Happened One Night was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."[3]
Plot
Spoiled heiress Ellen "Ellie" Andrews (Claudette Colbert) marries fortune-hunter "King" Westley (Jameson Thomas) against the wishes of her extremely wealthy father (Walter Connolly) who has the marriage annulled. She runs away, boarding a bus to New York City, to reunite with her new spouse, when she meets fellow bus passenger Peter Warne (Clark Gable), an out-of-work newspaper reporter. Warne recognizes her and gives her a choice: if she will give him an exclusive on her story, he will help her reunite with Westley. If not, he will tell her father where she is and collect
1934 It Happened One Night the reward offered for her return. Ellie agrees to the first choice. Soon penniless, Ellie has to rely completely on Peter. As they go through several adventures together, Ellie loses her initial disdain for him and begins to fall in love. When they have to hitchhike, Peter claims to be an expert on the subject. As car after car passes them by, he eventually ends up thumbing his nose at them. The sheltered Ellie then shows him how it's done. She stops the next car, driven by Danker (Alan Hale), dead in its tracks by lifting up her skirt and showing off a shapely leg. When they stop for a break, Danker tries to drive off with their luggage. Peter chases him down and takes his car. One night, nearing the end of their journey together, Ellie confesses her love to Peter. Peter mulls over what she has said, decides he loves her too, and leaves to make arrangements after she has fallen asleep. When the owners of the motel in which they are staying notice that Peter's car is gone, they roust Ellie out of bed and kick her out. Believing Peter has deserted her, Ellie calls her father, who is so relieved to get her back that he agrees to let her marry Westley. Although Ellie has no desire to be The hitchhiking scene with Westley, she believes Peter has betrayed her for the reward money, so she agrees to have a second, formal wedding. Meanwhile, Peter has obtained money from his editor to marry Ellie, but as he drives back to tell her, they pass each other on the road. Ellie tries to pretend that nothing has happened, but she is unable to fool her father. She finally reveals the whole story (as she sees it). When Peter comes to Ellie's home, Mr. Andrews offers him the reward money, but Peter insists on being paid only his expenses: a paltry $39.60. When Ellie's father presses him for an explanation of his odd behavior, Peter admits he loves Ellie (although he thinks he is out of his mind to do so), then storms out. At the wedding ceremony, as Mr. Andrews walks his daughter down the aisle, he reveals to Ellie Peter's refusal of the reward money and quietly encourages her to run off again, telling her that her car is out back for a quick get-away. At the point where she is to say "I do", she makes up her mind. She runs off to find Peter. Her pleased father pays Westley off, enabling Ellie to marry Peter.
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Production
Neither Gable nor Colbert were the first choices to play the lead roles. Miriam Hopkins first rejected the part of Ellie. Robert Montgomery and Myrna Loy were then offered the roles, but each turned the script down, though Loy later noted that the final story as filmed bore little resemblance to the script that she and Montgomery had been offered for their perusal.[4] Margaret Sullavan also rejected the part.[5] Constance Bennett was willing to play the role if she could produce the film herself; however, Columbia Pictures would not allow this. Then Bette Davis wanted the role,[6] but was under contract with Warner Brothers and Jack Warner refused to loan her.[7] Carole Lombard was unable to accept, because the filming schedule conflicted with that of Bolero.[8] Loretta Young also turned it down.[9]
87 Harry Cohn suggested Colbert, and she initially turned the role down.[10] Colbert's first film, For the Love of Mike (1927), had been directed by Frank Capra, and it was such a disaster that she vowed to never make another with him. Later on, she agreed to appear in It Happened One Night only if her salary was doubled to $50,000, and also on the condition that the filming of her role be completed in four weeks so that she could take her well-planned vacation.[11]
According to Hollywood legend, Gable was lent to Gable and Colbert in the movie's trailer Columbia Pictures, then considered a minor studio, as some kind of "punishment" for refusing a role at his own studio. This tale has been partially refuted by more recent biographies. Metro-Goldwyn-Mayer did not have a movie project ready for Gable, and the studio was paying him his contracted salary of $2,000 per week whether he worked or not. Louis B. Mayer lent him to Columbia Pictures for $2,500 per week, hence netting MGM $500 per week while he was gone.[12] Capra, however, insists that Gable was a reluctant participant in the film. [13] Filming began in a tense atmosphere as Gable and Colbert were dissatisfied with the quality of the script. However, they established a friendly working relationship and found that the script was no worse than those of many of their earlier films. Capra understood their dissatisfaction and tried to lighten the mood by having Gable play practical jokes on Colbert, who responded with good humor.[12] Colbert, however, continued to show her displeasure on the set. She also initially balked at pulling up her skirt to entice a passing driver to provide a ride, complaining that it was unladylike. Upon seeing the chorus girl who was brought in as her body double, an outraged Colbert told the director, "Get her out of here. I'll do it. That's not my leg!"[14] Through the filming, Capra claimed, Colbert "had many little tantrums, motivated by her antipathy toward me," however "she was wonderful in the part."[14] After her acceptance speech at the Oscars ceremony, she went back on stage and thanked Capra for making the film.[15]
Cast
Clark Gable as Peter Warne Claudette Colbert as Ellie Andrews Walter Connolly as Alexander Andrews Roscoe Karns as Oscar Shapeley, an annoying bus passenger who tries to pick up Ellie Jameson Thomas as "King" Westley Alan Hale as Danker Arthur Hoyt as Zeke Blanche Friderici as Zeke's wife Charles C. Wilson as Joe Gordon Ward Bond appears early in the film in an uncredited role as a bus driver
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Reception
After filming was completed, Colbert complained to her friend, "I just finished the worst picture in the world."[14][16] Capra fretted that the film was released to indifferent reviews and initially only did so-so business. Then, after it was released to the secondary movie houses, word-of-mouth began to spread and tickets sales became brisk. It turned out to be a major hit, easily Columbia's biggest hit to date.[17] In 1935, after her Academy Award nomination, Colbert decided not to attend the presentation, feeling confident that she would not win the award, and instead, planned to take a cross-country railroad trip. After she was named the winner, studio chief Harry Cohn sent someone to "drag her off" the train, which had not yet left the station, and take her to the ceremony. Colbert arrived wearing a two-piece traveling suit which she had the Paramount Pictures costume designer, Travis Banton, make for her trip.[18]
Academy Awards
The film won all five of the Academy Awards for which it was nominated:
Award Best Picture Best Director Best Actor Best Actress Best Writing, Adaptation Result Won Won Won Won Won Winner Columbia Pictures (Frank Capra and Harry Cohn) Frank Capra Clark Gable Claudette Colbert Robert Riskin
At the 7th Academy Awards for 1934, It Happened One Night became the first film ever to win the "Big Five" Academy Awards (Best Picture, Best Director, Best Actor, Best Actress, and Best Writing). To date, only two more films have achieved this feat: One Flew Over the Cuckoo's Nest in 1975 and The Silence of the Lambs in 1991.[19] Also, It Happened One Night was the last film to win both lead acting Academy Awards, until 1975's One Flew Over the Cuckoo's Nest also won both lead acting awards. On December 15, 1996, Clark Gable's Oscar was auctioned off to Steven Spielberg for $607,500; Spielberg promptly donated the statuette to the Motion Picture Academy.[20] On June 9, the following year, Colbert's Oscar was offered for auction by Christie's. No bids were made for it.
American Film Institute

1998 AFI's 100 Years... 100 Movies #35 2000 AFI's 100 Years... 100 Laughs #8 2002 AFI's 100 Years... 100 Passions #38 2007 AFI's 100 Years... 100 Movies (10th Anniversary Edition) #46 2008 AFI's 10 Top 10 #3 romantic comedy
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Radio adaptation
It Happened One Night was adapted as a radio play on the March 20, 1939 broadcast of Lux Radio Theater, with Colbert and Gable reprising their roles. The movie was also adapted as a radio play for the January 28, 1940 broadcast of The Campbell Playhouse.
In popular culture
It Happened One Night made an immediate impact on the public. In one scene, Gable undresses for bed, taking off his shirt to reveal that he is bare-chested. An urban legend claims that, as a result, sales of men's undershirts declined noticeably.[21] The movie also prominently features a Greyhound bus in the story, spurring interest in bus travel nationwide.[22] The unpublished memoirs of animator Friz Freleng mention that this was one of his favorite films. It Happened One Night has a unique connection to the cartoon character Bugs Bunny with a minor character, Oscar Shapely, continually calling the Gable character "Doc", an imaginary character named "Bugs Dooley" mentioned once to frighten Shapely, and a scene in which Gable eats carrots while talking quickly with his mouth full, as Bugs does.[23] Joseph Stalin was a fan of the film,[24] as was Adolf Hitler.[25] Parodies of the film abound. The 1937 Laurel and Hardy comedy Way Out West parodied the famous hitchhiking scene, with Stan Laurel managing to stop a stage coach using the same technique.[26] Mel Brooks's film Spaceballs (1987) parodies the wedding scene. As she walks down the aisle to wed Prince Valium, Princess Vespa (Daphne Zuniga) is told by her father, King Roland, that Lone Starr forsook the reward for the princess's return and only asked to be reimbursed for the cost of the trip.[27] The film has also sparked a number of remakes including the musicals Eve Knew Her Apples (1945) starring Ann Miller and You Can't Run Away from It (1956) Technicolor and CinemaScope musical comedy starring June Allyson and Jack Lemmon, directed and produced by Dick Powell.[28] Recent films have also used familiar plot points from It Happened One Night. In Bandits, (2001), Joe Blake (Bruce Willis) erects a blanket partition between motel room beds out of respect for Kate Wheeler's (Cate Blanchett's) privacy. He remarks that he saw them do the same thing in an old movie.[29] In Sex and the City 2, Carrie and Mr. Big watch the film (specifically the hitchhiking scene) in a hotel. Later in the film, in an attempt to get a taxi in Abu Dhabi, Carrie mimics Claudette Colbert by showing some leg to stop a taxi.[30] The wedding scene at the end of "Heartbreaker" is a reprise of the wedding scene in It Happened One Night.[31] This film was also remade in Bollywood twice as Chori Chori starring Raj Kapoor and Nargis and Dil Hai Ki Manta Nahin starring Aamir Khan and Pooja Bhatt. Both films became successful at the box-office.
References
Notes
[1] Brown 1995, p. 118. [2] "Box Office Information for 'It Happened One Night'." (http:/ / www. the-numbers. com/ movies/ 1934/ 0THNN. php) The Numbers. Retrieved: April 12, 2012. [3] "National Film Registry" (http:/ / www. loc. gov/ film/ registry_titles. php). Library of Congress, accessed October 28, 2011. [4] Kotsabilas-Davis and Loy 1987, p. 94. Note: Loy described the first script she saw as "one of the worst [that] she had ever read." [5] Wiley and Bona 1987, p. 54. [6] Weems, Erik. It Happened One Night - Frank Capra. (http:/ / eeweems. com/ capra/ _it_happened_one_night. html) Updated June 22, 2006. [7] Chandler 2006, p. 102. [8] McBride 1992, p. 303. [9] "Loretta Young 1999." (http:/ / www. flickr. com/ photos/ rattlingdjs/ 1697495016/ ) flickr.com. Retrieved: November 14, 2007. [10] Karney 1995, p. 252. [11] "All about Oscar." (http:/ / www. britannica. com/ oscar/ article-9397448) britannica.com. [12] Harris 2002, pp. 112114.

[13] Capra 19171, p. 164. [14] Pace, Eric. "Claudette Colbert, Unflappable Heroine of Screwball Comedies, is Dead at 92." (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9802E6D91439F932A05754C0A960958260& sec=& spon=& pagewanted=3) The New York Times, July 31, 1996, p. D21. [15] McBride 1992, p. 326. [16] "It Happened One Night." (http:/ / www. moviediva. com/ MD_root/ reviewpages/ MDItHappenedOneNight. htm) moviediva.com. Retrieved: December 7, 2009. [17] McBride 1992, pp. 308309. [18] Sharon Fink. "Oscars: The Evolution of Fashion." St. Petersburg Times, February 24, 2007. [19] "Awards." (http:/ / awardsdatabase. oscars. org/ ampas_awards/ DisplayMain. jsp?curTime=1252044858649) awardsdatabase.oscars.org. Retrieved: September 4, 2009. [20] McKittrick, Rosemary. "Gable's Gold: Auction Cashes In On Hollywood Idol." (http:/ / www. liveauctiontalk. com/ free_article_detail. php?article_id=53) liveauctiontalk.com. Retrieved: December 7, 2009. [21] "The Shirt off his Back." (http:/ / www. snopes. com/ movies/ actors/ gable1. asp) snopes.com. Retrieved: December 7, 2009. [22] "Historical Timeline." (http:/ / www. greyhound. com/ en/ about/ historicaltimeline. aspx) Greyhound. Retrieved: October 14, 2011. [23] Dirks, Tim. " 'It Happened One Night' review." (http:/ / www. filmsite. org/ itha. html) filmsite.org. Retrieved: December 7, 2009. [24] "Why Stalin loved Tarzan and wanted John Wayne shot." (http:/ / www. telegraph. co. uk/ culture/ 3618310/ Why-Stalin-loved-Tarzan-and-wanted-John-Wayne-shot. html) The Daily Telegraph, April 6, 2004. Retrieved: December 7, 2009. [25] Shirer 1985, p. 588. [26] "Way Out West (1937)." (http:/ / www. filmsite. org/ wayo. html) Filmsite Review. Retrieved: October 14, 2011. [27] Crick 2009, p. 158. [28] Dirks, Tim. "It Happened One Night (1934) ." (http:/ / www. filmsite. org/ itha. html) Filmsite Movie Reviews. Retrieved: November 17, 2011. [29] Granger, Susan. "Bandits." (http:/ / www. all-reviews. com/ videos-3/ bandits. htm) All Reviews, 2001. Retrieved: October 14, 2011. [30] Gonzalez, Ed. "Ed Gonzalez on May 24, 2010 Review." (http:/ / www. slantmagazine. com/ film/ review/ sex-and-the-city-2/ 4831) Slant magazine, May 24, 2010. Retrieved: October 14, 2011. [31] IMDB. "Heartbreaker (2010) (original title: l'Arnacoeur)". (http:/ / www. imdb. com/ title/ tt1465487/ ) IMDb. Retrieved: April 18, 2012.
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Bibliography Brown, Gene. Movie Time: A Chronology of Hollywood and the Movie Industry from its Beginnings to the Present. New York: MacMillan, 1995. ISBN 00286042906. Capra, Frank. Frank Capra, The Name Above the Title: An Autobiography. New York: The Macmillan Company, 1971. ISBN 0-306-80771-8. Chandler, Charlotte. The Girl Who Walked Home Alone: Bette Davis, A Personal Biography. New York: Simon & Schuster, 2006. ISBN 0-7432-6208. Crick, Robert Alan. The Big Screen Comedies of Mel Brooks. Jefferson, North Carolina: McFarland & Company, 2009. ISBN 978-0-7864-4326-0. Harris, Warren G. Clark Gable, A Biography. London: Aurum Press, 2002. ISBN 1-85410-904-9. Hirschnor, Joel. Rating the Movie Stars for Home Video, TV and Cable. Lincolnwood, Illinois: Publications International Limited, 1983. ISBN 0-88176-152-4. Karney, Robyn. Chronicle of the Cinema, 100 Years of the Movies. London: Dorling Kindersley, 1995. ISBN 0-7513-3001-9. Kotsabilas-Davis, James and Myrna Loy. Being and Becoming. New York: Primus, Donald I. Fine Inc., 1987. ISBN 1-55611-101-0. McBride, Joseph. Frank Capra: The Catastrophe of Success. New York: Touchstone Books, 1992. ISBN 0-671-79788-3. Michael, Paul, ed. The Great Movie Book: A Comprehensive Illustrated Reference Guide to the Best-loved Films of the Sound Era. Englewood Cliffs, New Jersey: Prentice-Hall Inc., 1980. ISBN 0-13-363663-1. Shirer, William L. Berlin Diary: The Journal of a Foreign Correspondent 1934-1941. Edison, New Jersey: BBS Publishing Corporation, 1985. ISBN 978-0-88365-922-9. Wiley, Mason and Damien Bona. Inside Oscar: The Unofficial History of the Academy Awards. New York: Ballantine Books, 1987. ISBN 0-345-34453-7.
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External links
It Happened One Night (http://www.imdb.com/title/tt0025316/) at the Internet Movie Database It Happened One Night (http://www.allrovi.com/movies/movie/v25509) at AllRovi It Happened One Night (http://tcmdb.com/title/title.jsp?stid=12648) at the TCM Movie Database It Happened One Night (http://www.rottentomatoes.com/m/it_happened_one_night/) at Rotten Tomatoes It Happened One Night at [[Filmsite.org (http://www.filmsite.org/itha.html)]] It Happened One Night (http://www.virtual-history.com/movie/film/1810/it-happened-one-night) at Virtual History
Streaming audio It Happened One Night (http://ia700408.us.archive.org/3/items/Lux04/ Lux_39-03-20_It_Happened_One_Night.mp3) on Lux Radio Theater: March 20, 1939 It Happened One Night (http://ia600301.us.archive.org/25/items/otr_campbellplayhouse/ CampbellPlayhouse40-01-28ItHappenedOneNight.mp3) on The Campbell Playhouse: January 28, 1940
1935 Mutiny on the Bounty
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Mutiny on the Bounty
Advertorial poster
Directed by Produced by Written by Frank Lloyd Frank Lloyd Irving Thalberg Novel: Charles Nordhoff James Norman Hall Screenplay: Talbot Jennings Jules Furthman Carey Wilson Charles Laughton Clark Gable Franchot Tone Movita Mamo Score: Herbert Stothart Nat W. Finston (uncredited) Song: Walter Jurmann Bronisaw Kaper (both uncredited) Arthur Edeson Margaret Booth Metro-Goldwyn-Mayer
[1]
Starring
Music by
Cinematography Editing by Distributed by Release date(s)
November 8, 1935
Running time Country Language Budget
93
Box office $4,460,000
Mutiny on the Bounty is a 1935 film starring Charles Laughton and Clark Gable, and directed by Frank Lloyd based on the Charles Nordhoff and James Norman Hall novel Mutiny on the Bounty. The film was one of the biggest hits of its time. Although its historical accuracy has been questioned (inevitable as it is based on a novel about the facts, not the facts themselves), film critics consider this adaptation to be the best cinematic work inspired by the mutiny.
Plot
The HMS Bounty leaves England in 1787 on a two-year voyage into the Pacific Ocean. The ship's captain, William Bligh (Charles Laughton) is a brutal tyrant who routinely administers harsh punishment to the officers and crew alike that either lack discipline, cause any infraction on board the ship or defy his authority. Fletcher Christian (Clark Gable), the ship's lieutenant, is a formidable, yet compassionate man who disapproves of Bligh's treatment of the crew. Roger Byam (Franchot Tone) is an idealistic midshipman, who is divided between his loyalty to Bligh, due to his family's Naval tradition, and his friendship to Christian.
Title card from the film's theatrical trailer.
During the voyage, the enmity between Christian and Bligh grows after Christian openly challenges Bligh's unjust practices aboard the ship. When the ship arrives on the island of Tahiti, where the crew acquire breadruit plant to take home, Bligh punishes Christian by refusing to let him leave the ship during their stay. Byam, meanwhile, sets up residency on the island, living with the island Chief, Hitihiti (William Bambridge), and his daughter, Tehanni (Movita Castaneda), and translating an English dictionary of the Tahitian language. Hitihiti persuades Bligh to allow Christian a day pass on the island. Bligh agrees but quickly repeals the pass out of spite. Christian disregards the order and spends his one day off the ship romancing a local Tahitian girl named Miamiti (Mamo Clark). Christian promises her he will be back someday. After leaving Tahiti, the crew begin to talk of mutinty after Bligh's harsh discipline leads to the death of the ship's beloved surgeon, Mr Bacchus (Dudley Digges) and he cuts water rationing to the crew in favor of providing water for the acquired breadfruit plants. Christian, although initially opposing the idea, decides he can no longer tolerate Bligh's brutality when he witnesses crew members shackled in iron chains, and approves the mutiny. The crew raid the weapons cabinet and seize the ship. Bligh and his loyalists are cast into a boat and set adrift at sea with a map and rations to ensure their survival. Due to Bligh's steady leadership, they are able to find their way back to land. Meanwhile, Christian orders the HMS Bounty return to Tahiti. Byam, who was in his cabin during the mutiny, disapproves of what Christian has done and decides the two can no longer be friends. Months later, Byam is married to Tehanni, Christian has married Miamiti and has a child with her, while the rest of the crew are enjoying their freedom on the island. After a long estrangement, Byam and Christian reconcile their friendship. However, when the British ship, HMS Pandora, is spotted approaching, Byam and Christian decide they must part ways. Byam and several crew members remain on the island for the ship to take them back to England while Christian leads the remaining crew, his wife, and several Tahiti men and women, back on board the Bounty in search of a new island to seek refuge on. Byam boards the Pandora and, much to his surprise, discovers that Bligh is the captain. Bligh, who suspects Byam was complicit in the mutiny, has him imprisoned for the remainder of the journey across the sea. Back in England, Byam is court-martialed and found guilty of mutiny. Before the court condemns him, Byam speaks of Bligh's cruel, dehumanising conduct abord the Bounty. Due to the intervention of his friend, Sir Joseph Banks (Henry Stephenson)
1935 Mutiny on the Bounty and Lord Hood (David Torrence), Byam is pardoned by the court and allowed to resume his Naval career at sea. Meanwhile, Christian has found Pitcairn, an unihabitated yet sustainable island, which he believes will provide adequate refuge from the reach of the British Empire. The Bounty crashes on the rocks and Christian orders it to be burned.
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Historical inaccuracies
The movie contains several historical inaccuracies. Captain Bligh was never on board HMS Pandora, nor was he present at the trial of the mutineers who stayed on Tahiti. At the time he was halfway around the world on a second voyage for breadfruit plants. Fletcher Christian's father had died many years before Christian's travels on board the Bounty - the film shows the elder Christian at the trial. It should be noted though, that the movie was always presented as an adaptation of the Nordhoff and Hall trilogy, which already differed from the actual story of the mutiny. Bligh is depicted as a brutal, sadistic disciplinarian. Particular episodes include a keelhauling and flogging a dead man. Neither of these happened. Keelhauling was used rarely, if at all, and had been abandoned long before Bligh's time. Indeed the meticulous record of the Bounty's log reveals that the flogging rate was lower than the average for that time. Prior to the mutiny the Bounty had only two deathsone seaman died of scurvy (not keelhauling) and the ship's surgeon died apparently of drink and indolence and not as a result of abuse by Bligh. Likewise the film shows the mutineers taking over the ship only after killing several loyal crewmen when in fact none died although one crewman came very close to shooting Bligh until stopped by Christian. Lastly Christian is shown being inspired to take over the ship after several crewmen have unjustly been put into irons by Bligh; this is fictional license. For historical accuracy, Clark Gable reluctantly had to shave off his famous moustache because the sailors in the Royal Navy in the 18th century had to be clean-shaven. In the final scene of the film Gable gives a rousing speech to his fellow mutineers speaking of creating a perfect society of free men on Pitcairn away from Bligh and the Navy. The reality was very different. Free from the restraints of Naval discipline the mutineers proved incapable of self-government. Pitcairn degenerated into a place of drunkenness, rape and murder. Apart from John Adams and Ned Young all the mutineers (including Christian) perished, most of them by violence. Midshipman Roger Byam was based on a real person Midshipman Peter Heywood who is not listed in the novel or motion picture. Just as the fictional Byam is pardoned at the end of the film the real life Peter Heywood was also pardoned for his part in the mutiny. 1935 MGM Trailers made an error calling Midshipman Byam an Ensign. Mutineer Thomas Ellison is depicted as being allowed to see his wife before his execution. There is no record to indicate that the real Ellison was married, and in any case a consolation visit of this type never would have been permitted in real life.
Charles Laughton as Captain Bligh set adrift by Fletcher Christian (Clark Gable)
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Cast
Charles Laughton as Captain Bligh Clark Gable as Fletcher Christian Franchot Tone as Byam Herbert Mundin as Smith Eddie Quillan as Ellison Dudley Digges as Bacchus Donald Crisp as Burkitt Henry Stephenson as Sir Joseph Banks Francis Lister as Captain Nelson Spring Byington as Mrs. Byam Movita as Tehani Mamo Clark as Maimiti (as Mamo) Byron Russell as Quintal Percy Waram as Coleman David Torrence as Lord Hood John Harrington as Mr. Purcell Douglas Walton as Stewart Ian Wolfe as Maggs DeWitt Jennings as Fryer Ivan F. Simpson as Morgan (as Ivan Simpson) Vernon Downing as Hayward Bill Bambridge as Hitihiti (as William Bambridge) Marion Clayton Anderson as Mary Ellison (as Marion Clayton) Stanley Fields as Muspratt Wallis Clark as Morrison Crauford Kent as Lieutenant Edwards (as Craufurd Kent) Pat Flaherty as Churchill Alec Craig as McCoy Charles Irwin as Thompson Dick Winslow as Tinkler James Cagney as Extra (Uncredited) David Niven as Extra (Uncredited) Edward "Ted" Reed as Extra (Uncredited)
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Production
Filming locations
French Polynesia Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, USA (studio) Monterey Bay, Monterey, California, USA Monterey Harbor, Monterey, California, USA Sailing Ship Restaurant, Pier 42, The Embarcadero, San Francisco, California, USA (ship "Ellen" as "The Bounty") San Miguel Island, California, USA Santa Barbara Channel, Channel Islands, California, USA Santa Catalina Island, Channel Islands, California, USA South Beach Harbor, South Beach, San Francisco, California, USA (ship "Ellen" as "The Bounty") South Pacific, Pacific Ocean Tahiti, French Polynesia Hollywood star James Cagney (then on a hiatus from Warner Bros. during a contract dispute) and future stars David Niven and Dick Haymes were uncredited extras in the movie. Cagney is clearly visible toward the beginning of the film. Charles Laughton, who had a severe self-image complex concerning his weight and unattractive looks, suffered horribly in comparing himself to the handsome, masculine Clark Gable.[2] Laughton would constantly watch his own walk, gestures, and face, making sure to not let his complex be projected.[2]
Clark Gable as Fletcher Christian
Awards and honors

Academy Awards
This film is, as of 2011, the last Best Picture winner to win in no other category.
Award Best Picture Nominee Metro-Goldwyn-Mayer (Irving Thalberg and Albert Lewin producers) Frank Lloyd Clark Gable Charles Laughton Franchot Tone Best Writing, Screenplay Jules Furthman, Talbot Jennings and Carey Wilson Best Music, Scoring Dudley Nichols The Informer Result Won John Ford The Informer Victor McLaglen The Informer
Best Director Best Actor
Nat W. Finston and Herbert Stothart Max Steiner The Informer ("Love Song of Tahiti" written by Walter Jurmann, uncredited) Margaret Booth Ralph Dawson A Midsummer Night's Dream
Best Film Editing
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Other honors
American Film Institute recognition AFI's 100 Years... 100 Movies #86 AFI's 100 Years... 100 Heroes and Villains: Captain Bligh, Villain #19
Gallery
Remakes
A 1962 three-hours-plus widescreen Technicolor remake, starring Marlon Brando as Fletcher Christian and Trevor Howard as Captain Bligh, was a disaster both critically and financially at the time, but has come to be reevaluated by critics. In 1984, Mel Gibson played Christian opposite Anthony Hopkins as Bligh in a lavish remake called The Bounty. This latest version, which gives a far more sympathetic view of Bligh, is considered to be the closest to historical events.
1935 Mutiny on the Bounty The 1935 version was itself not the first film account of the mutiny. In 1933, an Australian film entitled In the Wake of the Bounty, with the then-unknown Errol Flynn as Fletcher Christian, was released, but was not successful and received few bookings outside of Australia. There was also an even earlier film, the 1916 AustralianNew Zealand film, The Mutiny on the Bounty directed by Raymond Longford
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Parodies
Friz Freleng's cartoon Mutiny on the Bunny casts Yosemite Sam (called Shanghai Sam) as a foul-tempered skipper who shanghais Bugs Bunny, only to see Bugs rebel. Also, in one scene in Freleng's earlier Buccaneer Bunny, Bugs dresses up as Capt. Bligh (including a visual and vocal impression of Charles Laughton) and barks out orders to Sam (called Seagoin' Sam). The 1967 Lost in Space episode "Mutiny in Space" features Ronald Long imitating Charles Laughton in the role of spaceship captain "Admiral Zahrk." In The Simpsons episode "The Wettest Stories Ever Told" features the family telling stories set on ships. The second segment is a parody on Mutiny on the Bounty and casts Principal Skinner as Capt. Bligh, brutalizing the crew members (played by Bart, Milhouse, Martin, Nelson, Jimbo, Dolph and Kearney).
References
[1] Brown, Gene (1995). Movie Time: A Chronology of Hollywood and the Movie Industry from its Beginnings to the Present. New York: MacMillan. p.125. ISBN00286042906 . In New York, the film opened at the Capitol Theatre, the site of many prestigious MGM film premieres. [2] "Charles Laughton". Hollywood Greats. episode 5. series 2. August 31, 1978. 12-13 minutes in.
External links
Mutiny on the Bounty (1935) (http://www.imdb.com/title/tt0026752/) at the Internet Movie Database Mutiny on the Bounty (http://tcmdb.com/title/title.jsp?stid=15288) at the TCM Movie Database Mutiny on the Bounty (1935 film) (http://www.allrovi.com/movies/movie/v1:33980) at AllRovi Mutiny on the Bounty (http://www.rottentomatoes.com/m/1014481-mutiny_on_the_bounty/) at Rotten Tomatoes
1936 The Great Ziegfeld
99

The Great Ziegfeld
Original poster
Directed by Produced by Written by Starring Robert Z. Leonard Hunt Stromberg William Anthony McGuire William Powell Myrna Loy Luise Rainer Walter Donaldson Irving Berlin
Music by
Distributed by Metro-Goldwyn-Mayer Release date(s) Running time Country Language April 8, 1936
185 minutes United States English
The Great Ziegfeld (1936) is a musical film produced by Metro-Goldwyn-Mayer.
Plot
The son of a highly respected music professor, Florenz "Flo" Ziegfeld, Jr. (William Powell) yearns to make his mark in show business. He begins by promoting Eugen Sandow (Nat Pendleton), the "world's strongest man", at the 1893 Chicago World's Fair, overcoming the competition of rival Billings (Frank Morgan) and his popular attraction, belly dancer Little Egypt, with savvy marketing (allowing women to feel Sandow's muscles). Later, on an ocean liner to England, Flo runs into Billings again and discovers that he is on his way to sign a beautiful French star, Anna Held (Luise Rainer), to a contract. Despite losing all his money gambling at Monte Carlo, Flo charms Anna into signing with him instead. At first, Anna is not a success. However, Flo manages to generate publicity by sending many gallons of milk to Anna every day for a fictitious milk bath beauty treatment, then refusing to pay the bill. The newspaper stories soon bring the curious to pack his theater. Flo and Anna then get married. However, one success is not enough for the showman. He has an idea for an entirely new kind of show, one that will "glorify" the American woman. Thus, the Ziegfeld Follies is born, a lavish production filled with beautiful women. This makes Anna very nervous, as she is still performing in her own show and will be unable to keep an eye on her husband. It is a smash hit, and is followed by more versions of the Follies. Soon Flo hires Fanny Brice (playing herself) away from vaudeville and gives stagehand Ray Bolger (also playing himself) his break as well. He also tries to make a star out of Audrey Dane (Virginia Bruce), but alcoholism turns out to be her downfall. However, a short time before, Anna becomes jealous of the attention Flo pays to Audrey and divorces Flo. Afterward, Flo meets Broadway star Billie Burke (Myrna Loy) and marries her. When she hears the news, a heartbroken Anna telephones Flo and pretends to be glad for him. Flo and Billie eventually have a daughter named Patricia. Flo has more hits, but after a while, the public's taste changes, and people begin to wonder if the times have not passed him by. Stung, he vows to have four hits on Broadway at the same time. He achieves his goal - one of those
1936 The Great Ziegfeld four hits being Show Boat (1927) - but then the stock market crash of 1929 bankrupts him, forcing Billie to go back on the stage. Shaken by the reversal of his financial fortunes and the growing popularity of movies over live stage shows, he becomes seriously ill. In the final scene, in a half-delirium, he recalls scenes from several of his hits, exclaiming, "I've got to have more steps", a remark he made several times when examining the set designs of his Ziegeld Follies, before slumping over dead in his chair.
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Cast
William Powell as Florenz Ziegfeld, Jr. Myrna Loy as Billie Burke Luise Rainer as Anna Held Frank Morgan as Jack Billings Fanny Brice as Herself Virginia Bruce as Audrey Dane Reginald Owen as Sampson, Flo's frequently-nervous bookkeeper Ray Bolger as Himself Ernest Cossart as Sidney, Billing's valet, who is hired away by Flo Joseph Cawthorn as Dr. Ziegfeld (as Joseph Cawthorne) Nat Pendleton as Eugen Sandow Harriet Hoctor as Herself Jean Chatburn as Mary Lou Paul Irving as Erlanger, Billing's later partner Herman Bing as Costumer Buddy Doyle as Eddie Cantor
William Powell as Flo Ziegfeld
Also appearing uncredited are future First Lady Pat Nixon (as a Ziegfeld Girl), Mickey Daniels as a telegram delivery boy, and Dennis Morgan as the vocalist (dubbed by Allan Jones) in the "Pretty Girl" number.
Production background
A fictionalized biography of Florenz Ziegfeld from his show business beginnings to his death, The Great Ziegfeld showcases a series of spectacular musical productions. The film includes original music by Walter Donaldson and Irving Berlin. Berlin's work was featured in the Ziegfeld Follies of 1918, 1919, and 1920. The film, which premiered in Los Angeles at the Carthay Circle Theatre, was the first musical film in history for which one of its cast members won an Academy Award - Luise Rainer received the Best Actress Oscar for her portrayal of Ziegfeld's first wife, Anna Held. Featured in the film are William Powell as Ziegfeld, Myrna Loy as Billie Burke, Luise Rainer, Nat Pendleton, and Frank Morgan. Real-life Ziegfeld performers Fanny Brice and Ray Bolger play themselves. Dennis Morgan, in an uncredited role, performed "A Pretty Girl Is Like a Melody" (dubbed by Allan Jones). The film was originally developed at Universal Pictures in late 1934 and in their 1935 development book appears as a pre-production, to star Powell. Due to financial problems at the studio at the time, the entire production, including some already constructed sets and musical arrangements were sold to MGM. Universal retained the services of Powell however, which ultimately resulted in his appearance in the classic screwball comedy My Man Godfrey the same year as The Great Ziegfeld.
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Inaccuracies
The Great Ziegfeld takes many key liberties with Ziegfeld's life and with the history of the Follies. For instance, George Gershwin's Rhapsody in Blue was never featured in the Follies, and the number "Pretty Girl" was written for the 1919 Follies, not the first edition of the revue, as shown in the film. Although she was born in the U.S, Billie Burke grew up in England, and she spoke with an English accent throughout her life. Her most famous role was as Glinda the Good Witch in the film The Wizard of Oz (1939). The film also gives the impression that the successful original production of Show Boat, which Ziegfeld produced, closed because of the Great Depression. In fact Show Boat ended its original 1927 run in the spring of 1929 and the stock market crash did not occur until October of that year. It was the 1932 revival of the show (also produced by Ziegfeld), not the original production, that was affected by the Depression. In the film, the last few lines of the song "Ol' Man River" (from Show Boat) are sung by what sounds like a tenor, while the song was intended for bass Paul Robeson and sung in the original production by bass-baritone Jules Bledsoe.
Awards
The movie won three Oscars:[1] Academy Award for Best Picture - Metro-Goldwyn-Mayer (Hunt Stromberg, producer) Academy Award for Best Actress - Luise Rainer Academy Award for Best Dance Direction - Seymour Felix - For "A Pretty Girl Is Like a Melody". It was nominated for an additional four: Academy Award for Best Art Direction - Cedric Gibbons, Eddie Imazu and Edwin B. Willis (lost to Dodsworth) Academy Award for Directing - Robert Z. Leonard (lost to Frank Capra for Mr. Deeds Goes to Town) Academy Award for Film Editing - William S. Gray Academy Award for Writing Original Screenplay - William Anthony McGuire
References
[1] "NY Times: The Great Ziegfeld" (http:/ / movies. nytimes. com/ movie/ 20813/ The-Great-Ziegfeld/ details). NY Times. . Retrieved 2008-12-08.
External links
The Great Ziegfeld (http://www.imdb.com/title/tt0027698/) at the Internet Movie Database The Great Ziegfeld (http://www.allrovi.com/movies/movie/v20813) at AllRovi The Great Ziegfeld (http://tcmdb.com/title/title.jsp?stid=186) at the TCM Movie Database The Great Ziegfeld (http://www.rottentomatoes.com/m/great_ziegfeld/) at Rotten Tomatoes The Great Ziegfeld (http://www.virtual-history.com/movie/film/3139/the-great-ziegfeld) at Virtual History
1937 The Life of Emile Zola
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1937 The Life of Emile Zola

The Life of Emile Zola
Directed by Produced by Written by William Dieterle Henry Blanke Matthew Josephson (source material) Heinz Herald (story and screenplay) Geza Herczeg (story and screenplay) Norman Reilly Raine (screenplay) Paul Muni Gloria Holden Gale Sondergaard Joseph Schildkraut Max Steiner
Starring
Music by
Cinematography Tony Gaudio Editing by Studio Distributed by Release date(s) Running time Country Language Warren Low Warner Bros. Warner Bros.
August 11, 1937
The Life of Emile Zola is a 1937 American biographical film about French author mile Zola. Set in the mid through late 19th century, it depicts his friendship with noted painter Paul Czanne, and his rise to fame through his prolific writing, with particular focus on his involvement in the Dreyfus affair. The film had its premiere at the Carthay Circle Theatre in Los Angeles and was a great success both critically and financially; contemporary reviews cited it as the best biographical film made up to that time. It is still held in high regard by many critics. It is the second biographical film to win the Oscar for Best Picture. In 2000, The Life of Emile Zola was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Plot
Struggling writer mile Zola (Paul Muni) shares a drafty Paris attic with his friend, painter Paul Czanne (Vladimir Sokoloff). A chance encounter with a street prostitute (Erin O'Brien-Moore) hiding from a police raid leads to his first bestseller, Nana, an expos of the steamy underside of Parisian life. Other successful books follow. Zola becomes rich and famous; he marries Alexandrine (Gloria Holden) and settles down to a comfortable life in his mansion. One day, his old friend Czanne, still poor and unknown, visits him before leaving the city. He tells Zola that he has become complacent, a far cry from the zealous reformer of his youth.
1937 The Life of Emile Zola Meanwhile, a French secret agent steals a letter addressed to a military officer in the German embassy. The letter confirms there is a spy within the top French army staff. With little thought, the army commanders decide that Jewish Captain Alfred Dreyfus (Joseph Schildkraut) is the traitor. He is courtmartialed and imprisoned on Devil's Island in French Guyana. Later, Colonel Picquart (Henry O'Neill), the new chief of intelligence, discovers evidence implicating Major Walsin-Esterhazy (Robert Barrat) as the spy, but he is ordered by his superiors to remain silent, as this revelation would embarrass them. He is quickly reassigned to a distant post. Years go by. Finally, Dreyfus's loyal wife Lucie (Gale Sondergaard) pleads with Zola to take up her husband's cause. Zola is reluctant to give up his comfortable life, but the evidence she has brought him piques his curiosity. He publishes a letter in the newspaper accusing the army of covering up a monstrous injustice. Zola barely escapes from an angry mob incited by agents provocateurs employed by the military. As he had expected, he is brought to trial for libel. His attorney, Maitre Labori (Donald Crisp) does his best, but the presiding judge refuses to allow him to bring up the Dreyfus affair and the military witnesses all commit perjury, with the exception of Picquart. Zola is found guilty and sentenced to a year in prison. He reluctantly accepts the advice of his friends and flees to England, where he continues to write on behalf of Dreyfus. A new administration finally admits that Dreyfus is innocent, those responsible for the coverup are forced to resign or are dismissed, and Walsin-Esterhazy flees the country. However, Zola dies of carbon monoxide poisoning due to a faulty stove the night before the public ceremony in which Dreyfus is exonerated.
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Cast
Paul Muni as mile Zola Gloria Holden as Alexandrine Zola Gale Sondergaard as Lucie Dreyfus Joseph Schildkraut as Captain Alfred Dreyfus Donald Crisp as Maitre Labori Erin O'Brien-Moore as Nana John Litel as Charpentier Henry O'Neill as Colonel Picquart Morris Carnovsky as Anatole France, Zola's friend and supporter Louis Calhern as Major Dort Ralph Morgan as Commander of Paris Robert Barrat as Major Walsin-Esterhazy Vladimir Sokoloff as Paul Czanne Grant Mitchell as Georges Clemenceau Harry Davenport as Chief of Staff Robert Warwick as Major Henry Charles Richman as M. Delagorgue Gilbert Emery as Minister of War Walter Kingsford as Colonel Sandherr Paul Everton as Assistant Chief of Staff Montagu Love as M. Cavaignac Frank Sheridan as M. Van Cassell Lumsden Hare as Mr. Richards
Marcia Mae Jones as Helen Richards Florence Roberts as Madame Zola, Zola's mother Dickie Moore as Pierre Dreyfus, Captain Dreyfus's son
1937 The Life of Emile Zola Rolla Gourvitch as Jeanne Dreyfus, Dreyfus's daughter
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Awards
The film won three Academy Awards and was nominated in another seven categories.[1] Best Picture: Warner Bros. (Henry Blanke, producer) Supporting Actor: Joseph Schildkraut Best Writing, Screenplay: Heinz Herald, Geza Herczeg and Norman Reilly Raine Academy Award nominations Best Actor: Paul Muni Best Art Direction: Anton Grot Best Assistant Director: Russell Saunders Best Director: William Dieterle Best Music, Score: Max Steiner, awarded to Leo F. Forbstein Best Sound, Recording: Nathan Levinson (Warner Bros. SSD) Best Writing, Original Story: Heinz Herald and Geza Herczeg
References
[1] "The 10th Academy Awards (1938) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 10th-winners. html). oscars.org. . Retrieved 2011-08-10.
External links
The Life of Emile Zola (http://www.imdb.com/title/tt0029146/) at the Internet Movie Database The Life of Emile Zola (http://www.allrovi.com/movies/movie/v29244) at AllRovi The Life of Emile Zola (http://tcmdb.com/title/title.jsp?stid=81353) at the TCM Movie Database
1938 You Can't Take It With You
105

You Can't Take It With You
Directed by Produced by Screenplay by Story by Starring Frank Capra Frank Capra Robert Riskin George Kaufman Moss Hart Jean Arthur Lionel Barrymore James Stewart Edward Arnold Dimitri Tiomkin Mischa Bakaleinikoff (uncredited) Ben Oakland (uncredited)
Music by
Cinematography Joseph Walker Editing by Distributed by Release date(s) Running time Country Language Budget Box office Gene Havlick Columbia Pictures
August 23, 1938
126 minutes United States English US$1,644,736 (est.) Rentals: $2,137,575 (US) $5,295,526 (world)
You Can't Take It With You is a 1938 film adapted from the Pulitzer Prize-winning play of the same name by George S. Kaufman and Moss Hart.[1] The cast includes James Stewart, Jean Arthur, Lionel Barrymore and Edward Arnold. The movie won two Academy Awards from seven nominations: Best Picture and Best Director for Frank Capra. This was Capra's third Oscar for Best Director in just five years, following It Happened One Night in 1934 and Mr. Deeds Goes to Town in 1936. It was also the highest-grossing picture of the year.
James Stewart and Jean Arthur
Plot
1938 You Can't Take It With You Alice (Jean Arthur), the only relatively normal member of the eccentric Sycamore family, falls in love with Tony Kirby (James Stewart). His wealthy banker father, Anthony P. Kirby (Edward Arnold), and his snobbish mother (Mary Forbes), strongly disapprove of the match. When the Kirbys are invited to dinner to become better acquainted with their future in-laws, things do not turn out the way Alice had hoped.
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Cast
Jean Arthur as Alice Sycamore Lionel Barrymore as Grandpa Martin Vanderhof James Stewart as Tony Kirby Edward Arnold as Anthony P. Kirby Mischa Auer as Boris Kolenkhov Ann Miller as Essie Carmichael Spring Byington as Penny Sycamore Samuel S. Hinds as Paul Sycamore Donald Meek as Poppins H. B. Warner as Ramsey Halliwell Hobbes as DePinna Dub Taylor as Ed Carmichael Mary Forbes as Mrs. Anthony P. Kirby Lillian Yarbo as Rheba Eddie Anderson as Donald Charles Lane as Wilbur G. Henderson, IRS agent Harry Davenport as the Night Court Judge Ian Wolfe as A.P. Kirby's secretary (unbilled) Ward Bond as detective (unbilled) Arthur Murray had an uncredited bit part
Notes
Barrymore's infirmity was incorporated into the plot of the film. He was on crutches the entire movie, which was said to be due to an accident from sliding down the banister. In reality, it was due to his increasing arthritis earlier in the year he had been forced to withdraw from the movie A Christmas Carol. Ann Miller, who plays Essie Carmichael (Ed Carmichael's wife), was only fifteen years old when this movie was filmed.
Awards
You Can't Take It with You won two Academy Awards from seven nominations: Best Picture and Best Director for Frank Capra.[2] Its nominations included Best Supporting Actress for Spring Byington, Best Writing, Screenplay for Robert Riskin's script, Best Cinematography for Joseph Walker, Best Film Editing for Gene Havlick, and Best Sound, Recording for John P. Livadary.
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Adaptations to other media

You Can't Take it With You was adapted as a radio play on the October 2, 1939 broadcast of Lux Radio Theater with Edward Arnold, Robert Cummings and Fay Wray.
References
Notes
[1] You Can't Take It With You (http:/ / www. ibdb. com/ show. asp?id=9527) at the Internet Broadway Database [2] "The 11th Academy Awards (1939) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 11th-winners. html). oscars.org. . Retrieved 2011-08-10.
Bibliography
Hart, Moss; Kaufman, George S. (1936). You Can't Take It with You (Archival manuscript ed.). New York: Moss Hart and George S. Kaufman. OCLC44091928.
External links
You Can't Take It with You (http://www.allrovi.com/movies/movie/v55902) at AllRovi You Can't Take It with You (http://www.imdb.com/title/tt30993/) at the Internet Movie Database You Can't Take It with You (http://www.ibdb.com/production.php?id=9741) at the Internet Broadway Database You Can't Take It with You (http://tcmdb.com/title/title.jsp?stid=4336) at the TCM Movie Database You Can't Take It with You (http://www.rottentomatoes.com/m/1024312-you_cant_take_it_with_you/) at Rotten Tomatoes You Can't Take It With You (http://ia700408.us.archive.org/3/items/Lux04/ Lux_39-10-02_You_Cant_Take_It_withYou.mp3) on Lux Radio Theater: October 2, 1939
1939 Gone with the Wind
108

Gone with the Wind
Theatrical pre-release poster. David O. Selznick demanded that Vivien Leigh be given higher billing, so in later posters, her name was billed right below Clark Gable's.
Directed by Victor Fleming Uncredited: George Cukor Sam Wood David O. Selznick Sidney Howard Gone with the Windby Margaret Mitchell Clark Gable Vivien Leigh Leslie Howard Olivia de Havilland Hattie McDaniel Butterfly McQueen Max Steiner Ernest Haller Uncredited: Lee Garmes Hal C. Kern James E. Newcom Selznick International Pictures Metro-Goldwyn-Mayer (Original) Warner Bros. (Current)

Produced by Screenplay by Based on Starring
Music by Cinematography
Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office
December 15, 1939 (Atlanta premiere) January 17, 1940 (United States)
224 minutes 238 minutes (with overture, entr'acte, and exit music) United States English $3.85 million $400 million
1939 Gone with the Wind Gone with the Wind is a 1939 American historical epic film adapted from Margaret Mitchell's Pulitzer-winning 1936 novel of the same name. It was produced by David O. Selznick and directed by Victor Fleming from a screenplay by Sidney Howard. Set in the 19th-century American South, the film stars Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland, and Hattie McDaniel, among others, and tells a story of the American Civil War and Reconstruction era from a white Southern point of view. The film received ten Academy Awards (eight competitive, two honorary), a record that stood for 20 years[1] until Ben-Hur surpassed it in 1960.[2] In the American Film Institute's inaugural Top 100 Best American Films of All Time list of 1998, it was ranked fourth, and in 1989 was selected to be preserved by the National Film Registry.[3] The film was the longest American sound film made up to that time 3 hours 44 minutes, plus a 15-minute intermission and was among the first of the major films shot in color (Technicolor), winning the first Academy Award for Best Cinematography in the category for color films. It became the highest-grossing film of all-time shortly after its release, holding the position until 1966; after adjusting for inflation, it has still earned more than any other film in box office revenue.
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Plot
Part 1
The film opens on a large cotton plantation called Tara in rural Georgia in 1861, on the eve of the American Civil War. Scarlett O'Hara is flirting with the two Tarleton brothers, Brent and Stuart, who have been expelled from the University of Georgia. Scarlett, Suellen, and Careen are the daughters of Irish immigrant Gerald OHara and his wife, Ellen O'Hara, who is of aristocratic French ancestry. The brothers share a secret with Scarlett: Ashley Wilkes, whom Scarlett secretly loves, is to be married to his cousin, Melanie Hamilton. The engagement is to be announced the next day at a barbecue at Ashley's home, the nearby plantation Twelve Oaks. At Twelve Oaks, Scarlett notices that she is being admired by Rhett Butler, who has been turned out of West Point and disowned by his Charleston family. Rhett finds himself in further disfavor among the male guests when, during a discussion of the probability of war, he states that the South has no chance against the superior numbers and industrial might of the North. Scarlett sneaks out of the afternoon nap time to be alone with Ashley in the library, and confesses her love for him. He admits he has always secretly loved Scarlett but that he and the sweet Melanie are more compatible. She accuses Ashley of misleading her and slaps him in anger. Ashley exits as Rhett reveals he has overheard the whole conversation, sleeping unseen on a couch. Rhett promises to keep her guilty secret. Scarlett leaves the library in haste, and the barbecue is disrupted by the announcement that war has broken out. The men rush to enlist, and all the ladies are awakened from their naps. As Scarlett watches Ashley kiss Melanie goodbye from the upstairs window, Melanies shy younger brother Charles Hamilton, with whom Scarlett had been innocently flirting, asks for her hand in marriage before he goes. Despite not truly loving Charles, Scarlett consents. They are married before he leaves to fight. Scarlett is quickly widowed when Charles dies from a bout of pneumonia and measles while in the Confederate Army. Scarlett's mother sends her to the Hamilton home in Atlanta to cheer her up, although the OHaras' outspoken housemaid Mammy tells Scarlett she knows she is going there only to wait for Ashleys return. Scarlett and Melanie attend a charity bazaar in Atlanta; Scarlett, who should be in deep mourning, is turned against and whispered about. Rhett, now a heroic blockade runner for the Confederacy, makes a surprise appearance. Scarlett shocks Atlanta society even more by accepting Rhett's large bid for a dance. While they dance, Rhett tells her of his intention to win her, which she says will never happen as long as she lives. The tide of war turns against the Confederacy after the Battle of Gettysburg in which many of the men of Scarlett's town are killed. Scarlett makes another unsuccessful appeal to Ashleys heart while he is visiting on Christmas furlough, although they do share a private and passionate kiss while in the parlor on Christmas Day, just before he leaves for the war. In the hospital, Scarlett and Melanie care for a convalescent soldier.
1939 Gone with the Wind Eight months later, as the city is besieged by the Union Army in the Atlanta Campaign, Melanie goes into a premature and difficult labor. Staying true to a promise Scarlett made to Ashley to "take care of Melanie," she and her young house servant Prissy must deliver the child without medical attendance. Scarlett calls upon Rhett to bring her home to Tara immediately with Melanie, Prissy, and the baby. He appears with a horse and wagon to take them out of the city on a perilous journey through the burning depot and warehouse district. He leaves her with a nearly dead horse, helplessly frail Melanie, her baby, and tearful Prissy, and with a passionate kiss as he goes off to fight. On her journey home, Scarlett finds Twelve Oaks burned out, ruined and deserted. She is relieved to find Tara still standing but deserted by all except her parents, her sisters, and two servants: Mammy and Pork (Oscar Polk). Scarlett learns that her mother has just died of typhoid fever and her father's mind has begun to crumble under the strain. With Tara pillaged by Union troops and the fields untended, Scarlett vows she will do anything for the survival of her family and herself, exclaiming, "As God is my witness, I'll never be hungry again!"
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Part 2
Scarlett sets her family and servants to picking the cotton fields. She also kills a Union deserter who threatens her during a burglary and finds Union currency in his wallet, enough to sustain her family and servants for a time. With the defeat of the Confederacy and war's end, Ashley returns. Mammy restrains Scarlett from running to him when he reunites with Melanie. The dispirited Ashley finds he is of little help to Tara, and when Scarlett begs him to run away with her, he confesses his desire for her and kisses her passionately, but says he cannot leave Melanie. Gerald dies after he is thrown from his horse in an attempt to chase from his property a Scalawag, his former plantation overseer who now wants to buy Tara. Scarlett realizes she cannot pay the rising taxes on Tara implemented by Reconstructionists. Knowing Rhett is in Atlanta, she has Mammy make an elaborate gown for her from her mothers drapes. However, upon her visit, Rhett, now in jail, tells her his foreign bank accounts have been blocked, and that her attempt to get his money has been in vain. As Scarlett departs, she encounters her sisters fianc, the middle-aged Frank Kennedy, who now owns a successful general store and lumber mill. Scarlett lies to Kennedy by saying Suellen got tired of waiting and married another beau, and after becoming Mrs. Frank Kennedy, Scarlett takes over his business and becomes wealthy. When Ashley is about to take a job with a bank in the north, Scarlett preys on his weakness by weeping that she needs him to help run the mill; pressured by the sympathetic Melanie, he relents. One day, after Scarlett is attacked while driving alone through a nearby shantytown, Frank, Ashley, and others make a night raid on the shantytown. Ashley is wounded in a melee with Union troops, and Frank is killed. With Franks funeral barely over, Rhett visits Scarlett and proposes marriage. Scarlett accepts. He kisses her passionately and tells her that he will win her love one day because they are both the same. After a honeymoon in New Orleans, Rhett promises to restore Tara to its former grandeur, while Scarlett builds the biggest mansion in Atlanta. The two have a daughter. Scarlett wants to name her Eugenie Victoria, but Rhett names her Bonnie Blue Butler. Rhett adores her. He does everything to win the good opinion of Atlanta society for his daughters sake. Scarlett, still pining for Ashley and chagrined at the perceived ruin of her figure (her waist has gone from eighteen-and-a-half inches to twenty), lets Rhett know that she wants no more children and that they will no longer share a bed. In anger, he kicks open the door that separates their bedrooms to show her that she cannot keep him away. When visiting the mill one day, Scarlett listens to a nostalgic Ashley, and when she consoles him with an embrace, they are spied by two gossips including Ashley's sister India, who hates Scarlett. They eagerly spread the rumor and Scarletts reputation is again sullied. Later that night, Rhett, having heard the rumors, forces Scarlett out of bed and to attend a birthday party for Ashley. Incapable of believing anything bad of her beloved sister-in-law, Melanie stands by Scarlett's side so that all know that she believes the gossip to be false. At home later that night, Scarlett finds Rhett downstairs drunk. Blind with jealousy, he tells Scarlett that he could kill her if he thought it would make her forget Ashley. He carries her up the stairs in his arms, telling her, "This is one
1939 Gone with the Wind night you're not turning me out." She awakens the next morning with a look of guilty pleasure, but Rhett returns to apologize for his behavior and offers a divorce, which Scarlett rejects saying it would be a disgrace. Rhett decides to take Bonnie on an extended trip to London only to realize, after Bonnie suffers a terrible nightmare, that she still needs her mother by her side. Rhett returns and Scarlett is delighted to see him, but he rebuffs her attempts at reconciliation. She tells him that she is pregnant again. An argument ensues, and Scarlett, enraged, lunges at Rhett, falls down the stairs, and suffers a miscarriage. Rhett, frantic with guilt, cries to Melanie about his jealousy yet refrains from telling Melanie about Scarlett's feelings for Ashley. As Scarlett is recovering, little Bonnie dies while attempting to jump a fence with her pony. Scarlett blames Rhett; Rhett blames himself. Melanie visits the home to comfort them and convinces Rhett to allow Bonnie to be laid to rest, but then collapses during a second pregnancy she was warned could kill her. On her deathbed, Melanie asks Scarlett to look after Ashley for her, as Scarlett had looked after her for Ashley. With her dying breath, Melanie tells Scarlett to be kind to Rhett because he loves her. Outside, Ashley collapses in tears, forcing Scarlett to realize that Ashley only ever truly loved Melanie. Scarlett runs home to find Rhett preparing to leave. She pleads with him, telling him she realizes now that she had loved him all along, that she never really loved Ashley. However, he refuses, saying that with Bonnie's death went any chance of reconciliation. As Rhett walks out the door, she pleads, "Rhett, if you go, where shall I go? What shall I do?" He answers, "Frankly, my dear, I don't give a damn" and walks away into the fog. She sits on her stairs and weeps in despair, "What is there that matters?" She then recalls the voices of Gerald, Ashley, and Rhett, all of whom remind her that her strength comes from Tara itself. Hope lights Scarlett's face: "Tara! Home. I'll go home, and I'll think of some way to get him back! After all, tomorrow is another day!" It ends with a silhouette of Scarlett standing under a large tree, looking forward. In the distance lies Tara.
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Cast
Vivien Leigh as Scarlett O'Hara Clark Gable as Rhett Butler Leslie Howard as Ashley Wilkes Olivia de Havilland as Melanie Hamilton Hattie McDaniel as Mammy Butterfly McQueen as Prissy Thomas Mitchell as Gerald O'Hara Barbara O'Neil as Ellen O'Hara Evelyn Keyes as Suellen O'Hara Ann Rutherford as Carreen O'Hara George Reeves as Stuart Tarleton Fred Crane as Brent Tarleton Oscar Polk as Pork Victor Jory as Jonas Wilkerson Howard Hickman as John Wilkes Alicia Rhett as India Wilkes Rand Brooks as Charles Hamilton Carroll Nye as Frank Kennedy Laura Hope Crews as Aunt Pittypat Eddie Anderson as Uncle Peter Harry Davenport as Dr. Meade
Jane Darwell as Mrs. Merriwether Mary Anderson as Maybelle Merriweather
1939 Gone with the Wind Ona Munson as Belle Watling Ward Bond as Tom, Yankee Captain Cammie King as Bonnie Blue Butler Mickey Kuhn as Beau Wilkes Paul Hurst as Yankee deserter Isabel Jewell as Emmie Slattery Yakima Canutt as Shantytown renegade Cliff Edwards as voice of unseen Reminiscent Soldier
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(The credits in the film contain an error: George Reeves and Fred Crane appear as the Tarleton brothers. Reeves plays Stuart, but is listed as Brent, while Crane, playing Brent, is listed as Stuart.) As of 2012, there were four surviving credited cast members from the film. Alicia Rhett (born February 1, 1915), who played India Wilkes, is the oldest surviving cast member. Also surviving are Olivia de Havilland (born July 1, 1916), who played Melanie Wilkes; Mary Anderson (born April 3, 1920), who played Maybelle Meriweather; and Mickey Kuhn (born September 21, 1932), who played Beau Wilkes.
Production
Development
Before publication several Hollywood executives and studios declined to create a film based on the novel, including Louis B. Mayer and Irving Thalberg at Metro-Goldwyn-Mayer, Pandro Berman at RKO, and David O. Selznick of Selznick International Pictures. Jack Warner liked the story, but Warner Bros.'s biggest star Bette Davis was uninterested, and Darryl Zanuck of 20th Century Fox did not offer enough money. Selznick changed his mind after his story editor Kay Brown and business partner John Hay Whitney urged him to buy the film rights. A month after the book's publication in June 1936, Selznick bought the rights for $50,000 (equal to $837410 today),[4] a record amount at the time.
Casting
The casting of the two lead roles became a complex, two-year endeavor. For the role of Rhett Butler, Clark Gable was an almost immediate favorite for both the public and Selznick. As Selznick had no male stars under long-term contract, he needed to borrow an actor from another studio.[4]:19 Gary Cooper was Selznick's first choice because Cooper's contract with Samuel Goldwyn involved a common distribution company, United Artists, with which Selznick had an eight-picture deal. However, Goldwyn remained non-committal in negotiations.[5] Warner offered a package of Bette Davis, Errol Flynn, and Olivia de Havilland for lead roles in return for the distribution rights. By this time, Selznick was determined to get Gable and eventually found a way to borrow him from MGM, which normally never lent its actors. Selznick's father-in-law, MGM chief Louis B. Mayer, offered in May 1938 to provide Gable and $1,250,000 ($20638298 today[6]) for half of the film's budget but for a high price: Selznick would have to pay Gable's $7,000 ($115574 today[6]) weekly salary, 50% of the profits would go to MGM,[4]:19 the film's distribution would be credited to MGM's parent company, Loew's, Inc., and Loew's would receive 15% of the movie's gross income. Selznick accepted this offer in August, and Gable was cast. The arrangement to release through MGM meant delaying the start of production until Selznick International completed its contract with United Artists and Gable became available. Selznick used the delay to continue to revise the script and, more importantly, build publicity for the film by searching for the role of Scarlett. Selznick began a nationwide casting call that interviewed 1,400 unknowns. The effort cost $100,000 ($1651064 today[6]) and was useless for the film but created "priceless" publicity.[4]:20 Many famous, or soon-to-be-famous, actresses were screen-tested, auditioned, or considered, including: Jean Arthur, Lucille Ball, Tallulah Bankhead, Joan Bennett, Clara Bow, Joan Crawford, Bette Davis, Frances Dee, Olivia de Havilland, Irene Dunne, Joan Fontaine, Greer
1939 Gone with the Wind Garson, Paulette Goddard, Susan Hayward, Miriam Hopkins, Katharine Hepburn, Carole Lombard, Ida Lupino, Merle Oberon, Norma Shearer, Barbara Stanwyck, Margaret Sullavan, Lana Turner, Shelley Winters, and Loretta Young. Miriam Hopkins was the choice of the novel's author Margaret Mitchell, who felt Hopkins, a Georgia native, was just the right type of actress to play Scarlett as written in the book. Unfortunately Hopkins was in her mid-thirties at the time and was considered too old for the part. Four actresses, including Jean Arthur and Joan Bennett, were still under consideration by December 1938, however, only two finalists, Paulette Goddard and Vivien Leigh, were tested in Technicolor, both on December 20.[7] Goddard almost won the role, but controversy over her marriage with Charlie Chaplin caused Selznick to change his mind.[4]:20 Selznick had been quietly considering Vivien Leigh, a young English actress who was still little known in America, for the role of Scarlett since February 1938 when Selznick saw her in Fire Over England and A Yank at Oxford. Leigh's American agent was the London representative of the Myron Selznick talent agency (headed by David Selznick's brother, one of the owners of Selznick International), and she had requested in February that her name be submitted for consideration as Scarlett. By the summer of 1938 the Selznicks were negotiating with Alexander Korda, to whom Leigh was under contract, for her services later that year.[8] But, for publicity reasons, David arranged to meet her for the first time on the night of December 10, 1938, when the burning of Atlanta was filmed.[4]:20 The story was invented for the press that Leigh and Laurence Olivier were just visiting the studio as guests of Myron Selznick, who was also Olivier's agent and that Leigh was in Hollywood hoping for a part in Olivier's current movie, Wuthering Heights. In a letter to his wife two days later, Selznick admitted that Leigh was "the Scarlett dark horse", and after a series of screen tests, her casting was announced on January 13, 1939. Just before the shooting of the film, Selznick informed Ed Sullivan: "Scarlett O'Hara's parents were French and Irish. Identically, Miss Leigh's parents are French and Irish."[9]
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Screenplay
Of original screenplay writer Sidney Howard, film historian Joanne Yeck writes, "reducing the intricacies of Gone with the Wind's epic dimensions was a herculean task ... and Howard's first submission was far too long, and would have required at least six hours of film; ... [producer] Selznick wanted Howard to remain on the set to make revisions...but Howard refused to leave New England [and] as a result, revisions were handled by a host of local writers, including Ben Hecht..."[10] O. Selznick replaced the director George Cukor three weeks into filming and then had the script rewritten. He sought out Victor Fleming, who, at the time, was directing The Wizard of Oz. Fleming was dissatisfied with the script, so Selznick brought in famed writer Ben Hecht to rewrite the entire screenplay within five days."[11] The popular play Moonlight and Magnolias by playwright Ron Hutchinson, is about this dramatic episode when "Selznick literally locked himself, Fleming and screenwriter Ben Hecht in a room for five days to completely redo the script."[12][13] By the time of the film's release in 1939, there was some question as to who should receive screen credit," writes Yeck. "But despite the number of writers and changes, the final script was remarkably close to Howard's version. The fact that Howard's name alone appears on the credits may have been as much a gesture to his memory as to his writing, for in 1939 Sidney Howard died tragically at age forty-eight in a farm-tractor accident, and before the movie's premiere."[10] Selznick, in a memo written in October 1939, discussed the film's writing credits: "[Y]ou can say frankly that of the comparatively small amount of material in the picture which is not from the book, most is my own personally, and the only original lines of dialog which are not my own are a few from Sidney Howard and a few from Ben Hecht and a couple more from John Van Druten. Offhand I doubt that there are ten original words of [Oliver] Garrett's in the whole script. As to construction, this is about eighty per cent my own, and the rest divided between Jo Swerling and Sidney Howard, with Hecht having contributed materially to the construction of one sequence."
1939 Gone with the Wind According to Hecht biographer, William MacAdams, "At dawn on Sunday, February 20, 1939, David Selznick ... and director Victor Fleming shook Hecht awake to inform him he was on loan from MGM and must come with them immediately and go to work on Gone with the Wind, which Selznick had begun shooting five weeks before. It was costing Selznick $50,000 each day the film was on hold waiting for a final screenplay rewrite and time was of the essence.[14]:199 Hecht was in the middle of working on the film At the Circus for the Marx brothers."[14]:199 Recalling the episode in a letter to screenwriter friend Gene Fowler, he said he hadn't read the novel but Selznick and director Fleming could not wait for him to read it. They would act out scenes based on Sidney Howard's original script which needed to be rewritten in a hurry. Hecht wrote, "After each scene had been performed and discussed, I sat down at the typewriter and wrote it out. Selznick and Fleming, eager to continue with their acting, kept hurrying me. We worked in this fashion for seven days, putting in eighteen to twenty hours a day. Selznick refused to let us eat lunch, arguing that food would slow us up. He provided bananas and salted peanuts....thus on the seventh day I had completed, unscathed, the first nine reels of the Civil War epic."[14]:200 MacAdams writes, "It is impossible to determine exactly how much Hecht scripted...In the official credits filed with the Screen Writers' Guild, Sidney Howard was of course awarded the sole screen credit, but four other writers were appended ... Jo Swerling for contributing to the treatment, Oliver H. P. Garrett and Barbara Keon to screenplay construction, and Hecht, to dialogue, so it would appear Hecht's influence was not insubstantial."[14]:201
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Filming
Principal photography began January 26, 1939, and ended on June 27, 1939, with post-production work (including a fifth version of the opening scene) going to November 11, 1939. Director George Cukor, with whom Selznick had a long working relationship, and who had spent almost two years in preproduction on Gone with the Wind, was replaced after less than three weeks of shooting. Olivia de Havilland said that she learned of George Cukor's firing from Vivien Leigh on the day the Atlanta bazaar scene was filmed. The pair went to Selznick's office in full costume and begged him to change his mind. Selznick apologized, but refused.[15] Victor Fleming, who was directing The Wizard of Oz, was called in from MGM to complete the picture, although Cukor continued privately to coach Leigh and De Havilland. Another MGM director, Sam Wood, worked for two weeks in May when Fleming temporarily left the production due to exhaustion.[16] Cinematographer Lee Garmes began the production, but after a month of shooting what Selznick and his associates thought was "too dark" footage, was replaced with Ernest Haller, working with Technicolor cinematographer Ray Rennahan. Most of the filming was done on "the back forty" of Selznick International with all the location scenes being photographed in California, mostly in Los Angeles County or neighboring Ventura County.[17] Tara, which for many Americans is the iconic Southern plantation house, existed only as a plywood and papier-mch facade built on the "back forty" California studio lot.[18] For the burning of Atlanta other false facades were built in front of the "back forty"'s many abandoned sets, and Selznick himself operated the controls for the explosives that burned them down.[4]:20 Estimated production costs were $3.85million;[19] only Ben-Hur (1925) and Hell's Angels (1930) had cost more.[20] Although rumor persists that the Hays Office fined Selznick $5,000 for using the word "damn" in Butler's exit line, in fact the Motion Picture Association board passed an amendment to the Production Code on November 1, 1939, that forbade use of the words "hell" or "damn" except when their use "shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore ... or a quotation from a literary work, provided that no such use shall be permitted which is intrinsically objectionable or offends good taste." With that amendment, the Production Code Administration had no further objection to Rhett's closing line.[21] This is also discussed in the documentary film, The Making of a Legend: Gone With The Wind.
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Music
Overture - MGM Studio Orchestra Written by Max Steiner Main Title - Tara's Theme Rhett's Theme Ashley Scarlett Ashley and Melanie Love Theme True Love "(I Wish I Was in) Dixie's Land" (1860) (uncredited) "Katie Belle" (uncredited) "Under the Willow She's Sleeping" (1860) (uncredited) Written by Stephen Foster "Lou'siana Belle" (1847) (uncredited) "Dolly Day" (1850) (uncredited) "Ring de Banjo" (1851) (uncredited) "Sweet and Low" (1865) (uncredited) Music by Joseph Barnby "Ye Cavaliers of Dixie" (uncredited) Composer unknown "Taps" (1862) (uncredited) Written by General Daniel Butterfield "Massa's in de Cold Ground" (1852) (uncredited) "Maryland, My Maryland" (1861) (uncredited) Based on traditional German Christmas carol "O Tannenbaum" "Irish Washerwoman" (uncredited) Traditional Irish Jig "Garryowen" (uncredited) Traditional "When Johnny Comes Marching Home" (1863) (uncredited) Written by Louis Lambert (Patrick Sarsfield Gilmore) "Weeping, Sad and Lonely (When This Cruel War Is Over)" (1862) Music by Henry Tucker (uncredited) "The Bonnie Blue Flag" (1861) (uncredited) Written and arranged by Harry McCarthy "Hark! The Herald Angels Sing" (pub. 1856) (uncredited) Music by Felix Mendelssohn-Bartholdy (1840) "Tramp! Tramp! Tramp! (The Boys Are Marching)" (1864) (uncredited) Music and Lyrics by George Frederick Root "The Old Folks at Home (Swanee River)" (1851) (uncredited) Written by Stephen Foster "Go Down Moses (Let My People Go)" (uncredited) Traditional Negro spiritual "My Old Kentucky Home" (1853) (uncredited) Music and Lyrics by Stephen Foster Sung a cappella by Butterfly McQueen "Marching Through Georgia" (1865) (uncredited) Written by Henry Clay Work "The Battle Hymn of the Republic" (circa 1856) (uncredited) Music by William Steffe "Beautiful Dreamer" (1862) (uncredited) Music by Stephen Foster Played during the intermission "Jeanie with the Light Brown Hair" (1854) (uncredited) "Yankee Doodle" (ca. 1755) (uncredited) Traditional music of English origin "Stars of the Summer Night" (1856) (uncredited) "Bridal Chorus (Here Comes the Bride)" (1850) (uncredited) from "Lohengrin" Written by Richard Wagner "Deep River" (uncredited) Traditional "For He's a Jolly Good Fellow" (uncredited) "London Bridge Is Falling Down" (uncredited) Traditional children's song "Ben Bolt (Oh Don't You Remember)" (1848) (uncredited) Music by Nelson Kneass Poem by Thomas Dunn English (1842) [22] Sung a cappella by Vivien Leigh
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Release
First public preview
When Selznick was asked by the press in early September how he felt about the film, he said: "At noon I think it's divine, at midnight I think it's lousy. Sometimes I think it's the greatest picture ever made. But if it's only a great picture, I'll still be satisfied."[23] On September 9, 1939, Selznick, his wife, Irene, investor Jock Whitney, and film editor Hal Kern drove out to Riverside, California with all of the film reels to preview it before an audience. The film was still unfinished at this stage, missing many optical effects and most of Max Steiner's music score. They arrived at the Fox Theatre in Riverside, which was playing a double feature of Hawaiian Nights and Beau Geste. Kern called for the manager and explained that they had selected his theatre for the first public screening of Gone with the Wind. He was told that after Hawaiian Nights had finished, he could make an announcement of the preview, but was forbidden to say what the film was. People were permitted to leave, but the theatre would thereafter be sealed with no re-admissions and no phone calls out. The manager was reluctant, but finally agreed. His only request was to call his wife to come to the theatre immediately. Kern stood by him as he made the call to make sure he did not reveal the name of the film to her. When the film began, there was a buzz in the audience when Selznick's name appeared, for they had read about the making of the film for over two years. In an interview years later, Kern described the exact moment the audience realized what was happening:
from the film's trailer
Showing at the Queen's Theatre, Hong Kong in 1941
"When Margaret Mitchell's name came on the screen, you never heard such a sound in your life. They just yelled, they stood up on the seats...I had the [manually operated sound] box. And I had that music wide open and you couldn't hear a thing. Mrs. Selznick was crying like a baby and so was David and so was I. Oh, what a thrill! And when Gone with the Wind came on the screen, it was thunderous!" In his seminal biography of Selznick, David Thomson wrote that the audience's response before the story had even started "was the greatest moment of his life, the greatest victory and redemption of all his failings."[24] When the film ended, there was a huge ovation. In the preview cards filled out after the screening, two-thirds of the audience rated it as excellent, an unusually high rating. Most of the audience begged that the film not be cut shorter, and many suggested that instead, they eliminate any newsreels, shorts and B-movie feature.
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Reception
The film premiered in Atlanta, Georgia, at the Lowe's Grand Theater on December 15, 1939. It was the climax of three days of festivities hosted by Mayor William B. Hartsfield, which included a parade of limousines featuring stars from the film, receptions, thousands of Confederate flags, false antebellum fronts on stores and homes, and a costume ball. Eurith D. Rivers, the governor of Georgia, declared December 15 a state holiday. The New York Times reported that thousands lined the streets as "the demonstration exceeded anything in Atlanta's history for noise, magnitude and excitement".[25] President Jimmy Carter would later recall it as "the biggest event to happen in the South in my lifetime." Hattie McDaniel and the other black actors from the film were prevented from attending the premiere due to Georgia's Jim Crow laws, which would have kept them from sitting with the white members of the cast. Upon learning that McDaniel had been barred from the premiere, Clark Gable threatened to boycott the event. McDaniel convinced him to attend.[26] In Los Angeles, the film had its premiere at the elegant Carthay Circle Theatre. From December 1939 to June 1940, the film played only advance-ticket road show engagements at a limited number of theaters, before it went into general release in 1941.[27] It was a sensational hit during the Blitz in London, opening in April 1940, and played for four years.[28] It replaced The Birth of a Nation as the highest-grossing film of all-time,[29] holding the position until 1966, when it was finally overtaken by The Sound of Music.[30]
Later releases
Gone with the Wind was given theatrical re-releases in 1947, 1954, and 1961. The 1961 release commemorated the 100th anniversary of the start of the Civil War, and included a gala "premiere" at the Loew's Grand Theater. Gable had died months before, but other stars from the film attended. It was re-released in 1967 in a 70mm stereophonic version, which is best known today for its iconic poster.[31][32] It was further rereleased in 1971, by United Artists in 1974, by Turner Entertainment and MGM/UA Communications Co. in 1989, and by New Line Cinema in 1998. The 1954 release was the first time the studio issued the film in widescreen, compromising the original Academy ratio and cropping the top and bottom to an aspect ratio of 1.75:1. In doing so, a number of shots were optically re-framed and cut into the three-strip camera negatives, forever altering five shots in the film.[33] The 70mm re-issue of the film cropped the film further, to a very narrow ratio of 2.20:1. The 1998 theatrical reissue and the VHS and DVD releases restored the film to its original aspect ratio. On November 14, 2009, on the occasion of the film's 70th anniversary, the film was re-issued in a new high definition transfer to the Blu-ray format.[34] The film has made $400 million worldwide in theater receipts since its release,[35] which Turner Entertainment estimate to be equivalent to approximately $3.3 billion when adjusted to 2007 prices.[36] Other estimates place the adjusted gross between $3 billion and $5.3 billion at contemporary price levels, making it the highest grossing film of all time.[37][38][39] After adjustments for inflation, Gone with the Wind is also estimated to be the highest grossing film of all time in the United States[40][41] and the United Kingdom, where it is estimated to have sold a total of 35 million tickets.[42][43]
Television
The film made its television debut on the HBO cable network in June 1976, and its broadcast TV debut in November of that year in two parts on NBC, where it became at that time the highest-rated television program ever presented on a single network, watched by 47.5 percent of the households sampled in America, and 65 percent of television viewers. Ironically, it was surpassed the following year by the mini-series Roots, a saga about slavery in America. The film was later shown on CBS. The film was also used to launch two cable channels owned by Turner Broadcasting: TNT and Turner Classic Movies.
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Sequel
Rumors of Hollywood producing a sequel persisted for decades until 1994, when one was finally produced for television. It was based upon Alexandra Ripley's novel Scarlett, itself a sequel to Mitchell's book. Both the book and the mini-series were met with mixed reviews. In the TV version, British actors played both key roles: Welsh-born actor Timothy Dalton played Rhett while Manchester-born Joanne Whalley played Scarlett. Original plans were used for the reconstruction of a replica of the original Tara set in Charleston, South Carolina for the filming.
Legacy
In an attempt to draw upon his company's profits, but to pay capital gain tax rather than a much higher personal income tax, David O. Selznick and his business partners liquidated Selznick International Pictures over a three-year period in the early 1940s. As part of the liquidation, Selznick sold his rights in Gone with the Wind to Jock Whitney and his sister, who in turn sold it to Metro-Goldwyn-Mayer in 1944. Today it is owned by Turner Entertainment, whose parent company Turner Broadcasting acquired MGM's film library in 1986. Turner itself is currently a subsidiary of Time Warner, which is the current parent company of Warner Bros. Entertainment. The film is the favorite movie of TBS founder Ted Turner, himself a resident of Atlanta.
In 1989, Gone with the Wind was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In 1998, the American Film Institute ranked it #4 on its "100 Greatest Movies" list. In 2007, the film had moved to #6 on the 10th anniversay AFI best film list. Rhett Butler's famous farewell line to Scarlett O'Hara, "Frankly, my dear, I don't give a damn", was voted in a poll by the American Film Institute in 2005 as the most memorable line in cinema history.[44] Leslie Howard's association to the screen character he most disliked, the winsome Ashley, later obscured his solid contribution to the British film industry and his fight to break the silence about the Holocaust.[45] In 2005, the AFI ranked Max Steiner's score for the film the second greatest of all time. The AFI also ranked the film #2 in their list of the greatest romances of all time (100 Years... 100 Passions). After filming concluded, the set of Tara sat on the back lot of the former Selznick Studios as the Forty Acres back lot reverted to RKO Pictures and then was sold to Desilu Productions. In 1959, Southern Attractions, Inc. purchased the faade of Tara, which was dismantled and shipped to Georgia with plans to relocate it to the Atlanta area as a tourist attraction.[46][47] David O. Selznick commented at the time, Nothing in Hollywood is permanent. Once photographed, life here is ended. It is almost symbolic of Hollywood. Tara had no rooms inside. It was just a faade. So much of Hollywood is a faade.[48] However, the Margaret Mitchell estate refused to license the novel's commercial use in connection with the faade, citing Mitchell's dismay at how little it resembled her description. In 1979 the dismantled plywood and papier-mch set, reportedly in "terrible" condition, was purchased for $5,000 by Betty Talmadge, the ex-wife of former Georgia governor and U.S. senator Herman Talmadge. She lent the front door of Tara's set to the Margaret Mitchell House and Museum in downtown Atlanta, Georgia where it is on permanent display, featured in the Gone with the Wind film museum. Other items from the movie, such as from the set of Scarlett and Rhett's Atlanta mansion, are still stored at The Culver Studios (formerly Selznick International) including the stained glass window from the top of the staircase which was actually a painting. The famous painting of Scarlett in her blue dress, which hung in Rhett's
Photograph of First Archivist of the United States R. D. W. Connor receiving the film Gone with the Wind from Senator George of Georgia and Loew's Eastern Division Manager Carter Barron, 1941
1939 Gone with the Wind bedroom, hung for years at the Margaret Mitchell Elementary School in Atlanta, but is now on permanent loan to the Margaret Mitchell Museum, complete with stains from the glass of sherry that Clark Gable, as Rhett Butler, threw at it in anger.
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Racial criticism
Recent historical studies of the Civil Rights Movement have focused on the idyllic portrayal (epitomised in the opening credits) of the Civil War-era South in the film. Professor D.J. Reynolds wrote that "The white women are elegant, their menfolk noble or at least dashing. And, in the background, the black slaves are mostly dutiful and content, clearly incapable of an independent existence." Reynolds likened Gone with the Wind to Birth of a Nation (based on The Clansman) and other re-imaginings of the South during the era of segregation, in which white Southerners are portrayed as defending traditional values and the issue of slavery is largely ignored. Hattie McDaniel's performance (for which she became the first black American to win an Oscar) and Butterfly McQueen's have been described as stereotypes of a 'black Mammy' and a child-like black slave (in the novel, the character of Prissy was twelve years old, but played in the film by an adult). Malcolm X recalled that "when Butterfly McQueen went into her act, I felt like crawling under the rug."[49]
Awards and honors

Gone with the Wind was the first film to get more than five Academy Awards. Of the 17 competitive awards which were given at the time, Gone with the Wind had 13 nominations. It also was awarded the Greatest Film in History by the program Best In Film: The Greatest Films of Our Time, which aired March 22, 2011. It was the Winner of 10 Academy Awards. (8 regular, 1 honorary, 1 technical).[50]
Award Best Picture Best Director Best Actor Result Won Won Nominated Won Won Winner Selznick International Pictures (David O. Selznick, Producer) Victor Fleming Clark Gable Winner was Robert Donat - Goodbye, Mr. Chips Vivien Leigh Sidney Howard Awarded posthumously Hattie McDaniel Received a miniature "Oscar" statuette on a plaque Olivia de Havilland Winner was Hattie McDaniel Ernest Haller and Ray Rennahan This received the "Oscar" statuette Hal C. Kern and James E. Newcom Received a miniature "Oscar" statuette on a plaque, replaced with a regular statuette in 1962 Lyle Wheeler Fred Albin (Sound), Jack Cosgrove (Photographic), and Arthur Johns (Sound) Winners were Fred Sersen (Photographic) and E. H. Hansen (Sound) - The Rains Came Max Steiner Winner was Herbert Stothart - The Wizard of Oz Thomas T. Moulton (Samuel Goldwyn Studio Sound Department) Winner was Bernard B. Brown (Universal Studio Sound Department) - When Tomorrow Comes
Best Actress Best Adapted Screenplay
Best Supporting Actress
Won
Best Supporting Actress
Nominated
Best Cinematography, Color
Won
Best Film Editing
Won Won Nominated
Best Art Direction Best Visual Effects
Best Music, Original Score
Nominated
Best Sound Recording
Nominated
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Award Irving G. Thalberg Award David O. Selznick For his career achievements as a producer.
Recipient
Honorary Award
[51] William Cameron Menzies (Miniature "Oscar" statuette on a plaque) For outstanding achievement in the use of color for the enhancement of dramatic mood in the production of Gone with the Wind. Don Musgrave and Selznick International Pictures (Certificate) For pioneering in the use of coordinated equipment in the production Gone with the Wind.
Technical Achievement Award
American Film Institute Lists AFI's 100 Years... 100 Movies#4 AFI's 100 Years... 100 Passions#2 AFI's 100 Years... 100 Movie Quotes: "Frankly, my dear, I don't give a damn."#1 "After all, tomorrow is another day!"#31 "As God is my witness, I'll never be hungry again."#59 AFI's 100 Years of Film Scores#2 AFI's 100 Years... 100 Cheers#43 AFI's 100 Years... 100 Movies (10th Anniversary Edition)#6 AFI's 10 Top 10#4 Epic film
References
[1] [2] [3] [4] Awards for Gone With the Wind (http:/ / www. imdb. com/ title/ tt0031381/ awards) at the Internet Movie Database Awards for Ben-Hur (http:/ / www. imdb. com/ title/ tt0052618/ awards) at the Internet Movie Database Awards for gone with the wind. (n.d.). Retrieved from http:/ / www. imdb. com/ title/ tt0031381/ awards Friedrich, Otto (1986). City of Nets: A Portrait of Hollywood in the 1940's (http:/ / books. google. com/ books?id=0x8AFchW4JsC& lpg=PP1& dq=city of nets& pg=PA6#v=onepage& q& f=false). Berkeley and Los Angeles: University of California Press. ISBN0-520-20949-4. . [5] Selznick, David O. (2000). Memo from David O. Selznick. New York: Modern Library. pp.172173. ISBN0-375-75531-4. [6] Staff. Consumer Price Index (estimate) 18002012 (http:/ / www. minneapolisfed. org/ community_education/ teacher/ calc/ hist1800. cfm). Federal Reserve Bank of Minneapolis. Retrieved February 22, 2012. [7] Haver, Ronald (1980). David O. Selznick's Hollywood. New York: Alfred A. Knopf. ISBN0-394-42595-2. [8] Pratt, William (1977). Scarlett Fever. New York: Macmillan Publishing Co.. pp.7374, 8183. ISBN0-02-598560-4. In a memo to George Cukor on October 21, 1938, Selznick said he was "still hoping against hope for that new girl." Memo, p. 184 [9] Letter from David O. Selznick to Ed Sullivan (http:/ / www. hrc. utexas. edu/ exhibitions/ web/ gwtw/ / scarlett/ sullivan. html), January 7, 1939. [10] Yeck, Joanne, Dictionary of Literary Biography - American Screenwriters (1984) Gale Reaearch [11] Keelor, Josette, Northern Virginia Daily.com, (http:/ / www. nvdaily. com/ lifestyle/ 292279470722734. bsp) Behind the Scenes, August 1, 2008 [12] Moonlight and Magnolias (http:/ / www. pressconnects. com/ article/ 20090122/ ENT/ 901220302/ 1017) pressconnects.com January 22, 2009 [13] Hutchinson, Ron (2004). Moonlight and Magnolias, Moonlight and Magnolias (http:/ / entertainment. timesonline. co. uk/ tol/ arts_and_entertainment/ stage/ theatre/ article2575265. ece)", The Times, October 3, 2007. [14] MacAdams, William, Ben Hecht - a Biography, (1990) Barricade Books, N.Y. [15] From a private letter from journalist and on-set technical advisor Susan Myrick to Margaret Mitchell in February 1939:
George [Cukor] finally told me all about it. He hated [leaving the production] very much he said but he could not do otherwise. In effect he said he is an honest craftsman and he cannot do a job unless he knows it is a good job and he feels the present job is not right. For days, he told me he has looked at the rushes and felt he was failing... the thing did not click as it should. Gradually he became convinced that the script was the trouble... David [Selznick], himself, thinks HE is writing the script... And George has continually taken script
1939 Gone with the Wind from day to day, compared the [Oliver] Garrett-Selznick version with the [Sidney] Howard, groaned and tried to change some parts back to the Howard script. But he seldom could do much with the scene... So George just told David he would not work any longer if the script was not better and he wanted the Howard script back. David told George he was a directornot an author and he (David) was the producer and the judge of what is a good script... George said he was a director and a damn good one and he would not let his name go out over a lousy picture... And bull-headed David said "OK get out!"
Myrick, Susan (1982). White Columns in Hollywood: Reports from the GWTW Sets. Macon, Georgia: Mercer University Press. pp.126127. ISBN0-86554-044-6.
121
Selznick had already been unhappy with Cukor ("a very expensive luxury") for not being more receptive to directing other Selznick assignments, even though Cukor had remained on salary since early 1937. In a confidential memo written in September 1938, Selznick flirted with the idea of replacing him with Victor Fleming. (Memo from David O. Selznick, 179-180.) Louis B. Mayer had been trying to have Cukor replaced with an MGM director since negotiations between the two studios began in May 1938. In December 1938, Selznick wrote to his wife about a phone call he had with Mayer: "During the same conversation, your father made another stab at getting George off of Gone With the Wind." (Scott Eyman, Lion of Hollywood: The Life and Legend of Louis B. Mayer, pp. 258-259.)
[16] Myrick, Susan (1982). White Columns in Hollywood: Reports from the GWTW Sets. Macon, Georgia: Mercer University Press. pp.126127. ISBN0-86554-044-6. [17] Molt, Cynthia Marylee (1990). Gone with the Wind on Film: A Complete Reference. Jefferson, NC: McFarland & Company. pp.272281. ISBN0-89950-439-6. [18] Bridges, The Filming of Gone with the Wind (http:/ / books. google. com/ books?id=ekvkZo0mAXcC& pg=PT6& dq="gone+ with+ the+ wind"+ "forty+ acres"+ Tara& as_brr=3& ie=ISO-8859-1& output=html) [19] " G With the W (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,762137,00. html)", Time, vol. 34, December 25, 1939. " Record Wind (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,763541,00. html)", Time, February 19, 1940, specified $3,850,000. [20] Robertson, Patrick (2001). Film Facts. New York: Billboard Books. p.33. ISBN0-8230-7943-0. [21] Leonard J. Leff and Jerold L. Simmons, The Dame in the Kimono: Hollywood, Censorship, and the Production Code, pp. 107-108. [22] "Soundtracks for Gone with the Wind (1939)" (http:/ / www. imdb. com/ title/ tt0031381/ soundtrack). Internet Movie Database. . Retrieved July 15, 2010. [23] "G With the W", Time, vol. 34, December 25, 1939. [24] Thomson, David (1992). Showman: The Life of David O. Selznick. New York: Knopf. ISBN0-394-56833-8. [25] Berger, Meyer (December 15, 1939). "Atlanta Retaken By Glory of Past" (http:/ / query. nytimes. com/ mem/ archive-free/ pdf?_r=2& res=F50B11FC3E5A11728DDDAC0994DA415B898FF1D3) (PDF). The New York Times. . Retrieved May 23, 2009. [26] Harris, Warren G. Clark Gable: A Biography, Harmony, (2002), page 211 [27] In February 1940, the movie was playing in 156 theatres in 150 U. S. cities. [28] "London Movie Doings", The New York Times, June 25, 1944, p. X3. [29] Finler, Joel Waldo (2003). The Hollywood Story. Wallflower Press. p. 47 (http:/ / books. google. co. uk/ books?id=rvVhEJmbfrsC& pg=PA47). ISBN978-1-903364-66-6. [30] Dirks, T. "Top Films of All-Time: Part 1 Box-Office Blockbusters" (http:/ / www. filmsite. org/ greatfilmssummary. html). Filmsite.org. . Retrieved August 13, 2011. [31] Gone With the Wind (1939). "Gone With the Wind Poster - Internet Movie Poster Awards Gallery" (http:/ / www. impawards. com/ 1939/ gone_with_the_wind_ver1. html). Impawards.com. . Retrieved July 15, 2010. [32] The American Widescreen Museum, Gone With the Wind (http:/ / www. widescreenmuseum. com/ special/ gwtw. htm). [33] Haver, Ronald (1993). "David O. Selznick's GONE WITH THE WIND." New York: Random House. pp. 84-85. [34] "Media Advisory: Gone with the Wind in HD at Cineplex Entertainment Theatres on Saturday, November14th" (http:/ / www. reuters. com/ article/ pressRelease/ idUS117574+ 28-Oct-2009+ MW20091028). Reuters. October 28, 2009. . Retrieved July 15, 2010. [35] "Gone with the wind (1939)" (http:/ / www. boxofficemojo. com/ movies/ ?id=gonewiththewind. htm). Box Office Mojo. . Retrieved January 1, 2009. [36] Miller, Frank; Stafford, Jeff (January 5, 2007). "The Critics Corner: Gone With the Wind" (http:/ / www. tcm. com/ this-month/ article/ 136727|0/ The-Critics-Corner. html). Turner Classic Movie. . Retrieved November 25, 2011. [37] Shone, Tom (February 3, 2010). "Oscars 2010: How James Cameron took on the world" (http:/ / www. telegraph. co. uk/ culture/ film/ oscars/ 7144424/ Oscars-2010-How-James-Cameron-took-on-the-world. html). The Daily Telegraph. . Retrieved March 22, 2012. [38] Will, George F. (June 26, 2006). "'Wind' captured change". St. Petersburg Times: p. 11A (http:/ / news. google. com/ newspapers?id=S-0NAAAAIBAJ& sjid=UXgDAAAAIBAJ& pg=4447,91901). [39] "Highest box-office film gross inflation adjusted" (http:/ / www. guinnessworldrecords. com/ records-10000/ highest-box-office-film-gross-inflation-adjusted/ ). Guinness World Records. . Retrieved March 22, 2012. [40] "Top Grossing Films of All Time in the U.S. Adjusted for Inflation" (http:/ / www. the-movie-times. com/ thrsdir/ alltime. mv?adjusted+ ByAG). The Movie Times. . Retrieved July 15, 2010.

[41] "Top 10 Grossing Movies Adjusted for Inflation" (http:/ / www. scene-stealers. com/ top-10/ top-10-grossing-movies-adjusted-for-inflation/ ). Scene-Stealers. August 19, 2008. . Retrieved July 15, 2010. [42] "The Ultimate Film Chart" (http:/ / www. bfi. org. uk/ features/ ultimatefilm/ chart/ index. php). British Film Institute. . Retrieved August 9, 2009. [43] "Gone with the Wind tops film list" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ 4049645. stm). BBC News. BBC. November 28, 2004. . Retrieved June 9, 2011. [44] ABC.net (http:/ / www. abc. net. au/ news/ newsitems/ 200506/ s1398449. htm) [45] Eforgan, Estel. Leslie Howard: The Lost Actor. London: Vallentine Mitchell Publishers, 2010. ISBN 978-0-85303-941-9 [46] Los Angeles Times, May 17, 1959, p. G10. [47] Jennifer W. Dickey, "A Tough Little Patch of History": Atlanta's Marketplace for Gone With the Wind Memory (http:/ / etd. gsu. edu/ theses/ available/ etd-07252007-104218/ unrestricted/ dickey_jennifer_w_200708_phd. pdf), Ph.D. dissertation, Georgia State University, 2007, pp. 8589. [48] Murray Schumach, "Hollywood Gives Tara to Atlanta," New York Times, May 25, 1959, p. 33. [49] 'America, Empire of Liberty', D J Reynolds, p. 241-2; 'Making Whiteness', Grace Elizabeth Hale, p. 52 [50] "The 12th Academy Awards (1940) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 12th-winners. html). oscars.org. . Retrieved 2011-08-11. [51] Newsreel footage of Menzies receiving award, seen in The Making of Gone With the Wind (1988).
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Notes Further reading Bridges, Herb (1998). The Filming of Gone with the Wind. Mercer University Press. ISBN 0-86554-621-5. Bridges, Herb (1999). Gone with the Wind: The Three-Day Premiere in Atlanta. Mercer University Press. ISBN 0-86554-672-X. Brown, Ellen F. and John Wiley (2011). Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood. Lanham: Taylor Trade. ISBN 978-1-58979-567-9 Cameron, Judy; Christman, Paul J. (1989). The Art of Gone with the Wind: The Making of a Legend. Prentice Hall. ISBN 0-13-046740-5. Harmetz, Aljean (1996). On the Road to Tara: The Making of Gone with the Wind. New York: Harry N. Abrams. ISBN 0-8109-3684-4. Lambert, Gavin (1973). GWTW: The Making of Gone With the Wind. New York: Little, Brown and Company. Myrick, Susan (1982). White Columns in Hollywood: Reports from the GWTW Sets. Mercer University Press. ISBN 0-86554-245-7. Pratt, William. (1977). Scarlett Fever: The Ultimate Pictorial Treasury of Gone with the Wind. Macmillan. ISBN 0-02-012510-0. Vertrees, Alan David (1997). Selznick's Vision: Gone with the Wind and Hollywood Filmmaking. University of Texas Press. ISBN 0-292-78729-4.
External links
Gone with the Wind (http://www.imdb.com/title/tt0031381/) at the Internet Movie Database Gone with the Wind (http://tcmdb.com/title/title.jsp?stid=414427) at the TCM Movie Database Gone with the Wind (http://www.allrovi.com/movies/movie/v20278) at AllRovi Gone with the Wind (http://www.boxofficemojo.com/movies/?id=gonewiththewind.htm) at Box Office Mojo Gone with the Wind (http://www.rottentomatoes.com/m/gone_with_the_wind/) at Rotten Tomatoes Gone with the Wind wardrobe (http://www.hrc.utexas.edu/exhibitions/web/gwtw//wardrobe/), an online exhibition from the David O. Selznick collection at the Harry Ransom Center Film Stills (http://www.vivien-leigh.com/photos/) Photo Archive Gone with the Wind on DVD (http://www.warnervideo.com/gonewiththewind/) at Warner Home Video Literature on Gone with the Wind (http://www.virtual-history.com/movie/film/183/gone-with-the-wind) Gone With the Wind Fan-Site (http://gwtwfansite.weebly.com)
1940 Rebecca
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1940 Rebecca
Rebecca
Theatrical poster
Directed by Produced by Screenplay by Story by Alfred Hitchcock David O. Selznick Philip MacDonald Michael Hogan Joan Harrison Robert E. Sherwood Daphne du Maurier Joan Fontaine Laurence Olivier Joan Fontaine Judith Anderson Franz Waxman
Narrated by Starring
Music by
Cinematography George Barnes Editing by Studio Distributed by Release date(s) Running time Country Language Budget W. Donn Hayes Selznick International Pictures United Artists
April 12, 1940
130 minutes United States English $1,288,000
Rebecca is a 1940 psychological/dramatic noir thriller directed by Alfred Hitchcock as his first American project, and his first film produced under his contract with David O. Selznick. The film's screenplay was an adaptation by Joan Harrison and Robert E. Sherwood from Philip MacDonald and Michael Hogan's adaptation of Daphne du Maurier's 1938 novel of the same name, and was produced by Selznick.[1] It stars Laurence Olivier as the aristocratic widower Maxim de Winter, Joan Fontaine as his second wife, and Judith Anderson as the housekeeper, Mrs. Danvers. The film is a gothic tale about the lingering memory of the title character, Maxim de Winter's dead first wife, which continues to haunt Maxim, his new bride, and Mrs. Danvers. The film won two Academy Awards, including Best Picture, out of a total 11 nominations. Olivier, Fontaine and Anderson were all Oscar nominated for their respective roles. Since the introduction of awards for actors in supporting roles, this is the only film named Best Picture that won no other Academy Award for acting, directing or writing. It was the opening film at the 1st Berlin International Film Festival in 1951.[2]
1940 Rebecca
124
Plot
The film begins with a voiceover of a woman speaking the first lines from the novel: "Last night I dreamt I went to Manderley again", to the images of a ruined country manor. She continues that she can never return to Manderley as it no longer exists, except as a ruin. Joan Fontaine plays a young woman of age 21 (who is never named), an orphan, who works as a paid companion to the wealthy Edythe Van Hopper (Florence Bates). In Monte Carlo, she meets the aristocratic widower Maximilian (Maxim) de Winter (Laurence Olivier) and they fall in love. Within weeks, they decide to get married. Maxim takes his new bride to Manderley, his country house in Cornwall, England. The servants accept the new Mrs. de Winter as the new lady of the house. The exception is the housekeeper, Mrs. Danvers (Judith Anderson), who is particularly unpleasant to the new bride. She is still obsessed with the beauty and sophistication of the first Mrs. de Winterthe eponymous Rebeccaand preserves her former bedroom as a shrine, even cherishing her handmade underwear and expensive nglige. Rebecca's "cousin" Jack (George Sanders) (who, as we only discover later, was in fact one of her lovers) appears at the house when Maxim is away, and evidently knows Mrs. Danvers well, calling her by the name "Danny", which was Rebecca's pet name for her. The new Mrs. de Winter is intimidated by Mrs. Danvers and by the responsibilities of being the new mistress of Manderley. As a result, she begins to doubt her relationship with her husband. The continuous presence of Rebecca in the house starts to haunt her, and she convinces herself that Maxim is still in love with Rebecca. She discovers, too, that her husband has a fiery temper, and sometimes erupts at apparently innocent actions on her part. Trying to act the perfect wife, Mrs. de Winter suggests to Maxim that they host a costume party as he used to do with Rebecca. Maxim reluctantly consents. Mrs. de Winter excitedly plans her own costume in secret, but Mrs. Danvers suggests that she copy the dress of Caroline de Winter, an ancestor, whose portrait hangs in the upstairs hallway. On the night of the party, Mrs. de Winter reveals her costume to Maxim, who is both surprised and angry at her, shouting at her to change her costume. Mrs. de Winter rushes upstairs, sees Mrs. Danvers go into Rebecca's room and follows her. There she confronts Mrs. Danvers about her knowing that Rebecca had worn the same costume at a previous ball. Mrs. Danvers retaliates by saying that she will never take Rebecca's place and tries to convince Mrs. de Winter to commit suicide. But Mrs. de Winter snaps out of her trance when a sudden commotion starts outside a ship has been spotted foundering off the coast.
Mrs. Danvers tries to persuade Mrs. de Winter to leap to her death
Mrs. de Winter (after changing her outfit) rushes downstairs to the front lawn, where she hears news that, during the rescue, a sunken boat has been found off the coast - with Rebecca's body in it. She spots a distant glow from the cottage on the shore and enters to find Maxim. Maxim admits to his new wife that he had earlier misidentified another body as Rebecca's in order to prevent discovery of the truth. From almost the beginning of their marriage, when Rebecca broke the news to him of her own promiscuous nature, he and Rebecca had hated one another. They had agreed to a sordid deal: she would act the perfect wife and hostess in public, preserving his family honour and her position, while he ignored her discreetly-conducted affairs. Rebecca, however, began to get "careless" after a while, for example disappearing for days on end to London and then returning as though nothing was wrong. Maxim was also aware of Rebecca's ongoing affair with Jack. One night, expecting to find Rebecca and Jack together, Maxim came down to the cottage. Rebecca had been expecting Jack. She told Maxim that she was pregnant with Jack's child. During the ensuing argument, she fell, hit her head, and died. Maxim took the body out in a boat which he then scuttled.
1940 Rebecca Shedding her girlish innocence, Maxim's wife immediately starts coaching her husband on how best to conceal the facts of Rebecca's death from the authorities. In the ensuing police investigation, officials question whether the evidently deliberate damage to the boat pointed to suicide. Privately, Jack shows Maxim a letter from Rebecca urging him excitedly to meet her, which seems to suggest she was not suicidal. He tries to blackmail Maxim with the letter, but Maxim tells the police about the attempt. Maxim nevertheless comes under suspicion of murder and the second Mrs. de Winter must face the prospect of losing her husband. The investigation focuses on Rebecca's secret visits to a London doctor (Leo G. Carroll), which Jack presumes was due to her illicit pregnancy. However, the coroner's interview with the doctor in the presence of Maxim and Jack reveals that Rebecca was mistaken in believing herself pregnant, and was in fact suffering from terminal cancer. The doctor's evidence persuades the coroner to bring in a verdict of suicide. Only Maxim and his wife will be able to understand the full story: that Rebecca had lied to Maxim about being pregnant with another man's child so as to goad him, in full knowledge of his family pride and easily-roused temper, into killing her as an indirect means of suicide. As Maxim returns home from London to Manderley, he finds the manor on fire, set alight by the deranged Mrs. Danvers. The second Mrs. de Winter has escaped the blaze, but Danvers dies in the flames.
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Adaptation
At Selznick's insistence, the film adapts the plot of du Maurier's novel Rebecca faithfully.[3] However, one plot detail was altered to comply with the Hollywood Production Code, which said that the murder of a spouse had to be punished.[3] In the novel, Maxim shoots Rebecca, while in the film, he only thinks of killing her after she taunts him, whereupon she suddenly falls back, hits her head on a heavy piece of ship's tackle, and dies from her head injuries, so that her death is an accident, not murder. According to the book It's only a Movie, David O. Selznick wanted the smoke from the burning Manderley to spell out a huge "R". Alfred Hitchcock thought the touch lacked subtlety. While Selznick was preoccupied by Gone with the Wind (1939), Hitchcock was able to replace the smoky "R" with the burning of a monogrammed nglige case lying atop a bed pillow. Hitchcock also edited the picture in camera shooting only what he wanted to see in the final film - a method of filmmaking that did not allow Selznick to reedit the picture. Although Selznick insisted the film be faithful to the novel, Hitchcock made some changes, especially with the character of Mrs. Danvers, though not as many as he had made in a previous rejected screenplay, in which he altered virtually the entire story. In the novel, Mrs. Danvers is something of a jealous mother figure. Her past is mentioned in the book. But in the film, Mrs. Danvers is a much younger character (the actress, Judith Anderson, would have been about 42 at the time of shooting, though she looks older) and her past is not revealed at all. The only thing we know about her is that she came to Manderley when Rebecca was a bride. Hitchcock made her more of a ghostly figure, with possible lesbian undertones (as discussed in the documentary The Celluloid Closet). The theatrical release of Rebecca was delayed in order to give it a shot at the 1940 Academy Awards - the 1939 Awards would (obviously) be dominated by Gone with the Wind, another Selznick production.
Cast
1940 Rebecca
126
Laurence Olivier as Maxim de Winter Joan Fontaine as The Second Mrs. de Winter George Sanders as Jack Favell Judith Anderson as Mrs. Danvers Nigel Bruce as Major Giles Lacy Reginald Denny as Frank Crawley C. Aubrey Smith as Colonel Julyan Gladys Cooper as Beatrice Lacy Florence Bates as Mrs. Edythe Van Hopper Melville Cooper as Coroner Leo G. Carroll as Dr. Baker
Leonard Carey as Ben Lumsden Hare as Tabbs Edward Fielding as Frith Forrester Harvey as Chalcroft Leyland Hodgson as Mullen Mary Williams as The Head Maid Keira Tate as The Parlour Maid Rose Trace as The Parlour Maid Sandra Phillip as The Parlour Maid Kelly Sanderton as The Parlour Maid Herietta Bodvon as The Housemaid
Hitchcock's cameo appearance, a signature feature of his films, takes place near the end; he is seen outside a phone box when Jack is making a call.
Awards
1940 Academy Awards wins
Best Picture - Selznick International Pictures - David O. Selznick. Best Cinematography, Black and White - George Barnes.[4]
1940 Academy Award nominations

Best Actor in a Leading Role - Laurence Olivier. Best Actress in a Leading Role - Joan Fontaine. Best Actress in a Supporting Role - Judith Anderson. Best Director - Alfred Hitchcock. Art Direction, Black and White - Lyle R. Wheeler. Special Effects - Jack Cosgrove, Arthur Johns. Best Film Editing - Hal C. Kern. Best Music, Original Score - Franz Waxman. Best Writing, Screenplay - Robert E. Sherwood, Joan Harrison.
Rebecca was twice honored by the AFI in their AFI 100 Years... series AFI's 100 Years... 100 Thrills - #80 AFI's 100 Years... 100 Heroes and Villains - Mrs. Danvers, #31 Villain
Adaptations in other media

Rebecca was adapted as a radio play on numerous occasions, including May 31, 1943, as an episode of The Screen Guild Theater starring Joan Fontaine, Brian Aherne and Agnes Moorehead; again on The Screen Guild Theater on November 18, 1948, with Loretta Young, John Lund and Agnes Moorehead; on Lux Radio Theater's February 3, 1941, broadcast with Ronald Colman and Ida Lupino; and again on Lux November 6, 1950, with Laurence Olivier and Vivien Leigh. The Campbell Playhouse also aired an adaptation on December 9, 1938. Rebecca has been remade in Bollywood twice. The first remake was the Waheeda Rehman-Biswajeet starrer Kohra (1964 film) and the second was the Anamika (2008 film) starring Dino Morea, Minissha Lamba and Koena Mitra. Rebecca was used as the basis of a sketch on BBC comedy sketch show That Mitchell and Webb Look.
1940 Rebecca
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Legacy
Since the 1940s, and according to the Dictionary of the Spanish Language of the Royal Spanish Academy, the word Rebeca in Spanish stands for the kind of cardigan used by Joan Fontaine in the film.
References
[1] Rebecca (http:/ / www. imdb. com/ title/ tt0032976/ ) at the Internet Movie Database. [2] "1st Berlin International Film Festival" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1951/ 01_jahresblatt_1951/ 01_Jahresblatt_1951. html). berlinale.de. . [3] Spoto, Donald (1999). The Dark Side of Genius: The Life of Alfred Hitchcock. Da Capo. pp.213214. ISBN0-306-80932-X. [4] "Critics Pick: Rebecca" (http:/ / movies. nytimes. com/ movie/ 40592/ Rebecca/ awards). The New York Times. . Retrieved 2008-12-13.
External links
Rebecca (http://tcmdb.com/title/title.jsp?stid=87781) at the TCM Movie Database Rebecca (http://www.imdb.com/title/tt0032976/) at the Internet Movie Database Rebecca (http://www.allrovi.com/movies/movie/v40592) at AllRovi Rebecca (http://www.rottentomatoes.com/m/1017293-rebecca/) at Rotten Tomatoes
Criterion Collection essay by Robin Wood (http://www.criterion.com/asp/release.asp?id=135&eid=186& section=essay). Rebecca Eyegate Gallery (http://www.eyegate.com/cine/Rebecca/) Rebecca trivia (http://classichollywood101.blogspot.com/2010/07/behind-scenes-of-rebecca-1940.html) Streaming audio Rebecca (http://ia700508.us.archive.org/0/items/ScreenGuildTheater/Sgt_43-05-31_ep146_Rebecca.mp3) on Screen Guild Theater: May 31, 1943 Rebecca (http://ia700201.us.archive.org/9/items/Lux15/Lux_50-11-06_Rebecca.mp3) on Lux Radio Theater: November 6, 1950
1941 How Green Was My Valley
128

How Green Was My Valley
Directed by Produced by Screenplay by Based on Narrated by Starring John Ford Darryl F. Zanuck Philip Dunne How Green Was My Valley by Richard Llewellyn Irving Pichel Walter Pidgeon Maureen O'Hara Anna Lee Donald Crisp Roddy McDowall Alfred Newman
Music by
Cinematography Arthur C. Miller Editing by Distributed by Release date(s) Running time Country Language Budget Box office James B. Clark Twentieth Century-Fox Film Corporation
October 28, 1941
118 minutes United States English Welsh $1.25 million $6,000,000
How Green Was My Valley is a 1941 drama film directed by John Ford. The film, based on the 1939 Richard Llewellyn novel, was produced by Darryl F. Zanuck and written by Philip Dunne. The film stars Walter Pidgeon, Maureen O'Hara, Anna Lee, Donald Crisp, and Roddy McDowall. It was nominated for ten Academy Awards,[1] winning five and beating out for Best Picture such classics as Citizen Kane, The Maltese Falcon, Suspicion and Sergeant York. The film tells the story of the Morgans, a close, hard-working Welsh family at the turn of the twentieth century in the South Wales coalfield at the heart of the South Wales Valleys. It chronicles a socio-economic way of life passing and the family unit disintegrating. In 1990, How Green Was My Valley was selected by the Library of Congress for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant".
Plot
In the Rhondda Valley in Wales, Huw Morgan (Roddy McDowall) is the youngest child of Gwilym (Donald Crisp) and Beth Morgan (Sara Allgood). His older brothers, Ianto, Ivor (Patric Knowles), Davy, Gwilym Jr and Owen work in the coal mines with their father while sister Angharad (Maureen O'Hara) keeps house with their mother. His childhood is idyllic, the town is beautiful (the mountainside not yet overrun with coal slag), and the household is frugal but warm and loving. Huw is smitten when he meets Brownyn (Anna Lee), but she is engaged to be married to
1941 How Green Was My Valley his oldest brother, Ivor. At the boisterous wedding party Angharad meets the new preacher, Mr Gruffydd (Walter Pidgeon), and there is obvious mutual attraction. The first sign of trouble in town comes when the mine owner lowers the wages, and the miners strike in protest. Gwilym's attempt to mediate estranges him from the other miners as well as his older sons, who leave the house. Beth interrupts a late night meeting of the strikers, threatening to kill anyone who harms her husband. While returning home, crossing the fields in a snowstorm in the dark, she falls into the river. Huw dives in to save her with the help of the townspeople, but temporarily loses the use of his legs. He is nursed back to health with the help of Mr Gruffydd, further endearing him to Angharad. The strike is eventually settled, and Gwilym and his sons reconcile. Yet many of the miners have lost their jobs and the town is significantly poorer. Angharad is courted by the mine owner's son Iestyn Evans, though her heart is clearly set on Mr Gruffydd. He loves her too, much to the malicious delight of the gossipy townswomen, but cannot bear to subject her to an impoverished churchman's life. Angharad submits to a loveless marriage to Evans, and they move out of the country. Huw begins school at a nearby village. Mercilessly picked on by the other boys, he is taught to fight by local boxer Dai Bando and his crony Cyfartha. After a beating by the cruel teacher Mr Jonas, Dai Bando avenges Huw with an impromptu boxing display to the delight of his classmates. On the day Bronwyn gives birth to their child, Ivor is killed in a mine accident. Later, the four Morgan sons are fired in favor of less experienced, cheaper laborers. With no job prospects in the town, they leave to seek their fortunes abroad. Huw is awarded a scholarship to university, but to his father's dismay he declines it to work in the mines. He moves in with Bronwyn to help provide for her and her child. When Angharad returns without her husband, vicious gossip spreads through the ladies of the town about impending divorce and where her true affections lie. Mr Gruffydd is denounced by the church deacons, and after delivering a stinging condemnation of the town's small-mindedness, he decides to leave. Just then the alarm whistle sounds, signaling another mine disaster. Several men are injured, and Gwilym and others are trapped in a cave-in. Young Huw, Mr Gruffydd, and Dai Bando descend along with others in a rescue attempt. Gwilym and his son are briefly re-united before he succumbs to his injuries. Huw rides the lift to the surface cradling his father's body, his coal-blackened face devoid of all youthful innocence.
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Cast
Irving Pichel as the adult Huw Morgan, the unseen narrator Walter Pidgeon as Mr. Gruffydd Maureen O'Hara as Angharad Morgan Anna Lee as Bronwyn, Ivor's wife Donald Crisp as Gwilym Morgan Roddy McDowall as Huw Morgan John Loder as Ianto Morgan Sara Allgood as Mrs. Beth Morgan Barry Fitzgerald as Cyfartha Patric Knowles as Ivor Morgan Morton Lowry as Mr. Jonas Arthur Shields as Mr. Parry Ann Todd as Ceinwen Frederick Worlock as Dr. Richards
Richard Fraser as Davy Morgan Evan S. Evans as Gwilym Morgan James Monks as Owen Morgan
1941 How Green Was My Valley Rhys Williams as Dai Bando Lionel Pape as Evans Ethel Griffies as Mrs. Nicholas Marten Lamont as Iestyn Evans
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Background
William Wyler, the original director, saw the screen test of McDowall and chose him for the part. Wyler was replaced by John Ford. Fox wanted to shoot the movie in Wales in Technicolor, but events in Europe during World War II made this impossible. Instead, Ford built a replica of the mining town at the nearly 3000-acre (unknown operator: u'strong'km2) Fox Ranch in Malibu Canyon.[2] The cast had only one genuinely Welsh actor - Rhys Williams, in a minor role.
Awards
Academy Award
The film was nominated for ten awards.[3] Best Picture - Darryl F. Zanuck (won) Best Director - John Ford (won) Best Supporting Actor - Donald Crisp (won) Best Black-and-White Cinematography - Arthur C. Miller (won) Best Black-and-White Art Direction-Interior Decoration - Richard Day, Nathan H. Juran and Thomas Little (won) Best Adapted Screenplay - Philip Dunne Best Supporting Actress - Sara Allgood Best Film Editing - James B. Clark Best Music, Scoring of a Dramatic Picture - Alfred Newman Best Recording Sound - Edmund H. Hansen
Other awards
New York Film Critics Circle Awards: NYFCC Award; Best Director, John Ford; 1941. Argentine Film Critics Association Awards: Silver Condor; Best Foreign Film, John Ford, USA; 1943. 1990National Film Registry. American Film Institute Lists AFI's 100 Years...100 Movies - Nominated[4] AFI's 100 Years...100 Movie Quotes: "Men like my father cannot die. They are with me still -- real in memory as they were in flesh, loving and beloved forever. How green was my valley then." - Nominated[5] AFI's 100 Years of Film Scores - Nominated[6] AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated[7]
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Adaptations
How Green Was My Valley was adapted as a radio play on the March 22, 1942 broadcast of the Ford Theatre, with Sara Allgood, Donald Crisp, Roddy McDowell, Maureen O'Hara and Walter Pidgeon. It was also adapted on three broadcasts of Lux Radio Theater: on September 21, 1942, with Allgood, Crisp, O'Hara, McDowell and Pidgeon; on March 31, 1947, with Crisp and David Niven; and on September 28, 1954, with Crisp and Donna Reed. A Broadway musical adaptation, entitled A Time For Singing, produced by Alexander H. Cohen, opened at the Broadway Theatre on May 21, 1966. The music was by John Morris; book and lyrics by Morris and Gerald Freedman, who also served as the director. Cast included Laurence Naismith (Gwillym); Tessie O'Shea (Beth); Shani Wallis (Angharad); and Frank Griso (Huw).
In popular culture
In the 1996 Frasier episode "High Crane Drifter" (3.17), Frasier is trying to watch How Green Was My Valley, first in a theater, where he was disturbed by "old ladies" who kept repeating, "Look how young he looks. He's dead you know." Later, he attempts to rent the movie from Friendly Video, where he describes the movie and is beaten to the rental by a woman who was standing in line behind him. He says "You're renting How Green Was My Valley?" She answers, "Yeah, I heard it was great." Frasier answers, "You heard it from me!" Frasier finally returns home and finds that he still cannot watch the movie after having visited three video stores to find it because he is interrupted by his heavy metal-playing neighbor. In the Futurama episode "That's Lobstertainment!" (episode 8, season 3) the Planet Express Crew attends the Academy Awards in order to sabotage it. One of the nominees for best actor is Mark Jones for How Beige Is My Jacket, a play on the name of this film.
References
[1] "NY Times: How Green Was My Valley" (http:/ / movies. nytimes. com/ movie/ 23422/ How-Green-Was-My-Valley/ awards). NY Times. . Retrieved 2008-12-13. [2] Reel Classics (http:/ / www. reelclassics. com/ Movies/ HGV/ hgv. htm) [3] "The 14th Academy Awards (1942) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 14th-winners. html). oscars.org. . Retrieved 2011-08-13. [4] AFI's 100 Years...100 Movies Nominees (http:/ / www. afi. com/ Docs/ 100Years/ movies400. pdf) [5] AFI's 100 Years...100 Movie Quotes Nominees (http:/ / www. afi. com/ Docs/ 100Years/ quotes400. pdf) [6] AFI's 100 Years of Film Scores Nominees (http:/ / www. afi. com/ Docs/ 100Years/ scores250. pdf) [7] AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot (http:/ / www. afi. com/ Docs/ 100Years/ Movies_ballot_06. pdf)
External links
How Green Was My Valley (http://www.imdb.com/title/tt0033729/) at the Internet Movie Database How Green Was My Valley (http://tcmdb.com/title/title.jsp?stid=78617) at the TCM Movie Database How Green Was My Valley (http://www.allrovi.com/movies/movie/v23422) at AllRovi How Green Was My Valley (http://www.rottentomatoes.com/m/how_green_was_my_valley/) at Rotten Tomatoes How Green Was My Valley (http://www.reelclassics.com/Movies/HGV/hgv.htm) at Reel Classics How Green Was My Valley (http://www.filmsite.org/howg.html) at Film Site web site; contains plot detail.
1942 Mrs. Miniver
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1942 Mrs. Miniver

Mrs. Miniver
Directed by Produced by Written by William Wyler Sidney Franklin Jan Struther (book) George Froeschel James Hilton Claudine West Arthur Wimperis Greer Garson Walter Pidgeon Teresa Wright Dame May Whitty Reginald Owen Henry Travers Richard Ney Henry Wilcoxon Herbert Stothart
Starring
Music by
Cinematography Joseph Ruttenberg Editing by Distributed by Release date(s) Running time Country Language Budget Box office Harold F. Kress Metro-Goldwyn-Mayer
June 4, 1942
134 minutes United States English $1,344,000 $8,878,000
Mrs. Miniver is a 1942 American drama film directed by William Wyler, and starring Greer Garson, Walter Pidgeon, and Teresa Wright.[1] Based on the fictional English housewife created by Jan Struther in 1937 for a series of newspaper columns, the film won six Academy Awards, including Best Picture, Best Actress, Best Supporting Actress, and Best Director.[2][3]
Plot
Mrs. Kay Miniver (Greer Garson) and her family live a comfortable life at a house called "Starlings" in a village outside London. The house has a large garden, with a private landing stage on the river Thames, and a motorboat. Her husband Clem (Walter Pidgeon) is a successful architect. They have three children: the youngsters Toby and Judy (Christopher Severn and Clare Sandars), and an older son Vin (Richard Ney) at university. They have live-in staff: Gladys the housemaid (Brenda Forbes) and Ada the cook (Marie De Becker). As World War II looms, Vin comes down from university and meets Carol Beldon (Teresa Wright), granddaughter of Lady Beldon (Dame May Whitty) from nearby Beldon Hall. Despite initial disagreementsmainly contrasting Vin's idealistic attitude to class differences with Carol's practical altruismthey fall in love. Vin proposes to Carol after a yacht club dinner-dance. They eventually marry, but as the war comes closer to home, Vin feels he must "do
1942 Mrs. Miniver his bit" and enlists in the Royal Air Force, qualifying as a fighter pilot. He is posted to a base near to his parents' home. Together with other boat owners, Clem volunteers to take his motorboat to assist in the Dunkirk evacuation. One morning, Kay hears a plane crash nearby. The wounded, fanatical German pilot (Helmut Dantine) hides in her garden and then holds her at gunpoint. She feeds him, calmly disarms him, and then calls the police. Soon after, Clem comes home. Lady Beldon meets with Kay to try and convince her to talk Vin out of marrying Carol. Lady Beldon is unsuccessful, and admits defeat when it occurs to her that there is nothing she can do to stop it. Later, Kay and her family hide in a bomb shelter during an air raid, and attempt to keep their minds off the bombing by reading Alice's Adventures in Wonderland, which Clem refers to as a "lovely story." After, parts of the house have been destroyed, and Vin comes home. At the flower show's competition, the entry of the local stationmaster Mr. Ballard (Henry Travers) named the "Mrs. Miniver" rose is declared the winner over Lady Beldon's rose. Afterward, Kay and Carol drive Vin to join his squadron just as an air attack begins. On their return home, Kay stops the car; Carol is wounded in an attack from a German plane. She dies a few minutes after they reach home. Kay is devastated. When Vin returns from battle, he is told the terrible news. The local inhabitants assemble at the badly damaged church where their vicar (Henry Wilcoxon) affirms their determination in a powerful sermon:
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We in this quiet corner of England have suffered the loss of friends very dear to us, some close to this church. George West, choirboy. James Ballard, stationmaster and bellringer, and the proud winner only an hour before his death of the Beldon Cup for his beautiful Miniver Rose. And our hearts go out in sympathy to the two families who share the cruel loss of a young girl who was married at this altar only two weeks ago. The homes of many of us have been destroyed, and the lives of young and old have been taken. There's scarcely a household that hasn't been struck to the heart. And why? Surely you must have asked yourselves this question? Why in all conscience should these be the ones to suffer? Children, old people, a young girl at the height of her loveliness? Why these? Are these our soldiers? Are these our fighters? Why should they be sacrificed? I shall tell you why. Because this is not only a war of soldiers in uniform. It is the war of the people, of all the people. And it must be fought not only on the battlefield but in the cities and in the villages, in the factories and on the farms, in the home and in the heart of every man, woman and child who loves freedom. Well, we have buried our dead, but we shall not forget them. Instead they will inspire us with an unbreakable determination to free ourselves, and those who come after us, from the tyranny and terror that threaten to strike us down. This is the People's War. It is our war. We are the fighters. Fight it then. Fight it with all that is in us. And may God defend the right.
Vin then moves over to Mrs. Beldon and stands with her as the congregation stand in unity and sing "Onward, Christian Soldiers" at the top of their voices, while through a gaping hole in the bombed-out roof in the sky above can be seen flight after flight of RAF fighters in the V-for-Victory formation heading out to face the enemy.
Background
The film adaptation of Mrs. Miniver was produced by MGM in 1942 with Greer Garson in the leading role and William Wyler directing. The film went into pre-production in the Autumn of 1940, when the United States was still a neutral country. The script was written over many months, and during that time the USA inched closer to war. Hence, scenes were re-written to reflect the increasingly pro-British and anti-German outlook of Americans. The scene in which Mrs Miniver confronts a downed German flyer in her garden, for example, was made more and more confrontational with each new version of the script. It was filmed before the attack on Pearl Harbor (in December 1941) brought the USA into the war, but after Pearl Harbor it was filmed again to reflect the tough, new spirit of a nation at war. The key difference was that in the new version of the scene, filmed in February 1942, Mrs Miniver was allowed to slap the flyer across the face. The film was released 4 months later.[4] Roosevelt ordered it rushed to the theaters for propaganda purposes.[5] The film exceeded all expectations, grossing $5,358,000 in North America (the highest for any MGM film at the time) and $3,520,000 abroad. In Britain, it was named the top box office attraction of 1942. Of the 592 film critics
1942 Mrs. Miniver polled by American magazine Film Daily, 555 named it the best film of 1942.[6] There is a parallel story concerning the Dunkirk evacuation. Sub-Lieut. Robert Owen Wilcoxon of the Royal Naval Volunteer Reserve, only brother of Henry Wilcoxon, assisted in the Dunkirk evacuation on May 29, 1940; but, having helped to get hundreds of Allied troops off the beach to safety in his assault landing craft, he was fatally injured when, after returning to the sloop HMS Bideford to arrange a tow back to Dover, the ship had its stern blown off by a bomb dropped from a dive-bombing German aircraft. This must have been on Wilcoxon's mind during the making of the film.[7]
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Cast
Greer Garson as Mrs. Kay Miniver Walter Pidgeon as Clem Miniver Teresa Wright as Carol Beldon Dame May Whitty as Lady Beldon Reginald Owen as Foley Henry Travers as James Ballard Richard Ney as Vin Miniver Henry Wilcoxon as Vicar Christopher Severn as Toby Miniver Brenda Forbes as Gladys - Housemaid Clare Sandars as Judy Miniver Marie De Becker as Ada - Cook Helmut Dantine as German Flyer John Abbott as Fred Connie Leon as Simpson David Clyde as Carruthers
Awards and nominations

It was the Winner of 6 Academy Awards.[8]
Award Outstanding Motion Picture Result Won Won Nominee Metro-Goldwyn-Mayer Notes (Before 1951, this award was given to the production company instead of the individual producer.)
Best Director Best Actor Best Actress Best Writing, Screenplay
William Wyler Winner was James Cagney for Yankee Doodle Dandy
Nominated Walter Pidgeon Won Won Greer Garson George Froeschel, James Hilton, Claudine West, Arthur Wimperis
Best Supporting Actor Best Supporting Actress Best Supporting Actress Best Cinematography, Black-and-White Best Effects, Special Effects
Nominated Henry Travers Won Teresa Wright
Winner was Van Heflin for Johnny Eager
Nominated May Whitty Won Joseph Ruttenberg
Winner was Teresa Wright for Mrs. Miniver
A. Arnold Gillespie (photographic) Nominated Warren Newcombe (photographic) Douglas Shearer (sound)
Winner was Gordon Jennings, Farciot Edouart, William L. Pereira, Louis Mesenkop for Reap the Wild Wind
1942 Mrs. Miniver
135
Nominated Harold F. Kress Nominated Douglas Shearer Winner was Daniel Mandell for The Pride of the Yankees Winner was Nathan Levinson for Yankee Doodle Dandy
Best Film Editing Best Sound, Recording
Notes
Wilcoxon and director William Wyler "wrote and re-wrote" the key sermon "the night before the sequence was to be shot."[9] The speech "made such an impact that it was used in essence by President Roosevelt as a morale builder and part of it was the basis for leaflets printed in various languages and dropped over enemy and occupied territory."[9] In 2009, it was named to the National Film Registry by the Library of Congress for being culturally, historically or aesthetically significant and will be preserved for all time.[10] Greer Garson has the longest Oscar acceptance speech of all time. It took five-and-a-half minutes to finish it after winning the prize for Best Actress. A 45-second time limit was imposed on acceptance speeches shortly thereafter. Soon after filming, Richard Ney, who played Greer Garson's son and was 11 years her junior, married Garson.
Sequel and adaptations

In 1943, the film was adapted into an episode of the Lux Radio Theater. That episode in turn was popular enough to inspire a 5 day a week serial, starring radio veteran Trudy Warner on CBS.[11] In 1950, a film sequel The Miniver Story was made with Greer Garson and Walter Pidgeon reprising their roles. In 1960, a 90-minutes television adaptation directed by Marc Daniels was broadcast on CBS, with Maureen O'Hara as Mrs. Miniver and Leo Genn as Clem Miniver.
Legacy
Mrs. Miniver is briefly mentioned in a J. D. Salinger story, "Raise High the Roof Beam, Carpenters": "a movie ... something with Greer Garson in it ... [her] son's plane was missing in action."[12] In June 2006, the film placed #40 on the American Film Institute's list celebrating the most inspirational films of all time. In 2009, the film was selected to the National Film Registry for the following reasons:
This remarkably touching wartime melodrama pictorializes the classic British stiff upper lip and the courage of a middle-class English family (headed by Greer Garson and Walter Pidgeon) amid the chaos of air raids and family loss. The films iconic tribute to the sacrifices on the home front, as movingly directed by William Wyler, did much to rally Americas support for its British allies. "Mrs. Miniver" won six Oscars [13] including Best Picture, Best Director and Best Actress"
1942 Mrs. Miniver
136
References
[1] [2] [3] [4]
IMDB "Mrs. Miniver" (http:/ / www. imdb. com/ title/ tt0035093/ ). IMDB. Retrieved 2011-11-19. IMDB "Mrs. Miniver Awards" (http:/ / www. imdb. com/ title/ tt0035093/ awards). IMDB. Retrieved 2011-11-19. Reel Classics "Mrs. Miniver" (http:/ / www. reelclassics. com/ Movies/ Miniver/ miniver. htm). Reel Classics. Retrieved 2011-11-18. Glancy, Mark, When Hollywood Loved Britain: The Hollywood "British" Film, 1939-45, Manchester University Press, 1999, p. 147-8 ISBN 0-7190-4853-2. [5] Emily Yellin, Our Mothers' War, p 99-100 ISBN 0-7432-4514-8 [6] Glancy, Mark, When Hollywood Loved Britain: The Hollywood "British" Film, 1939-45, Manchester University Press, 1999, p. 154 ISBN 0-7190-4853-2. [7] Gardner, W. J. R.(ed.), The Evacuation from Dunkirk, 'Operation Dynamo', 26 May-4 June 1940, Frank Cass, London, 2000 ISBN 0-7146-5120-6. [8] "The 15th Academy Awards (1943) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 15th-winners. html). oscars.org. . Retrieved 2011-08-14. [9] Daynard, Don Henry Wilcoxon in Peter Harris (ed.) The New Captain George's Whizzbang #13 (1971), p. 5 [10] "25 new titles added to National Film Registry" (http:/ / news. yahoo. com/ s/ ap/ 20091230/ ap_en_mo/ us_classic_films_glance;_ylt=Am9aCMfxzzsN4EY9F802IESs0NUE;_ylu=X3oDMTNzcHU5NnU4BGFzc2V0A2FwLzIwMDkxMjMwL3VzX2NsYXNzaWNfZ Yahoo News (Yahoo). 2009-12-30. . Retrieved 2009-12-30. [11] "Jan Struther Bibliography" (http:/ / www. zip. com. au/ ~lnbdds/ home/ janstruther7. htm). October 20, 2008. . [12] Salinger, J.D. Raise High the Roof Beam, Carpenters and Seymour: An Introduction. Harmondsworth Penguin Books Ltd, 1964, p.53 [13] http:/ / www. loc. gov/ today/ pr/ 2009/ 09-250. html
External links
Mrs. Miniver (http://www.imdb.com/title/tt0035093/) at the Internet Movie Database Mrs. Miniver (http://www.allrovi.com/movies/movie/v33719) at AllRovi Mrs. Miniver (http://tcmdb.com/title/title.jsp?stid=329) at the TCM Movie Database Mrs. Miniver (http://www.rottentomatoes.com/m/mrs_miniver/) at Rotten Tomatoes "Where Is Today's Mrs. Miniver?" (http://www.objectivistcenter.org/cth--1681-Miniver2006.aspx). Retrieved 2008-04-28. "Mrs. Miniver Opening Scenes" (http://uk.youtube.com/watch?v=XIsjGh42OiQ&feature=related). Retrieved 2008-08-20. "Mrs. Miniver and the German Soldier" (http://uk.youtube.com/watch?v=yTPVp1-Io5g). Retrieved 2008-08-20. "The full Cast of Mrs. Miniver" (http://www.cinema.com/film/8071/mrs-miniver/cast.phtml). Retrieved 2008-10-09. "Mrs. Miniver Script transcript" (http://www.script-o-rama.com/movie_scripts/m/ mrs-miniver-script-transcript-greer.html). Retrieved 2008-10-08. Mrs. Miniver (http://ia700506.us.archive.org/15/items/Lux08/Lux_1943-12-06_MrsMiniver.mp3) on Lux Radio Theater: December 6, 1943
1943 Casablanca
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1943 Casablanca
Casablanca
Trailer title card

Directed by Produced by Screenplay by Michael Curtiz Hal B. Wallis Julius J. Epstein Philip G. Epstein Howard Koch Casey Robinson (uncredited) Everybody Comes to Rick'sby Murray Burnett Joan Alison Humphrey Bogart Ingrid Bergman Paul Henreid Max Steiner
Based on
Starring
Music by
Cinematography Arthur Edeson Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Owen Marks Warner Bros. Warner Bros.

November 26, 1942 (premiere) January 23, 1943 (general release)
102 minutes United States English $964,000 $3.7 million

(initial US release)
Casablanca is a 1942 American romantic drama film directed by Michael Curtiz, starring Humphrey Bogart, Ingrid Bergman and Paul Henreid, and featuring Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre and Dooley Wilson. Set during World WarII, it focuses on a man torn between, in the words of one character, love and virtue. He must choose between his love for a woman and helping her Czech Resistance leader husband escape from the Vichy-controlled Moroccan city of Casablanca to continue his fight against the Nazis. Although it was an A-list film, with established stars and first-rate writersJulius J. Epstein, Philip G. Epstein and Howard Koch received credit for the screenplayno one involved with its production expected Casablanca to be anything out of the ordinary;[1] it was just one of hundreds of pictures produced by Hollywood every year. The film
1943 Casablanca was a solid, if unspectacular, success in its initial run, rushed into release to take advantage of the publicity from the Allied invasion of North Africa a few weeks earlier.[2] Despite a changing assortment of screenwriters frantically adapting an unstaged play and barely keeping ahead of production, and Bogart attempting his first romantic lead role, Casablanca won three Academy Awards, including Best Picture. Its characters, dialogue, and music have become iconic, and the film has grown in popularity to the point that it now consistently ranks near the top of lists of the greatest films of all time.
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Plot
Rick Blaine (Humphrey Bogart) is a cynical American expatriate living in Casablanca in early December 1941. His upscale nightclub and gambling den, "Rick's Caf Amricain", attracts a mixed clientele: Vichy French, Italian, and Nazi officials; refugees desperately seeking to reach the United States, as yet uninvolved in the war; and those who prey on them. Although Rick professes to be neutral in all matters, it is later revealed he ran guns to Ethiopia to combat the 1935 Italian invasion and fought on the Loyalist side in the Spanish Civil War. Petty crook Signor Ugarte (Peter Lorre) shows up and boasts to Rick of "letters of transit" he obtained through the murder of two German couriers. The papers allow the bearer to travel freely around German-controlled Europe and to neutral Portugal. The letters are almost priceless to the continual stream of refugees who end up stranded in Casablanca. Ugarte plans to sell them to the highest bidder at the club later that night. Before the exchange can take place, however, Ugarte is arrested by the local police under the command of Vichy Captain Louis Renault (Claude Rains), a self-confessed corrupt official. Ugarte dies in custody without revealing that he had entrusted the letters to Rick.
From left to right: Henreid, Bergman, Rains and Bogart
At this point, the reason for Rick's bitterness re-enters his life. His ex-lover, Norwegian Ilsa Lund (Ingrid Bergman), walks into his establishment. Upon spotting Rick's friend and house pianist, Sam (Dooley Wilson), Ilsa asks him to play "As Time Goes By". When Rick storms over, furious that Sam has disobeyed his order never to perform that song, he is shocked to see Ilsa. She is accompanied by her husband, Victor Laszlo (Paul Henreid), a renowned fugitive Czech Resistance leader who has escaped from a Nazi concentration camp. They need the letters to leave for America, where he can continue his work. German Major Strasser (Conrad Veidt) arrives in Casablanca to see to it that Laszlo does not succeed. When Laszlo makes inquiries, Signor Ferrari (Sydney Greenstreet), a major underworld figure and Rick's friendly business rival, divulges his suspicion that Rick has the letters. In a private meeting, Rick refuses to sell at any price, telling Laszlo to ask his wife for the reason. They are interrupted when Strasser leads a group of officers in singing "Die Wacht am Rhein". Laszlo orders the house band to play "La Marseillaise". When the band looks to Rick for guidance, he nods his head. Laszlo starts singing, alone at first, then patriotic fervor grips the crowd and everyone joins in, drowning out the Germans. In retaliation, Strasser has Renault close the club. That night, Ilsa confronts Rick in the deserted caf. When he refuses to give her the letters, she threatens him with a gun, but then confesses that she still loves him. She explains that when they first met and fell in love in Paris, she believed that her husband had been killed attempting to escape from the concentration camp. Later, while preparing to flee with Rick from the imminent fall of the city to the German army, she learned that Laszlo was in fact alive and in hiding. She left Rick without explanation to tend to her ill husband.
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139 With the revelation, the lovers are reconciled. Rick agrees to help, leading her to believe that she will stay behind with him when Laszlo leaves. When Laszlo unexpectedly shows up, having narrowly escaped a police raid on a Resistance meeting, Rick has waiter Carl (S. K. Sakall) spirit Ilsa away.
Laszlo reveals he is aware of Rick's love for Ilsa and tries to persuade him to use the letters to take her to safety. When the police arrest Laszlo on a minor, trumped-up charge, Rick convinces Renault to release him by promising to set him up for a much more serious crime: Bogart and Bergman possession of the letters of transit. To allay Renault's suspicions, Rick explains he and Ilsa will be leaving for America. When Renault tries to arrest Laszlo as arranged, Rick forces him at gunpoint to assist in their escape. At the last moment, Rick makes Ilsa board the plane to Lisbon with her husband, telling her she would regret it if she stayed, "Maybe not today, maybe not tomorrow, but soon and for the rest of your life." Major Strasser, tipped off by Renault, drives up alone. Rick shoots Strasser when he tries to intervene. When his men arrive, Renault pauses, then tells them to "round up the usual suspects." Once they are alone, Renault suggests to Rick that they join the Free French at Brazzaville as they walk away into the fog.
Cast
The play's cast consisted of 16 speaking parts and several extras; the film script enlarged it to 22 speaking parts and hundreds of extras.[3] The cast is notable for its internationalism: only three of the credited actors were born in the United States. The top-billed actors were: Humphrey Bogart as Rick Blaine. Earlier in his career, he had been typecast as a gangster. High Sierra (1941) had allowed him to play a character with some warmth, but Rick was his first truly romantic role.
Greenstreet (left) and Bogart Ingrid Bergman as Ilsa Lund. Bergman's official website calls Ilsa her "most famous and enduring role".[4] The Swedish actress's Hollywood debut in Intermezzo had been well received, but her subsequent films were not major successesuntil Casablanca. Film critic Roger Ebert calls her "luminous", and comments on the chemistry between her and Bogart: "she paints his face with her eyes".[5] Other actresses considered for the role of Ilsa included Ann Sheridan, Hedy Lamarr and Michle Morgan. Wallis obtained the services of Bergman, who was contracted to David O. Selznick, by lending Olivia de Havilland in exchange.[6]
Paul Henreid as Victor Laszlo. Henreid, an Austrian actor who emigrated in 1935, was reluctant to take the role (it "set [him] as a stiff forever", according to Pauline Kael[7]), until he was promised top billing along with Bogart and Bergman. Henreid did not get on well with his fellow actors; he considered Bogart "a mediocre actor", while Bergman called Henreid a "prima donna".[8] The second-billed actors were: Claude Rains as Captain Louis Renault. Rains was an English actor born in London. He had previously worked with Michael Curtiz on The Adventures of Robin Hood. He later appeared in Alfred Hitchcock's Notorious with Ingrid Bergman. Conrad Veidt as Major Heinrich Strasser. He was a German actor who had appeared in The Cabinet of Dr. Caligari before fleeing from the Nazis and ironically was best known for playing Nazis in U.S. films.
1943 Casablanca Sydney Greenstreet as Signor Ferrari, a rival nightclub owner. Another Englishman, Greenstreet had previously starred with Lorre and Bogart in his film debut in The Maltese Falcon. Peter Lorre as Signor Ugarte. Lorre, who was born in Austria-Hungary, had left Germany in 1933. Also credited were: Curt Bois as the pickpocket. Bois was a German Jewish actor and another refugee. He had one of the longest careers in film, making his first appearance in 1907 and his last in 1987. Leonid Kinskey as Sascha, the Russian bartender infatuated with Yvonne. He was actually born in Russia. Madeleine LeBeau as Yvonne, Rick's soon-discarded girlfriend. The French actress was Marcel Dalio's wife until their divorce in 1942. Joy Page as Annina Brandel, the young Bulgarian refugee. The third credited American, she was studio head Jack Warner's stepdaughter. John Qualen as Berger, Laszlo's Resistance contact. He was born in Canada, but grew up in America. He appeared in many of John Ford's movies. S. Z. Sakall (credited as S. K. Sakall) as Carl, the waiter. He was a Hungarian actor who fled from Germany in 1939. His three sisters later died in a concentration camp. Dooley Wilson as Sam. He was one of the few American members of the cast. A drummer, he could not play the piano. Hal Wallis had considered changing Sam to a female character (Hazel Scott and Ella Fitzgerald were candidates), and even after shooting had been completed, Wallis considered dubbing over Wilson's voice for the songs.[9][10] Notable uncredited actors were: Leon Belasco as a dealer in Rick's Cafe. A Russian-American character actor, he appeared in 13 films the year Casablanca was released.[11] Marcel Dalio as Emil the croupier. He had been a star in French cinema, appearing in Jean Renoir's La Grande Illusion and La Regle de Jeu, but after he fled the fall of France, he was reduced to bit parts in Hollywood. He had a key role in another of Bogart's films, To Have and Have Not. Helmut Dantine as Jan Brandel, the Bulgarian roulette player married to Annina Brandel. Another Austrian, he had spent time in a concentration camp after the Anschluss, the annexation of Austria. William Edmunds as a contact man at Rick's. He usually played characters with heavy accents, such as Martini in It's a Wonderful Life (1946). Gregory Gaye as the German banker who is refused entry to the casino by Rick. Gaye was a Russian-born actor who went to the United States in 1917 after the Russian Revolution. Torben Meyer as the Dutch banker who runs "the second largest banking house in Amsterdam". Meyer was a Danish actor. George London sings the Marseillaise. London was a Los Angeles born bass-baritone opera singer. Georges Renavent as Conspirator. Dan Seymour as Abdul the doorman. He was an American actor who, at 265 pounds, often played villains, including the principal one in To Have and Have Not, and one of the secondary ones in Key Largo, both opposite Bogart. Norma Varden as the Englishwoman whose husband has his wallet stolen. She was a famous English character actress. Jean Del Val as the French police radio announcer who (following the opening montage sequence) reports the news of the murder of the two German couriers. Leo White as the waiter Emile (not to be confused with the croupier Emil), from whom Renault orders a drink when he sits down with the Laszlos. White was a familiar face in many Charlie Chaplin two-reelers in the 1910s, usually playing an upper-class antagonist.
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1943 Casablanca Jack Benny may have had an unbilled cameo role (claimed by a contemporary newspaper advertisement[12] and reportedly in the Casablanca press book[13]). When asked in his column "Movie Answer Man", critic Roger Ebert first replied, "It looks something like him. That's all I can say."[13] In response to a follow-up question in his next column, he stated, "I think you're right."[14] Part of the emotional impact of the film has been attributed to the large proportion of European exiles and refugees among the extras and in the minor roles. A witness to the filming of the "duel of the anthems" sequence said he saw many of the actors crying and "realized that they were all real refugees".[15] Harmetz argues that they "brought to a dozen small roles in Casablanca an understanding and a desperation that could never have come from Central Casting".[16] The German citizens among them nevertheless had to keep curfew as enemy aliens. Ironically, they were frequently cast as the Nazis from whom they had fled. Some of the exiled actors were: Louis V. Arco as another refugee in Rick's. Born Lutz Altschul in Austria, he moved to America shortly after the Anschluss and changed his name. Trude Berliner as a baccarat player in Rick's. Born in Berlin, she was a famous cabaret performer and film actress. Being Jewish, she left Germany in 1933. Ilka Grnig as Mrs. Leuchtag. Born in Vienna, she was a silent movie star in Germany who came to America after the Anschluss. Lotte Palfi as the refugee trying to sell her diamonds. Born in Germany, she played stage roles at a prestigious theater in Darmstadt, Germany. She journeyed to America after the Nazis came to power in 1933. She later married another Casablanca actor, Wolfgang Zilzer. Richard Ryen as Strasser's aide, Captain Heinze. The Austrian Jew acted in German films, but fled the Nazis. Ludwig Stssel as Mr. Leuchtag, the German refugee whose English is "not so good". Born in Austria, the Jewish actor was imprisoned following the Anschluss, the annexation of Austria. When he was released, he left for England and then America. Stssel became famous for doing a long series of commercials for Italian Swiss Colony wine producers. Dressed in an Alpine hat and lederhosen, Stssel was their spokesman with the slogan, "That Little Old Winemaker, Me!" Hans Twardowski as a Nazi officer who argues with a French officer over Yvonne. He was born in Stettin, Germany (now Szczecin, Poland). Wolfgang Zilzer as a Free French agent who is shot in the opening scene of the movie, was a silent movie actor in Germany who left when the Nazis took over. He later married Casablanca actress Lotte Palfi.
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Production
The film was based on Murray Burnett and Joan Alison's then-unproduced play Everybody Comes to Rick's.[17] The Warner Bros. story analyst who read the play, Stephen Karnot, called it (approvingly) "sophisticated hokum",[18] and story editor Irene Diamond convinced producer Hal Wallis to buy the rights in January 1942 for $20,000,[19] the most anyone in Hollywood had ever paid for an unproduced play.[20] The project was renamed Casablanca, apparently in imitation of the 1938 hit Algiers.[21] Although an initial filming date was selected for April 10, 1942, delays led to a start of production on May 25.[22] Filming was completed on August 3, and the production cost $1,039,000 ($75,000 over budget),[23] above average for the time.[24] The film was shot in sequence, mainly because only the first half of the script was ready when filming began.[25]
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The entire picture was shot in the studio, except for the sequence showing Major Strasser's arrival, which was filmed at Van Nuys Airport, and a few short clips of stock footage views of Paris.[26] The street used for the exterior shots had recently been built for another film, The Desert Song,[27] and redressed for the Paris flashbacks. It remained on the Warners backlot until the 1960s. The set for Rick's was built in three unconnected parts, so the internal layout of the building is indeterminate. In a number of scenes, the camera looks through a wall from the cafe area into Rick's office. The background of the final scene, which shows a This screenshot shows Humphrey Bogart in a Lockheed Model 12 Electra Junior airplane with personnel trenchcoat and fedora in the airport scene walking around it, was staged using midget extras and a proportionate cardboard plane.[28] Fog was used to mask the model's unconvincing appearance.[29] Nevertheless, the Disney's Hollywood Studios theme park in Orlando, Florida purchased a Lockheed 12A for its Great Movie Ride attraction, and initially claimed that it was the actual plane used in the film.[30] Film critic Roger Ebert called Hal Wallis the "key creative force" for his attention to the details of production (down to insisting on a real parrot in the Blue Parrot bar).[5] The difference between Bergman's and Bogart's height caused some problems. She was some twoinches (5cm) taller than Bogart, and claimed Curtiz had Bogart stand on blocks or sit on cushions in their scenes together.[31] Later, there were plans for a further scene, showing Rick, Renault and a detachment of Free French soldiers on a ship, to incorporate the Allies' 1942 invasion of North Africa; however, it proved too difficult to get Claude Rains for the shoot, and the scene was finally abandoned after David O. Selznick judged "it would be a terrible mistake to change the ending."[32]
Writing
The original play was inspired by a trip to Europe made by Murray Burnett in 1938, during which he visited Vienna shortly after the Anschluss, where he saw discrimination by Nazis first-hand. In the south of France, he came across a nightclub, which had a multinational clientele and the prototype of Sam, the black piano player.[33][34] In the play, the Ilsa character was an American named Lois Meredith and did not meet Laszlo until after her relationship with Rick in Paris had ended; Rick was a lawyer. To make Rick's motivation more believable, Wallis, Curtiz, and the screenwriters decided to set the film before the attack on Pearl Harbor.[35] The first writers assigned to the script were the Epstein twins, Julius and Philip who, against the wishes of Warner Brothers, left the project after the attack on Pearl Harbor to work with Frank Capra on the Why We Fight series in Washington, D.C..[36] While they were gone, the other credited writer, Howard Koch was assigned to the script and produced some thirty to forty pages.[36] When the Epstein brothers returned after a month, they were reassigned to Casablanca andcontrary to what Koch claimed in two published bookshis work was not used.[36] In the final Warner Brothers budget for the film, the Epsteins were paid $30,416 and Koch $4,200.[37] The uncredited Casey Robinson assisted with three weeks of rewrites, including contributing the series of meetings between Rick and Ilsa in the cafe.[38][39] Koch highlighted the political and melodramatic elements,[40][41] while Curtiz seems to have favored the romantic parts, insisting on retaining the Paris flashbacks.[42] Wallis wrote the final line ("Louie, I think this is the beginning of a beautiful friendship.") after shooting had been completed. Bogart had to be called in a month after the end of filming to dub it.[42] Despite the many writers, the film has what Ebert describes as a "wonderfully unified and consistent" script. Koch later claimed it was the tension between his own approach and Curtiz's which accounted for this: "Surprisingly, these disparate approaches somehow meshed, and perhaps it was partly this tug of war between Curtiz and me that gave the film a certain balance."[43] Julius Epstein would later note the screenplay contained "more corn than in the states of Kansas and Iowa combined. But when
1943 Casablanca corn works, there's nothing better."[44] The film ran into some trouble from Joseph Breen of the Production Code Administration (the Hollywood self-censorship body), who opposed the suggestions that Captain Renault extorted sexual favors from his supplicants, and that Rick and Ilsa had slept together in Paris.[45] Extensive changes were made, with several lines of dialogue removed and/or altered, and all direct references to sex in the film removed. Additionally, when Sam played "As Time Goes By" in the original script, Rick had remarked "What the are you playing?"[46] This line implying a curse word was removed at the behest of the Hays Office, and both Renault's selling of visas for sex, and Rick and Ilsa's previous sexual relationship were implied elliptically rather than referenced explicitly.[47]
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Direction
Wallis' first choice for director was William Wyler, but he was unavailable, so Wallis turned to his close friend Michael Curtiz.[48] Curtiz was a Hungarian Jewish migr; he had come to the U.S. in the 1920s, but some of his family were refugees from Nazi Europe. Roger Ebert has commented that in Casablanca "very few shots... are memorable as shots," Curtiz being concerned to use images to tell the story rather than for their own sake.[5] However, he had relatively little input into the development of the plot: Casey Robinson said Curtiz "knew nothing whatever about story...he saw it in pictures, and you supplied the stories."[49] Critic Andrew Sarris called the film "the most decisive exception to the auteur theory",[50] of which Sarris was the most prominent proponent in the United States, to which Aljean Harmetz responded, "nearly every Warner Bros. picture was an exception to the auteur theory".[48] Other critics give more credit to Curtiz; Sidney Rosenzweig, in his study of the director's work, sees the film as a typical example of Curtiz's highlighting of moral dilemmas.[51] The second unit montages, such as the opening sequence of the refugee trail and that showing the invasion of France, were directed by Don Siegel.[52]
Cinematography
The cinematographer was Arthur Edeson, a veteran who had previously shot The Maltese Falcon and Frankenstein. Particular attention was paid to photographing Bergman. She was shot mainly from her preferred left side, often with a softening gauze filter and with catch lights to make her eyes sparkle; the whole effect was designed to make her face seem "ineffably sad and tender and nostalgic".[5] Bars of shadow across the characters and in the background variously imply imprisonment, the crucifix, the symbol of the Free French Forces and emotional turmoil.[5] Dark film noir and expressionist lighting is used in several scenes, particularly towards the end of the picture. Rosenzweig argues these shadow and lighting effects are classic elements of the Curtiz style, along with the fluid camera work and the use of the environment as a framing device.[53]
Music
The Cross of Lorraine, emblem of the Free French Forces
The music was written by Max Steiner, who was best known for the score for Gone with the Wind. The song "As Time Goes By" by Herman Hupfeld had been part of the story from the original play; Steiner wanted to write his own composition to replace it, but Bergman had already cut her hair short for her next role (Mara in For Whom the Bell Tolls) and could not re-shoot the scenes which incorporated the song,[54] so Steiner based the entire score on it and "La Marseillaise", the French national anthem, transforming them to reflect changing moods.[55]
1943 Casablanca Particularly notable is the "duel of the songs" between Strasser and Laszlo at Rick's cafe. In the soundtrack, "La Marseillaise" is played by a full orchestra. Originally, the opposing piece for this iconic sequence was to be the "Horst Wessel Lied", a Nazi anthem, but this was still under international copyright in non-Allied countries. Instead "Die Wacht am Rhein" was used. The opening bars of the "Deutschlandlied", the national anthem of Germany, is featured throughout the score as a motif to represent the Germans, much as "La Marseillaise" is used to represent the Allies. Other songs in the film include "It Had to Be You" from 1924 (music by Isham Jones, lyrics by Gus Kahn), "Shine" from 1910 (music by Ford Dabney, lyrics by Cecil Mack and Lew Brown), "Avalon" from 1920 (music and lyrics by Al Jolson, Buddy DeSylva and Vincent Rose), "Perfidia" by Alberto Dominguez, "The Very Thought of You" by Ray Noble, and "Knock on Wood" (music by M.K. Jerome, lyrics by Jack Scholl), the only original song in the film.
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Timing of release
Although an initial release date was anticipated for spring 1943,[56] the film premiered at the Hollywood Theater in New York City on November 26, 1942, to coincide with the Allied invasion of North Africa and the capture of Casablanca.[2][57] In the 1,500-seat theater, the film grossed $255,000 over ten weeks.[58] It went into general release on January 23, 1943, to take advantage of the Casablanca conference, a high-level meeting between Churchill and Roosevelt in the city. It was a substantial but not spectacular box-office success, taking $3.7 million on its initial U.S. release, making it the seventh best-selling film of 1943.[58][59] The Office of War Information prevented screening of the film to troops in North Africa, believing it would cause resentment among Vichy supporters in the region.[60]
Reception
Initial response
Casablanca received "consistently good reviews".[61] Bosley Crowther of The New York Times wrote, "The Warners... have a picture which makes the spine tingle and the heart take a leap." The newspaper applauded the combination of "sentiment, humor and pathos with taut melodrama and bristling intrigue". While he noted its "devious convolutions of the plot", he praised the screenplay quality as "of the best" and the cast's performances as "all of the first order".[62] The trade paper Variety commended the film's "combination of fine performances, engrossing story and neat direction" and the "variety of moods, action, suspense, comedy and drama that makes Casablanca an A-1 entry at the b.o". The paper applauded the performances of Bergman and Henreid and analyzed Bogart's own: "Bogart, as might be expected, is more at ease as the bitter and cynical operator of a joint than as a lover, but handles both assignments with superb finesse." Variety wrote of the film's real-world impact, "Film is splendid anti-Axis propaganda, particularly inasmuch as the propaganda is strictly a by-product of the principal action and contributes to it instead of getting in the way."[63] Some other reviews were less enthusiastic: The New Yorker rated it only "pretty tolerable".[64]
Lasting impact
The film has grown in popularity. Murray Burnett called it "true yesterday, true today, true tomorrow".[65] By 1955, the film had brought in $6.8 million, making it only the third most successful of Warners' wartime movies (behind Shine On, Harvest Moon and This is the Army).[66] On April 21, 1957, the Brattle Theater of Cambridge, Massachusetts, showed the film as part of a season of old movies. It was so popular that it began a tradition of screening Casablanca during the week of final exams at Harvard University which continues to the present day, and is emulated by many colleges across the United States. Todd Gitlin, a professor of sociology who himself attended
1943 Casablanca one of these screenings, had said that the experience was, "the acting out of my own personal rite of passage".[67] The tradition helped the movie remain popular while other famous films of the 1940s have faded away, and by 1977, Casablanca was the most frequently broadcast film on American television.[68] On the film's 50th anniversary, the Los Angeles Times called Casablanca's great strength "the purity of its Golden Age Hollywoodness [and] the enduring craftsmanship of its resonantly hokey dialogue". The newspaper believed the film achieved a "near-perfect entertainment balance" of comedy, romance, and suspense.[69] According to Roger Ebert, Casablanca is "probably on more lists of the greatest films of all time than any other single title, including Citizen Kane" because of its wider appeal. Ebert opined that Citizen Kane is generally considered to be a "greater" film but Casablanca is more loved.[5] Ebert said that he has never heard of a negative review of the film, even though individual elements can be criticized, citing unrealistic special effects and the stiff character/portrayal of Laszlo.[49] Rudy Behlmer emphasized the variety in the picture: "it's a blend of drama, melodrama, comedy [and] intrigue".[49] Ebert has said that the film is popular because "the people in it are all so good" and that it is "a wonderful gem".[5] As the Resistance hero, Laszlo is ostensibly the most noble, although he is so stiff that he is hard to like.[5] The other characters, in Behlmer's words, are "not cut and dried": they come into their goodness in the course of the film. Renault begins the film as a collaborator with the Nazis, who extorts sexual favors from refugees and has Ugarte killed. Rick, according to Behlmer, is "not a hero,... not a bad guy": he does what is necessary to get along with the authorities and "sticks his neck out for nobody". Even Ilsa, the least active of the main characters, is "caught in the emotional struggle" over which man she really loves. By the end of the film, however, "everybody is sacrificing."[49] There are a few dissenting reviewers. According to Pauline Kael, "It's far from a great film, but it has a special appealingly schlocky romanticism..."[70] Umberto Eco wrote that "by any strict critical standards... Casablanca is a very mediocre film." He viewed the changes the characters undergo as inconsistent rather than complex: "It is a comic strip, a hotch-potch, low on psychological credibility, and with little continuity in its dramatic effects."[71] There is anecdotal evidence that Casablanca may have made a deeper impression among film-lovers than within the professional movie-making establishment. In the November/December 1982 issue of American Film, Chuck Ross claimed that he retyped the screenplay to Casablanca, only changing the title back to Everybody Comes to Rick's and the name of the piano player to Dooley Wilson, and submitted it to 217 agencies. Eighty-five of them read it; of those, thirty-eight rejected it outright, thirty-three generally recognized it (but only eight specifically as Casablanca), three declared it commercially viable, and one suggested turning it into a novel.[72] Hugh Hefner cited it as part of his motivation to open up the Playboy Club.[73]
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Influence on later works

Many subsequent films have drawn on elements of Casablanca. Passage to Marseille reunited Bogart, Rains, Curtiz, Greenstreet and Lorre in 1944, while there are many similarities between Casablanca and two later Bogart films, To Have and Have Not (1944) and Sirocco (1951). Parodies have included the Marx Brothers' A Night in Casablanca (1946), Neil Simon's The Cheap Detective (1978), Barb Wire (1996), and Out Cold (2001), while it provided the title for the 1995 hit The Usual Suspects. Woody Allen's Play It Again, Sam (1972) appropriated Bogart's Casablanca persona as the fantasy mentor for Allen's nebbishy character, featuring actor Jerry Lacy in the role of Bogart. Casablanca itself was a plot device in the science-fiction television movie Overdrawn at the Memory Bank (1983), based on John Varley's story, and made a similar, though much less pivotal, appearance in Terry Gilliam's dystopian Brazil (1985). Warner Bros. produced its own parody of the film in the homage Carrotblanca, a 1995 Bugs Bunny cartoon.[74] In Casablanca, a novella by Argentine writer Edgar Brau, the protagonist somehow wanders into Rick's Caf Americain and listens to a strange tale related by Sam.[75]
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Interpretation
Casablanca has been subjected to many different readings. Semioticians account for the film's popularity by claiming that its inclusion of a whole series of stereotypes paradoxically strengthens the film.[76][77][78][79] Umberto Eco explained: Thus Casablanca is not just one film. It is many films, an anthology. [...] When all the archetypes burst in shamelessly, we reach Homeric depths. Two clichs make us laugh. A hundred clichs move us. For we sense dimly that the clichs are talking among themselves, and celebrating a reunion.[80][81] Eco also singled out sacrifice as one of the film's key themes: "the myth of sacrifice runs through the whole film."[82] It was this theme which resonated with a wartime audience that was reassured by the idea that painful sacrifice and going off to war could be romantic gestures done for the greater good.[83] Koch also considered the film a political allegory. Rick is compared to President Franklin D. Roosevelt, who gambled "on the odds of going to war until circumstance and his own submerged nobility force him to close his casino (partisan politics) and commit himselffirst by financing the Side of Right and then by fighting for it."[84] The connection is reinforced by the film's title, which means "white house".[84] Harvey Greenberg presents a Freudian reading in his The Movies on Your Mind, in which the transgressions which prevent Rick from returning to the U.S. constitute an Oedipus complex, which is resolved only when Rick begins to identify with the father figure of Laszlo and the cause which he represents.[85] Sidney Rosenzweig argues that such readings are reductive, and that the most important aspect of the film is its ambiguity, above all in the central character of Rick; he cites the different names which each character gives Rick (Richard, Ricky, Mr. Rick, Herr Blaine and so on) as evidence of the different meanings which he has for each person.[86]
Accolades
Because of its November 1942 release, the New York Film Critics decided to include the film in its 1942 award season for best picture. Casablanca lost to In Which We Serve.[58] However, the Academy stated that since the film went into national release in the beginning of 1943, it would be included in that year's nominations.[87] Casablanca was nominated for eight Academy Awards, and won three. When the award for Best Picture was announced producer Hal B. Wallis got up to accept, only to find Jack Warner had rushed onstage to take the trophy. Wallis later recalled, "I had no alternative but to sit down again, humiliated and furious. ... Almost forty years later, I still haven't recovered from the shock."[88] This incident would lead Wallis to leave Warner Bros. in April.[89]
Award Category Nominee Warner Bros. (Hal B. Wallis, Producer) Michael Curtiz Humphrey Bogart Julius J. Epstein, Philip G. Epstein, and Howard Koch Claude Rains Arthur Edeson Owen Marks Result Won Won Nominated Won Nominated Nominated Nominated Nominated
16th Academy Awards Outstanding Motion Picture Best Director Best Actor Best Writing, Screenplay Best Supporting Actor Best Cinematography Best Film Editing
Best Music (Score of a Dramatic or Comedy Picture) Max Steiner
In 1989, the film was selected for preservation in the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant". In 2005, it was named one of the 100 greatest films of the last 80 years by Time.com (the selected films were not ranked). The famed teacher of screenwriting, Robert McKee, maintains that the script is "the greatest screenplay of all time".[6] In 2006, the Writers Guild of America, west agreed, voting it the best ever in its list of the 101 greatest screenplays.[90] The film has been selected by the
1943 Casablanca American Film Institute for many of their lists.

Year Category Nominee 2 37 1 Rick Blaine (hero) 4 Rank
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1998 AFI's 100 Years... 100 Movies 2001 AFI's 100 Years... 100 Thrills 2002 AFI's 100 Years... 100 Passions 2003 AFI's 100 Years... 100 Heroes and Villains 2004 AFI's 100 Years... 100 Songs 2005 AFI's 100 Years... 100 Movie Quotes 2006 AFI's 100 Years... 100 Cheers 2007 AFI's 100 Years... 100 Movies (10th Anniversary Edition)
"As Time Goes By" 2 5, 20, 28, 32, 43, and 67 (see Quotations section below) 32 3
Home media releases

Casablanca was initially released on Betamax and VHS by Magnetic Video and later by CBS/Fox Video (as United Artists owned the rights at the time). It was next released on laserdisc in 1991, and on VHS in 1992both from MGM/UA Home Entertainment (distributing for Turner Entertainment), which at the time was distributed by Warner Home Video. It was first released on DVD in 1997 by MGM, containing the trailer and a making-of featurette (Warner Home Video reissued the DVD in 2000). A subsequent two-disc special edition, containing audio commentaries, documentaries, and a newly remastered visual and audio presentation, was released in 2003.[91] An HD DVD was released on November 14, 2006, containing the same special features as the 2003 DVD.[92] Reviewers were impressed with the new high-definition transfer of the film.[93][94] A Blu-ray release with new special features came out on December 2, 2008; it is also available on DVD.[95] The Blu-ray was initially only released as an expensive gift set with a booklet, a luggage tag and other assorted gift-type items. It was eventually released as a stand-alone Blu-ray in September 2009. Warner Bros put the film into moratorium in 2011 for an eventual re-release in 2012.[96] On March 27, 2012, Warner released a new 70th Anniversary Ultimate Collector's Edition Blu-ray/DVD combo set. It includes a brand-new 4K restoration and new bonus material.[97][98]
Sequels and other versions

Almost from the moment Casablanca became a hit, talk began of producing a sequel. One titled Brazzaville (in the final scene, Renault recommends fleeing to that Free French-held city) was planned, but never produced.[99] Since then, no studio has seriously considered filming a sequel or outright remake. Franois Truffaut refused an invitation to remake the film in 1974, citing its cult status among American students as his reason.[100] Attempts to recapture the magic of Casablanca in other settings, such as Caboblanco (1980), "a South American-set retooling of Casablanca",[101] and Havana (1990),[102] have been poorly received. The novel As Time Goes By, written by Michael Walsh and published in 1998, was authorized by Warner.[103][104] The novel picks up where the film leaves off, and also tells of Rick's mysterious past in America. The book met with little success.[105] David Thomson provided an unofficial sequel in his 1985 novel Suspects. There have been two short-lived television series based upon Casablanca, both considered prequels. The first aired from 1955 to 1956, with Charles McGraw as Rick and Marcel Dalio, who played Emil the croupier in the movie, as Renault; it aired on ABC as part of the wheel series Warner Bros. Presents.[106] It produced a total of ten hour-long episodes. Another, briefly broadcast on NBC in 1983, starred David Soul as Rick, Ray Liotta as Sacha, and Scatman Crothers as a somewhat elderly Sam.[107] A total of five hour-long episodes were produced.
1943 Casablanca There were several radio adaptations of the film. The two best-known were a thirty-minute adaptation on The Screen Guild Theater on April 26, 1943, starring Bogart, Bergman, and Henreid, and an hour-long version on the Lux Radio Theater on January 24, 1944, featuring Alan Ladd as Rick, Hedy Lamarr as Ilsa, and John Loder as Victor Laszlo. Two other thirty-minute adaptations were aired: on Philip Morris Playhouse on September 3, 1943, and on Theater of Romance on December 19, 1944, in which Dooley Wilson reprised his role as Sam. Julius Epstein made two attempts to turn the film into a Broadway musical, in 1951 and 1967, but neither made it to the stage.[108] The original play, Everybody Comes to Rick's, was produced in Newport, Rhode Island, in August 1946, and again in London in April 1991, but met with no success.[109] The film was adapted into a musical by the Takarazuka Revue, an all-female Japanese musical theater company, and ran from November 2009 through February 2010.[110]
148
Colorization
Casablanca was part of the film colorization controversy of the 1980s,[111] when a colorized version aired on the television station WTBS. In 1984, MGM-UA hired Color Systems Technology to colorize the film for $180,000.[112] When Ted Turner of Turner Entertainment purchased MGM-UA's film library two years later, he canceled the request, before contracting American Film Technologies (AFT) in 1988. AFT completed the colorization in two months at a cost of $450,000.[112] Turner later reacted to the criticism of the colorization, saying, "[Casablanca] is one of a handful of films that really doesn't have to be colorized. I did it because I wanted to. All I'm trying to do is protect my investment."[112] The Library of Congress deemed that the color change differed so much from the original film that it gave a new copyright to Turner Entertainment. When the colorized film debuted on WTBS, it was watched by three million viewers, not making the top-ten viewed cable shows for the week. Although Jack Matthews of the Los Angeles Times called the finished product "state of the art", it was mostly met with negative critical reception.[112] It was briefly available on home video. Gary Edgerton, writing for the Journal of Popular Film & Television criticized the colorization, "... Casablanca in color ended up being much blander in appearance and, overall, much less visually interesting than its 1942 predecessor."[112] Bogart's son Stephen said, "if you're going to colorize Casablanca, why not put arms on the Venus de Milo?"[100]
Rumors
Several rumors and misconceptions have grown up around the film, one being that Ronald Reagan was originally chosen to play Rick. This originates in a press release issued by the studio early on in the film's development, but by that time the studio already knew that he was due to go work for the army, and he was never seriously considered.[113] George Raft claimed that he had turned down the lead role. Studio records make clear, however, that Wallis was committed to Bogart from the start.[114] Another well-known story is that the actors did not know until the last day of shooting how the film was to end. The original play (set entirely in the cafe) ended with Rick sending Ilsa and Victor to the airport. During scriptwriting, the possibility was discussed of Laszlo being killed in Casablanca, allowing Rick and Ilsa to leave together, but as Casey Robinson wrote to Hal Wallis before filming began, the ending of the film "set up for a swell twist when Rick sends her away on the plane with Victor. For now, in doing so, he is not just solving a love triangle. He is forcing the girl to live up to the idealism of her nature, forcing her to carry on with the work that in these days is far more important than the love of two little people."[115] It was certainly impossible for Ilsa to leave Laszlo for Rick, as the production code forbade showing a woman leaving her husband for another man. The concern was not whether Ilsa would leave with Laszlo, but how this result could be engineered.[116] The problem was solved when the Epstein brothers, Julius and Philip, were driving down Sunset Boulevard and stopped for the light at Beverly Glen. At that instant the identical twins turned to each other and simultaneously cried out, "Round up the usual suspects!"[117] By the time they had driven past Fairfax and the Cahuenga Pass and through the Warner Brothers studio's portals at
1943 Casablanca Burbank, in the words of Julius Epstein, "the idea for the farewell scene between a tearful Bergman and a suddenly noble Bogart" had been formed and all the problems of the ending had been solved.[118] The confusion was probably caused by Bergman's later statement that she did not know which man she was meant to be in love with. While rewrites did occur during the filming, Aljean Harmetz's examination of the scripts has shown that many of the key scenes were shot after Bergman knew how the film would end: any confusion was, in Ebert's words, "emotional", not "factual".[5]
149
Errors and inaccuracies

The film has several logical flaws, the foremost being the two "letters of transit" which enable their bearers to leave Vichy French territory. According to the audio, Ugarte says the letters had been signed by (depending on the listener) either Free French General Charles de Gaulle or Vichy General Maxime Weygand. The English subtitles on the official DVD read de Gaulle, while the French subtitles specify Weygand. Weygand had been the Vichy Delegate-General for the North African colonies until a month before the film is set (and a year after it was written). De Gaulle was the head of the Free French government in exile. A Vichy court martial had convicted de Gaulle of treason in absentia and sentenced him to life imprisonment on August 2, 1940, so a letter signed by him would have been of no benefit.[23] A classic MacGuffin, the letters were invented by Joan Allison for the original play and never questioned.[119] Even in the film, Rick suggests to Renault that the letters would not have allowed Ilsa to escape, let alone Laszlo: "People have been held in Casablanca in spite of their legal rights." In the same vein, though Laszlo asserts that the Nazis cannot arrest him as "This is still unoccupied France; any violation of neutrality would reflect on Captain Renault," Ebert points out that "It makes no sense that he could walk around freely....He would be arrested on sight."[5] Harmetz, however, suggests that Strasser intentionally allows Laszlo to move about, hoping that he will tell them the names of Resistance leaders in occupied Europe in exchange for Ilsa being allowed to leave for Lisbon. Other mistakes include the wrong version of the flag for French Morocco and the fact no uniformed German troops ever set foot in Casablanca during the Second World War.[23] According to Harmetz, in reality few of the refugees depicted would actually have gone to Casablanca.[120] The usual route out of Germany was through Vienna, Prague, Paris, and London, although the film's technical advisor, Robert Aisner, did follow the path to Morocco given in Casablanca's opening scene.
Quotations
One of the lines most closely associated with the film "Play it again, Sam" is a misquotation.[121][122] When Ilsa first enters the Caf Americain, she spots Sam and asks him to "Play it once, Sam, for old times' sake." After he feigns ignorance, she responds, "Play it, Sam. Play 'As Time Goes By'." Later that night, alone with Sam, Rick says, "You played it for her, you can play it for me," and "If she can stand it, I can! Play it!" Rick's toast to Ilsa, "Here's looking at you, kid", used several times, is not in the draft screenplays, but has been attributed to something Bogart said to Bergman as he taught her poker between takes.[123] It was voted the 5th most memorable line in cinema in AFI's 100 Years100 Movie Quotes by the American Film Institute.[124] Six lines from Casablanca appeared in the AFI list, the most of any film (Gone with the Wind and The Wizard of Oz tied for second with three apiece). The other five are: "Louis, I think this is the beginning of a beautiful friendship" 20th "Play it, Sam. Play 'As Time Goes By'" 28th "Round up the usual suspects" 32nd "We'll always have Paris" 43rd "Of all the gin joints in all the towns in all the world, she walks into mine" 67th
1943 Casablanca
150
References
Notes
[1] Ebert, Roger (September 15, 1996). "Casablanca (1942)" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19960915/ REVIEWS08/ 401010308/ 1023). Chicago Sun-Times. . Retrieved 2010-03-18. [2] ""Howard Koch, Julius Epstein, Frank Miller Interview" May, 1995 By Eliot Stein of "STEIN ONLINE" on COMPUSERVE" (http:/ / www. vincasa. com/ indexkoch. html). vincasa.com. May 1995. . Retrieved 2008-06-11. Frank Miller: "There was a scene planned, after the ending, that would have shown Rick and Renault on an Allied ship just prior to the landing at CASABLANCA but plans to shoot it were scrapped when the marketing department realized they had to get the film out fast to capitalize on the liberation of North Africa." [3] Francisco 1980, p.119 [4] "From quintessential "good girl" to Hollywood heavyweight" (http:/ / www. ingridbergman. com/ about/ bio2. htm). The Family of Ingrid Bergman. . Retrieved 2007-08-03. [5] Ebert, Roger. Commentary to Casablanca (Two-Disc Special Edition DVD). [6] Harmetz 1992, pp.8889,92,95 [7] Harmetz 1992, p.99 [8] Harmetz 1992, p.97 [9] Harmetz 1992, pp.139140, 260 [10] Behlmer 1985, p.214 [11] "Leon Belasco as a Dealer" (http:/ / mcgady. net/ Casab/ evenmore/ even_more_minor_characters. html). mcgady.net. . Retrieved 13 September 2010. [12] e.g. "Special Contest / Find Jack Benny in "Casablanca"" (http:/ / news. google. com/ newspapers?nid=950& dat=19430204& id=PwlQAAAAIBAJ& sjid=DFUDAAAAIBAJ& pg=5175,4021701). The Evening Independent. February 4, 1943. . [13] Roger Ebert (December 9, 2009). "Movie Answer Man" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20091209/ ANSWERMAN/ 912099991). Chicago Sun-Times. . Retrieved January 8, 2010. [14] Roger Ebert (December 23, 2009). "Movie Answer Man" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20091223/ ANSWERMAN/ 912239981). Chicago Sun-Times. . Retrieved January 8, 2010. [15] Harmetz 1992, p.213 [16] Harmetz 1992, p.214 [17] Behlmer 1985, p.194 [18] Harmetz 1992, p.17 [19] Harmetz 1992, p.19 [20] Francisco 1980, p.33 [21] Harmetz 1992, p.30 [22] Francisco 1980, p.136 [23] Robertson, James C. (1993). The Casablanca Man: The Cinema of Michael Curtiz. London: Routledge. p.79. ISBN0-415-06804-5. [24] Behlmer 1985, p.208 [25] Francisco 1980, pp.141142 [26] Francisco 1980, p.139 [27] Behlmer 1985, pp.214215 [28] Casablanca-You Must Remember This...A Tribute to Casablanca (Blu-ray Disc). Warner Home Video. February2, 2010. Event occurs at 21:09. [29] Harmetz 1992, p.237 [30] "The Plane Truth" (http:/ / www. snopes. com/ disney/ parks/ casablanca. asp). Snopes. August 21, 2007. . Retrieved 2007-12-06. [31] Harmetz 1992, p.170 [32] Harmetz 1992, pp.280281 [33] Harmetz 1992, pp.5354 [34] Casablanca-You Must Remember This...A Tribute to Casablanca (Blu-ray Disc). Warner Home Video. February2, 2010. Event occurs at 4:36. [35] Francisco 1980, p.121 [36] McGilligan 1986, pp.185 [37] Behlmer 1985, p.209 [38] Merlock, Ray (Winter 2000). "Casablanca". Journal of Popular Film & Television 27 (4): 2. [39] Harmetz 1992, pp.175,179 [40] Harmetz 1992, pp.5659 [41] Francisco 1980, pp.154155 [42] Casablanca-You Must Remember This...A Tribute to Casablanca (Blu-ray Disc). Warner Home Video. February2, 2010. Event occurs at 29:57.
1943 Casablanca
[43] Sorel, Edward (December 1991). "Casablanca" (http:/ / www. americanheritage. com/ content/ casablanca). American Heritage magazine. . Retrieved November 15, 2011. [44] "Casablanca writer dies" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 1097005. stm). BBC News. January 2, 2001. . Retrieved 2010-03-18. [45] "Censored Films and Television at University of Virginia online" (http:/ / www2. lib. virginia. edu/ exhibits/ censored/ film. html). .lib.virginia.edu. . Retrieved 2011-12-03. [46] Gardner 1988, p.4 [47] Gardner 1988, pp.24 [48] Harmetz 1992, p.75 [49] Quoted in Ebert commentary. [50] Sarris, Andrew (1968). The American Cinema: Directors and Directions 19291968 (New York: Dutton), p.176. [51] Rosenzweig, Sidney (1982). Casablanca and Other Major Films of Michael Curtiz. Ann Arbor, Mich: UMI Research Press. pp.158159. ISBN0-8357-1304-0. [52] Harmetz 1992, p.264 [53] Rosenzweig, pp.67 [54] "As Time Goes By" enjoyed a resurgence after the release of Casablanca, spending 21 weeks on the hit parade. [55] Harmetz 1992, pp.253258 [56] Francisco 1980, p.184 [57] Francisco 1980, pp.188189 [58] Francisco 1980, p.192 [59] Harmetz 1992, p.12 [60] Harmetz 1992, p.286 [61] Stanley, John (April5, 1992). "'Casablanca' Celebrates Its 50th". San Francisco Chronicle. [62] Crowther, Bosley (November27, 1942). "'Casablanca', with Humphrey Bogart and Ingrid Bergman, at Hollywood". The New York Times: p.27. [63] "Film reviews through the years: Casablanca" (http:/ / www. variety. com/ index. asp?layout=variety100& content=jump& jump=review& reviewID=VE1117487980& category=1935). Variety. December2, 1942. . Retrieved January1, 2009. [64] Harmetz 1992, pp.1213 [65] Interviewed in Casablanca 50th Anniversary Special: You Must Remember This (http:/ / www. imdb. com/ title/ tt0280526/ ) (Turner: 1992) [66] Harmetz 1992, p.283 [67] Harmetz 1992, p.343 [68] Harmetz 1992, p.346 [69] Strauss, Bob (April10, 1992). "Still the best: Casablanca loses no luster over time". Los Angeles Times. [70] Pauline Kael. "Casablanca" (http:/ / www. webcitation. org/ 5knvV3A24). geocities.com. Archived from the original (http:/ / www. geocities. com/ paulinekaelreviews/ c2. html) on 2009-10-26. . Retrieved 2009-01-05. [71] Eco, Umberto (1985). Blonsky, Marshal. ed. Casablanca, or the Clichs are Having a Ball (http:/ / books. google. com/ books?id=DRd1DZ-5MX0C& pg=PA35#v=onepage& q& f=false). JHU Press. pp.3538. ISBN0-8018-3007-9. . [72] Zinman, David (April 10, 1983). The Magazine (Sunday supplement to The Province newspaper), p. 12 [73] "" (http:/ / www. nbc. com/ the-playboy-club/ video/ hef-on-the-history-of-the-clubs/ 1347658/ ). Nbc.com. 2010-08-05. . Retrieved 2011-12-03. [74] Casablanca-You Must Remember This...A Tribute to Casablanca (Blu-ray Disc). Warner Home Video. February2, 2010. Event occurs at 31:56. [75] Michael Dirda (January 7, 2007). "For the first time in English, the Argentine labyrinths of Edgar Brau." (http:/ / www. washingtonpost. com/ wp-dyn/ content/ article/ 2007/ 01/ 05/ AR2007010500168. html). The Washington Post. . [76] Casablanca and the Paradoxical Truth of Stereotyping (http:/ / books. google. com/ books?id=gb2MJdqN2owC& pg=PA79) by James F. Pontuso in Political Philosophy Comes to Rick's: Casablanca and American Civic Culture by James F. Pontuso. Lexington Books, 2005. ISBN 0-7391-1113-2, ISBN 978-0-7391-1113-0 [77] Archetypes: What You Need to Know About Them (http:/ / www. arttimesjournal. com/ film/ archetypes. htm) by Henry P. Raleigh in Art Times, April 2003 [78] "We'll Always Have Casablanca" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,923243-2,00. html) by Lance Morrow in Time, 27 December 1982 [79] "Influence and Intertextuality in Literary History" (http:/ / books. google. com/ books?id=3bzpxp_FHj8C& pg=PA32& lpg=PA32& dq=Casablanca+ archetypes& source=web& ots=6kgEs0_L7Q& sig=3xgMs1P8wseIz7gWOqko2NyF614& hl=en& sa=X& oi=book_result& resnum=6& ct=result) by Jay Clayton and Eric Rothstein, University of Wisconsin Press, 1991. ISBN 0-299-13034-7, ISBN 978-0-299-13034-3 [80] Umberto Eco, Travels in Hyperreality (1986) [81] Eco, Umberto. "Casablanca, or, The Clichs are Having a Ball" (http:/ / www. themodernword. com/ eco/ eco_casablanca. html). . Retrieved May 20, 2009.
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[82] Eco, Umberto (1994). Signs of Life in the USA: Readings on Popular Culture for Writers (Sonia Maasik and Jack Solomon, eds.) Bedford Books. [83] Gabbard, Krin; Gabbard, Glen O. (1990). "Play it again, Sigmund: Psychoanalysis and the classical Hollywood text." Journal of Popular Film & Television vol. 18 no. 1 p. 617 ISSN 0195-6051 [84] Koch 1973, p.166 [85] Greenberg, Harvey (1975). The Movies on Your Mind New York: Saturday Review Press, p. 88 quoted in Rosenzweig, p. 79 and Harmetz, p. 348 [86] Rosenzweig, p. 81 [87] Francisco 1980, p.195 [88] Ronald Haver. "Casablanca: The Unexpected Classic" (http:/ / www. criterion. com/ current/ posts/ 791). The Criterion Collection Online Cinematheque. . Retrieved January 8, 2010. [89] Harmetz 1992, pp.321324 [90] "101 Greatest Sceenplays" (http:/ / www. wga. org/ subpage_newsevents. aspx?id=1807). Writers Guild of America, west. . Retrieved 2007-08-03. [91] "Casablanca: Two-Disc Special Edition" (http:/ / www. amazon. com/ dp/ B00009W0WM). . [92] "Casablanca [HD-DVD] (1943)" (http:/ / www. amazon. com/ dp/ B000I0RR7Q). . [93] "Casablanca Humphrey Bogart" (http:/ / www. dvdbeaver. com/ film2/ DVDReviews27/ casablanca. htm). . [94] "HD DVD Review: Casablanca" (http:/ / hddvd. highdefdigest. com/ casablanca. html). . [95] "WHV Press Release: Casablanca Ultimate Collector's Edition (DVD/Blu-ray) Home Theater" (http:/ / www. hometheaterforum. com/ forum/ thread/ 275515/ whv-press-release-casablanca-ultimate-collector-s-edition-dvd-blu-ray). . [96] "Casablanca, Lethal Weapon Blu-ray to Be Pulled from Shelves" (http:/ / www. blu-ray. com/ news/ ?id=5904). . [97] "Casablanca (70th Anniversary Limited Collector's Edition Blu-ray/DVD Combo)" (http:/ / www. amazon. com/ Casablanca-Anniversary-Limited-Collectors-Edition/ dp/ B006BG7RI0/ ref=sr_1_2?s=movies-tv& ie=UTF8& qid=1335405184& sr=1-2). . Retrieved 2012-04-25. [98] Katz, Josh (25 April 2012). "Casablanca: 70th Anniversary Ultimate Collector's Edition Blu-ray (Updated)" (http:/ / www. blu-ray. com/ news/ ?id=8054). blu-ray.com. . Retrieved 2012-04-25. [99] Francisco 1980, p.204 [100] Harmetz 1992, p.342 [101] Yoram Allon, Hannah Patterson, Contemporary British & Irish Directors, Wallflower Press, 2001, p.332 [102] Stephen Hunter (December 14, 1990). "We'll always have 'Casablanca'--so why see 'Havana'?" (http:/ / articles. baltimoresun. com/ 1990-12-14/ entertainment/ 1990348013_1_robert-redford-havana-redford-plays). The Baltimore Sun. . [103] "Borders.com presents Michael Walsh, Author of "As Time Goes By"" (http:/ / web. archive. org/ web/ 20021028174808/ http:/ / www. liveworld. com/ transcripts/ borders/ 1-08-1999. 1-1. html). LiveWorld, Inc. January 8, 1999. Archived from the original (http:/ / www. liveworld. com/ transcripts/ borders/ 1-08-1999. 1-1. html) on October 28, 2002. . Retrieved 2007-08-13. [104] Walsh, Michael (1998). "How Did I Write "As Time Goes By"?" (http:/ / web. archive. org/ web/ 20080513160840/ http:/ / www. hachettebookgroupusa. com/ authorslounge/ articles/ 1999/ april/ article7805. html). Hachette Book Group USA. Archived from the original (http:/ / www. hachettebookgroupusa. com/ authorslounge/ articles/ 1999/ april/ article7805. html) on 2008-05-13. . Retrieved 2007-08-13. [105] Lawless, Jill (May 31, 2006). "'Mrs. Robinson' Returns in Sequel" (http:/ / web. archive. org/ web/ 20071012203236/ http:/ / cbsnews. com/ stories/ 2006/ 05/ 31/ ap/ entertainment/ mainD8HUTL900. shtml). CBS News. Archived from the original (http:/ / www. cbsnews. com/ stories/ 2006/ 05/ 31/ ap/ entertainment/ mainD8HUTL900. shtml) on October 12, 2007. . Retrieved 2007-08-13. [106] "Casablanca (1955)" (http:/ / www. imdb. com/ title/ tt0047719/ ). Internet Movie Database Inc. . Retrieved 2007-08-06. [107] "Casablanca (1983)" (http:/ / www. imdb. com/ title/ tt0084994/ ). Internet Movie Database Inc. . Retrieved 2007-08-06. [108] Harmetz 1992, p.338 [109] Harmetz 1992, p.331 [110] " " (http:/ / kageki. hankyu. co. jp/ casablanca/ ). Takarazuka Revue Company. . Retrieved 2009-10-03. [111] Krauthammer, Charles (January 12, 1987). "Casablanca In Color?" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,963207,00. html). Time. . Retrieved 2007-08-06. [112] Edgerton, Gary R. (Winter 2000). "The Germans Wore Gray, You Wore Blue". Journal of Popular Film & Television 27 (4): 24. [113] Harmetz 1992, p.74 [114] Sklar, Robert (1992). City Boys: Cagney, Bogart, Garfield. New Jersey: Princeton University Press. p.135. ISBN0-691-04795-2. [115] Behlmer 1985, pp.206207 [116] Harmetz 1992, p.229 [117] Epstein 1994, pp.3233 [118] Epstein 1994, pp.3335 [119] Harmetz 1992, p.55 [120] Harmetz 1992, p.208 [121] Fred R. Shapiro (January 15, 2010). "Movie Misquotations" (http:/ / www. nytimes. com/ 2010/ 01/ 17/ magazine/ 17FOB-onlanguage-t. html). The New York Times Magazine. .
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[122] Ben Child (11 May 2009). "Darth Vader line is the daddy of film misquotes, finds poll" (http:/ / www. guardian. co. uk/ film/ 2009/ may/ 11/ star-wars-movie-misquotes-poll). guardian.co.uk. . [123] Harmetz 1992, p.187 [124] "AFI's 100 Years100 Movie Quotes" (http:/ / www. afi. com/ 100years/ quotes. aspx). American Film Institute. . Retrieved November 15, 2011.
153
Bibliography
Behlmer, Rudy (1985). Inside Warner Bros. (19351951). London: Weidenfeld and Nicolson. ISBN0-297-79242-3. Casablanca (Two-Disc Special Edition DVD) (2003) (with audio commentaries by Roger Ebert and Rudy Behlmer and documentary Casablanca 50th Anniversary Special: You Must Remember This (http://www.imdb. com/title/tt0280526/), narrated by Lauren Bacall). Epstein, Julius J. (1994). Casablanca. Imprenta Glorias: Fifty Copies Conceived and Illustrated by Gloria Naylor. Francisco, Charles (1980). You Must Remember This: The Filming of Casablanca. Englewood Cliffs, New Jersey: Prentice Hall. ISBN0-13-977058-5. Gardner, Gerald (1988). The Censorship Papers: Movie Censorship Letters from the Hays Office, 1934 to 1968. New York: Dodd Mead. ISBN0-396-08903-8. Harmetz, Aljean (1992). Round Up the Usual Suspects: The Making of Casablanca Bogart, Bergman, and World War II. Hyperion. ISBN1-56282-761-8. Koch, Howard (1973). Casablanca: Script and Legend. The Overlook Press. ISBN0-87951-006-4. Lebo, Harlan (1992). Casablanca: Behind the Scenes. Fireside. ISBN0-671-76981-2. McGilligan, Pat (1986). Backstory: Interviews with Screenwriters of Hollywood's Golden Age. Berkeley and Los Angeles: University of California Press. ISBN0-520-05666-3. Miller, Frank (1992). Casablanca As Times Goes By: 50th Anniversary Commemorative. Turner Publishing Inc. ISBN1-878685-14-7. Robertson, James C. (1993). The Casablanca Man: The Cinema of Michael Curtiz London:Routledge. ISBN 0-415-06804-5 Rosenzweig, Sidney (1982). Casablanca and Other Major Films of Michael Curtiz. Ann Arbor, Mich.: UMI Research Press. ISBN 0-8357-1304-0
External links
P.O.V. Number 14, December 2002 (pdf) (http://pov.imv.au.dk/pdf/pov14.pdf) issue of a film studies journal that is entirely devoted to Casablanca Casablanca (http://www.imdb.com/title/tt0034583/) at the Internet Movie Database Casablanca (http://tcmdb.com/title/title.jsp?stid=610) at the TCM Movie Database Casablanca (http://www.allrovi.com/movies/movie/v8482) at AllRovi Casablanca (http://www.rottentomatoes.com/m/1003707-casablanca/) at Rotten Tomatoes Casablanca (http://www.boxofficemojo.com/movies/?id=casablanca.htm) at Box Office Mojo Streaming audio Casablanca (http://ia700508.us.archive.org/0/items/ScreenGuildTheater/Sgt_43-04-26_ep141_Casablanca. mp3) on Screen Guild Theater: April 26, 1943 Casablanca (http://ia700400.us.archive.org/20/items/Lux09/Lux_44-01-24_Casablanca.mp3) on Lux Radio Theater: January 24, 1944 Casablanca (http://ia600409.us.archive.org/33/items/Romance_339/Romance44-12-19083Casablanca. mp3) on Theater of Romance: December 19, 1944
1944 Going My Way
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1944 Going My Way

Going My Way
Directed by Produced by Leo McCarey Leo McCarey
Screenplay by Story by Starring Studio
Frank Butler Frank Cavett
Leo McCarey

Bing Crosby Barry Fitzgerald
Paramount Pictures
Distributed by Paramount Pictures Release date(s) Running time Country Language May 3, 1944 (USA)
Going My Way is a 1944 American musical comedy-drama film directed by Leo McCarey and starring Bing Crosby and Barry Fitzgerald. Based on astory by Leo McCarey, the film is about a new young priest taking over a parish from an established old veteran. Crosby sings five songs in the film.[1] It was followed the next year by a sequel, The Bells of St. Mary's. Going My Way was the highest-grossing picture of 1944, and was nominated for 10 Academy Awards, winning 7, including Best Picture.[2] Its success helped to make movie exhibitors choose Crosby as the biggest box-office draw of the year, a record he would hold for the remainder of the 1940s. After World War II, Bing Crosby and Leo McCarey presented a copy of the motion picture to Pope Pius XII at the Vatican.
Plot
The film follows Father Charles Chuck OMalley (Bing Crosby), an incoming priest whose unconventional style transforms the parish life of St. Dominics church in New York City. We meet OMalley on his first day at the new parish. O'Malley gets into a series of mishaps on his way to the church, and his informal appearance and attitude make a very poor impression with the elder pastor, Father Fitzgibbon (Barry Fitzgerald). The highly-traditional Fitzgibbon is further put off by OMalleys recreational habits particularly his golf-playing and his friendship with the even more casual pastor Timmy ODowd. In a discussion between O'Malley and O'Dowd without Fitzgibbon present, it is revealed that OMalley was sent by the bishop to take charge of the affairs of the parish, but that Fitzgibbon is to remain as pastor. To spare Fitzgibbons feelings, the older pastor is kept unaware of this arrangement and believes that OMalley is simply his assistant. A series of events in the first half of the film highlight the differences between OMalley and Fitzgibbons styles, as they deal with events like a parishioner being evicted and a young woman coming to the church having run away from home. The most consequential difference of opinion between OMalley and Fitzgibbon arises in their handling of the youth of the church, many of whom are consistently getting into trouble with the law in a gang led by Tony Scaponi (Stanley Clements). Fitzgibbon is inclined to look the other way, siding with the boys because of their frequent church attendance. OMalley instead seeks to make inroads into the boys lives, befriending Scaponi and eventually using this connection to convince the boys, against some initial reluctance, to become a church choir.
1944 Going My Way The noise of the practising choir annoys Fitzgibbon, who finally decides to go to the bishop and ask for OMalley to be transferred away. In the course of the conversation, Fitzgibbon infers the bishops intention to put OMalley in charge of the parish. To avoid an uncomfortable situation, instead of making his initial request, Fitzgibbon asks the bishop to put OMalley in charge, and then, resigned to his fate of losing control over the church, he informs OMalley of his new role. Distressed, Fitzgibbon then runs away from the parish, leading to a search. He returns late at night, and as OMalley puts the older priest to bed, the two begin to bond, discussing Fitzgibbons long-put-off desire to go to Ireland and see his mother, whom he hasnt seen in 45 years, and who is now over 90. OMalley puts Fitzgibbon to sleep with an Irish lullaby, Too-ra-loo-ra-loo-ral. We now meet Jenny Linden (Ris Stevens), an old girlfriend of O'Malley's whom he left in order to join the priesthood, but who has since risen to a highly successful acting and singing career. O'Malley and Jenny discuss their past, and he then watches from the side of the stage as she performs a number for her starring role as Carmen at the Metropolitan Opera. O'Malley next pays a visit to the young woman who was earlier seen running away from home, who is now suspected of living in sin with the son of the church's mortgage-holder. On this visit, OMalley describes to the young couple his calling in life to go his way, which to him means to follow after the joyous side of religion and lead others to do the same. He performs for them the song Going My Way, which he wrote on this theme. The elements of the story now begin to come together. Jenny visits OMalley at the church, sees the boys choir, and reads the sheet music of Going My Way. She, O'Malley, and Father ODowd devise a plan to rent out the Metropolitan, perform Going My Way with the choir and a full orchestra, and sell the rights to the song, thereby saving the church from its financial woes. The plan fails, as the music executive brought on to listen to the song does not believe that it will sell. As the executive (William Frawley) is leaving, the choir decides to make the most of its opportunity on the grand stage, and sings another song, Swinging on a Star. The executive overhears the song and decides to buy it, providing enough money to pay off the church mortgage. With the church affairs in order, OMalley and Fitzgibbon begin to bond more closely, and even go out on the golf course together. Just as everything seems to have fallen into place, though, the parish church is damaged in a massive fire. At about the same time, O'Malley prepares to move on to a new assignment from the bishop. He leaves ODowd as Fitzgibbons new assistant, and puts Tony Scaponi in charge of the choir. On Christmas Eve the people gather in a temporary church, in a service that also serves as O'Malley's farewell. As a going away present to Fitzgibbon, OMalley flies Fitzgibbons mother in from Ireland. As mother and son embrace in front of the church while the choir sings Too-ra-loo-ra-loo-ral, Father OMalley quietly slips away.
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Cast
Bing Crosby as Father Chuck O'Malley Barry Fitzgerald as Father Fitzgibbon Frank McHugh as Father Timothy O'Dowd James Brown as Ted Haines, Jr. Gene Lockhart as Ted Haines, Sr. Ris Stevens as Genevieve Linden Jean Heather as Carol James Porter Hall as Mr. Belknap Fortunio Bonanova as Tomaso Bozanni Eily Malyon as Mrs. Carmody
Stanley Clements as Tony Scaponi Carl "Alfalfa" Switzer as Herman Langer[3]
1944 Going My Way
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Production
Filming locations
Lakeside Country Club, 4500 W. Lakeside Drive, Toluca Lake, Los Angeles, California, USA (golf sequences) Paramount Studios, 5555 Melrose Avenue, Hollywood, Los Angeles, California, USA (studio) Saint Monica's Catholic Church, 715 California Avenue, Santa Monica, California, USA (St. Dominic's) Shrine Auditorium, 665 W. Jefferson Boulevard, Los Angeles, California, USA (parking lot)[4]
Awards
The film was nominated for 10 Academy Awards, winning 7, including Best Picture.[2]
Award Best Picture Best Director Best Actor Best Actor Best Writing, Screenplay Best Original Motion Picture Story Best Supporting Actor Best Cinematography, Black-and-White Result Won Won Won Winner Paramount Pictures (Leo McCarey, producer) Leo McCarey Bing Crosby
Nominated Barry Fitzgerald Won Won Won Nominated Frank Butler and Frank Cavett Leo McCarey Barry Fitzgerald Lionel Lindon Winner was Joseph LaShelle Laura Leroy Stone Winner was Barbara McLean Wilson Swinging on a Star Music: James Van Heusen Lyrics:Johnny Burke
Best Film Editing
Nominated Won
Best Music, Song
Fitzgerald was nominated as both Best Actor and Best Supporting Actor for his role, winning the latter and losing the former to Crosby. This was the first and only time this has occurred in Academy history; the rules were subsequently changed to ensure that actors could only be nominated in one category by the same performance. In 2004, Going My Way was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Adaptations
Going My Way was adapted as a radio play the January 8, 1945, broadcast of The Screen Guild Theater starring Bing Crosby, Barry Fitzgerald and Paul Lukas. It was also adapted on the May 3, 1954, broadcast of Lux Radio Theater with Barry Fitzgerald. The film also inspired a half-hour situation comedy starring Gene Kelly in the role of father O'Malley. The series ran on the ABC Television Network schedule for one season during the 196263 season.
1944 Going My Way
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References
[1] "Going My Way" (http:/ / en. wikipedia. org/ wiki/ Going_My_Way). Internet Movie Database. . Retrieved August 4, 2012. [2] "Awards for Going My Way" (http:/ / www. imdb. com/ title/ tt0036872/ awards). Internet Movie Database. . Retrieved August 4, 2012. [3] "Full cast and crew for Going My Way" (http:/ / www. imdb. com/ title/ tt0036872/ fullcredits). Internet Movie Database. . Retrieved August 4, 2012. [4] "Locations for Going My Way" (http:/ / www. imdb. com/ title/ tt0036872/ locations). Internet Movie Database. . Retrieved August 4, 2012.
External links
Going My Way (http://www.imdb.com/title/tt0036872/) at the Internet Movie Database Going My Way (http://www.allrovi.com/movies/movie/v20120) at AllRovi Going My Way (http://tcmdb.com/title/title.jsp?stid=76588) at the TCM Movie Database Going My Way (http://www.rottentomatoes.com/m/going_my_way/) at Rotten Tomatoes
1945 The Lost Weekend
158

For other uses, see: The Lost Weekend
The Lost Weekend

Directed by Produced by Screenplay by Story by Starring Music by Billy Wilder Charles Brackett Charles Brackett Billy Wilder Charles R. Jackson Ray Milland Jane Wyman Mikls Rzsa
Cinematography John F. Seitz Editing by Distributed by Doane Harrison Paramount Pictures (original) Universal Studios (current)
Release date(s) Running time Country Language Budget
November 16, 1945
The Lost Weekend is a 1945 Academy Award winning American drama film directed by Billy Wilder and starring Ray Milland and Jane Wyman. The film was based on a novel of the same title by Charles R. Jackson about a writer who drinks heavily. In 2011, it was added to the National Film Registry of the Library of Congress.
Plot
The film recounts the life of an alcoholic New York writer, Don Birnam, over the last half of a six year period, and in particular on a weekend alcoholic binge. A shot of the Manhattan skyline to an apartment, with a whiskey bottle hung outside a window by a thin rope. Don and his brother Wick are packing for a weekend vacation. Wick believes that Don, a recovering alcoholic, has been on the wagon for ten days. After Don's girlfriend Helen St. James arrives to wish them bon voyage, she lets it slip that she has two tickets to a Barbirolli concert, but is going alone. Don urges his brother to go with her and says they'll take a later train for their weekend trip. Wick, having disposed of his brother's hidden supply of drink, becomes suspicious of why he is being hustled out. Don angrily demands time to gather his thoughts alone. Wick reluctantly agrees to go and reassures Helen he has found Don's hidden supply of alcohol and points out Don is broke. After they leave, Don frantically tries to find alcohol he has hidden. The cleaning lady arrives for work, but Don cons her out of her wages and sends her away. Don takes the money he swindled to Nat's Bar on Third Avenue, based on the legendary P. J. Clarke's, and gets drunk, missing the train he is meant to catch. Wick, effectively rejecting his brother, intends to leave without him, though Helen is wary of leaving Don alone for four days. She is very busy with her work at Time magazine. As Wick
1945 The Lost Weekend is leaving the building, he urges Helen to give herself a chance by dropping Don. Helen waits. Don sneaks into his apartment to avoid her so he can drink. He quickly hides the cheap whiskey he has bought, in addition to the many drinks at the bar. The following morning he finds a message from Helen pinned to his front door, urging him to call her. Later at the bar, owner Nat voices his distaste for how Don treats Helen and another girl who hangs out at the bar. Don recounts to Nat how he met Helen three years earlier at the Metropolitan Opera after a matinee performance of La Traviata. As he is checking his coat, he slides a pint of rye in his raincoat pocket. During the performance, he becomes aggitated during "Libiamo ne' lieti calici", the "drinking song" in the first act. He cannot think of anything but the alcohol in the hands of the players and the bottle of rye in his pocket. He abruptly leaves the performance, and upon collecting his coat is presented with a woman's leopardskin coat. He becomes irritated that he can't get his own coat and is forced to wait until the only person remaining in the area, is the woman with his hat and coat. He is incredibly rude to her, but he makes a quick recovery with his manners and she invites him to a party. He declines, but as shifts his coat off his arm, the flask falls out of his pocket and smashes on the sidewalk. He tells a lie that it's for a friend, and asks if he can still go along to the cocktail party. He tells the bartender he chose not to drink that night... for her. Their relationship becomes serious. One day he is due to meet Helen's parents, visiting from Toledo, Ohio, whom he overhears discussing his character flaws in the hotel lobby. Overpowered by anxiety, he escapes into the phone booth as Helen arrives and, while clandestinely observing her, calls and asks her to go ahead with lunch without him. This incident caused his return to drinking. Later, after Wick attempts to cover for Don's absence by telling Helen that Don is in Philadelphia, Don emerges from hiding and confesses his alcohol problem to Helen. He recognizes himself as two people: 'Don the writer' and 'Don the drunk', who is dependent on his brother. Don explains that he dropped out of college, identified earlier as Cornell, because he was convinced he was already a Hemingway, a "great writer." As he began to doubt his writing talent, he found solace in drink. Don says he can only develop writing ideas while drunk, but he forgets them when sober. Don suggests Helen drop him, but his words only strengthen Helen's resolve to help Don. The story returns to the present. Don cannot find a hidden bottle of whiskey, but discovers the name of a bar he has not visited before on a pack of matches. In order to pay his bill at Harry & Joe's, he steals a woman's handbag, takes it into the men's room, and manages to extract enough money to pay his bill. The woman, though, has recognized the theft, and he is identified as the culprit. He admits he has taken her money. The woman takes pity on him in his drunken state and does not press charges. He is told not to return and thrown out. The next day, Saturday, Don's phone rings repeatedly. Don supposes it is Helen, but ignores it. Later, he tries and fails to pawn his typewriter, since all the Third Avenue pawnshops are closed because of Yom Kippur. Returning exhausted to the bar, Nat refuses to serve him. Don visits Gloria, another habitu of Nat's Bar, whom he had half-seriously propositioned at the bar and who has admitted being attracted to him. She is now angry over the dates he has broken with her, but after he kisses her in desperation, she yields and hands over a little money. He then falls down the stairs and is knocked unconscious. Coming around in the alcoholics' ward of a hospital on Sunday, he is confronted by 'Bim' Nolan who mockingly recounts the histories of other patients at "Hangover Plaza." Bim allows that admissions to the ward were more Don Birnam (Ray Milland) stumbling down numerous during prohibition and offers Don a solution to counteract Third Avenue, seeking to pawn his typewriter. the effects of the DTs, which Don refuses. During the night, on his second attempt and wearing a stolen coat over his pajamas, Don succeeds in escaping from the ward while the staff are occupied with a more disturbed and violent patient.
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1945 The Lost Weekend Meanwhile, Helen sleeps on the stairs outside his apartment. Don always ignores his milk and newspaper deliveries, but Helen is awoken by the milkman. Don's landlady assumes he is on one of his benders. She tells Helen she would be better off if he were dead. Elsewhere, as a liquor store is opening for the day, Don snatches a cheap bottle of whiskey from an assistant clerk. He returns home and ignores the ringing phone. Later, while inebriated, he imagines a mouse appearing out of a crack in the wall and a bat flying around his living room. The bat attacks the mouse. Bim had explained earlier that alcoholics usually imagine seeing small animals rather than "pink elephants." Helen returns, alerted by a call from Don's landlady who can hear his screams. Finding him in a delirious state, she vows to look after him and spends the night for reasons of propriety on Don's couch. In the morning, Tuesday, Don is again absent. Helen learns that Don has pawned her coatthe one that brought them togetherfor a gun. Once more, Helen returns to Don's apartment. He is eager to get rid of her, though she asks him to lend her his raincoat. Don claims their relationship is at an end. Helen, via a reflection in a mirror, spots the gun concealed in the bathroom wash basin and offers him drink as a distraction. Quickly, she is able to retrieve the gun, but Don wrenches it away from her. She reiterates her love for him. As Helen tries to persuade Don to quit drinking, the door buzzer sounds. Don answers, and Nat enters to return the typewriter Don lost at Gloria's home the night he fell. After Helen persuades him that "Don the writer" and "Don the drunk" are the same person, Don finally commits to writing his novel The Bottle, dedicated to Helen, which will recount the events of the weekend. He drops a cigarette into a glass of whiskey rather than drink it. He recalls that while packing for his lost weekend his mind was on a bottle suspended just outside his window, he ponders, over a reversal of the opening shot, how many other people in New York City are in the same position as he.
160
Cast
Ray Milland as Don Birnam Jane Wyman as Helen St. James Phillip Terry as Wick Birnam Howard Da Silva as Nat Doris Dowling as Gloria Frank Faylen as 'Bim' Nolan Mary Young as Mrs. Deveridge Anita Sharp-Bolster as Mrs. Foley (as Anita Bolster) Lillian Fontaine as Mrs. St. James (as Lilian Fontaine) Frank Orth as Opera Cloak Room Attendant Lewis L. Russell as Mr. St. James
Production and notable features

Wilder was originally drawn to this material after having worked with Raymond Chandler on the screenplay for Double Indemnity. Chandler was a recovering alcoholic at the time, and the stress and tumultuous relationship with Wilder during the collaboration caused him to go back to drinking. Wilder made the film, in part, to try to explain Chandler to himself.[1] The film's musical score was among the first to feature the theremin, which was used to create the pathos of alcoholism. It shares similarity with Spellbound, the theme being nearly the same This movie also made famous the "character walking toward the camera as neon signs pass by" camera effect. Rights to the film are currently held by Universal Studios, which owns the pre-1950 Paramount sound feature film library via EMKA, Ltd.
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Awards and honors

In 2011, The Lost Weekend was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.[2] The Registry said the film was "an uncompromising look at the devastating effects of alcoholism" and that it "melded an expressionistic film-noir style with documentary realism to immerse viewers in the harrowing experiences of an aspiring New York writer willing to do almost anything for a drink."[2]
Academy Awards
At the 18th Academy Awards in May 1946, The Lost Weekend received seven nominations and won in 4 categories.
Category Academy Award for Best Picture Academy Award for Best Director Academy Award for Best Actor Academy Award for Best Screenplay Billy Wilder Ray Milland Billy Wilder and Charles Brackett John F. Seitz Nominee Result Won - Charles Brackett Producer Won Won Won
Academy Award for Cinematography - Black and White
Lost to Harry Stradling for The Picture of Dorian Gray Lost to Mikls Rzsa for Spellbound
Academy Award for Best Music, Scoring of a Dramatic or Comedy Picture Academy Award for Best Film Editing
Mikls Rzsa
Doane Harrison
Lost to Robert J. Kern for National Velvet
Cannes Film Festival

This film also shared the 1945 Grand Prix du Festival International du Film at the first Cannes Film Festival and Milland was awarded Best Actor. To date, The Lost Weekend and Marty (1955) are the only films ever to win both the Academy Award for Best Picture and the highest award at the Cannes Film Festival. (Marty received the Palme d'Or (Golden Palm), which, beginning at the 1955 festival, replaced the Grand Prix du Festival International du Film as the highest award.)

The Lost Weekend was nominated for the following AFI's 100 Years... lists: AFI's 100 Years...100 Movies (1998) AFI's 100 Years...100 Movie Quotes (2005): "One drink's too many, and a hundred's not enough." AFI's 100 Years of Film Scores (2005) AFI's 100 Years...100 Cheers (2006) AFI's 100 Years...100 Movies (10th Anniversary Edition) (2007)
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Adaptations
The Lost Weekend was adapted as a radio play on the January 7, 1946 broadcast of The Screen Guild Theater, starring Ray Milland, Jane Wyman, and Frankie Faylen in their original film roles. On March 10, 1946three days after winning the Academy Award -- Ray Milland appeared as a guest on a radio broadcast of The Jack Benny Show. In a spoof of The Lost Weekend, Ray and Jack Benny played alcoholic twin brothers. Phil Harris -- who normally played Jack Benny's hard-drinking bandleader on the showplayed the brother who tried to convince Ray and Jack to give up liquor. ("Ladies and gentlemen," said an announcer, "the opinions expressed by Mr. Harris are written in the script and are not necessarily his own.") In the alcoholic ward scene, smart-aleck Frank Nelson played the ward attendant who promised Ray and Jack that they would soon start seeing DT visions of strange animals. When the DT visions appeared (with Mel Blanc providing pig squeals, monkey chatters, and other animal sound effects), Ray chased them off. "Ray, they're gone!" Benny shouted. "What did you do?" Milland replied, "I threw my Oscar at them!"
References
[1] "Shadows of Suspense". Double Indemnity Universal Legacy Series DVD (Universal Studios). 2006. [2] "2011 National Film Registry More Than a Box of Chocolates" (http:/ / www. loc. gov/ today/ pr/ 2011/ 11-240. html). Library of Congress. December 28, 2011. . Retrieved December 28, 2011.
External links
The Lost Weekend (http://www.imdb.com/title/tt0037884/) at the Internet Movie Database The Lost Weekend (http://tcmdb.com/title/title.jsp?stid=81891) at the TCM Movie Database The Lost Weekend (http://www.allrovi.com/movies/movie/v30170) at AllRovi The Lost Weekend (http://www.rottentomatoes.com/m/lost_weekend/) at Rotten Tomatoes The Lost Weekend (http://www.filmsite.org/lostw.html) film review at filmsite.org The Lost Weekend (http://ia600508.us.archive.org/0/items/ScreenGuildTheater/ Sgt_46-01-07_ep279_Lost_Weekend.mp3) on Screen Guild Theater: January 7, 1946
1946 The Best Years of Our Lives
163

The Best Years of Our Lives
Directed by Produced by Written by Starring William Wyler Samuel Goldwyn Robert E. Sherwood MacKinlay Kantor Fredric March Myrna Loy Dana Andrews Teresa Wright Virginia Mayo Harold Russell Hugo Friedhofer
Music by
Cinematography Gregg Toland Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Daniel Mandell Samuel Goldwyn Productions RKO Radio Pictures
November 21, 1946
172 minutes United States English $2.1 million $23,650,000

[1]
The Best Years of Our Lives is a 1946 American drama film directed by William Wyler and starring Fredric March, Myrna Loy, Dana Andrews, Teresa Wright, Virginia Mayo, and Harold Russell. The film is about three United States servicemen trying to piece their lives back together after coming home from World War II. Samuel Goldwyn was inspired to produce a film about veterans after reading an August 7, 1944 article in Time about the difficulties experienced by men returning to civilian life. Goldwyn hired former war correspondent MacKinlay Kantor to write a screenplay. His work was first published as a novella, Glory for Me, which Kantor wrote in blank verse.[2][3] Robert Sherwood then adapted the novella as a screenplay.[3] The Best Years of Our Lives won seven Academy Awards in 1946, including Best Picture, Best Director (William Wyler), Best Actor (Fredric March), Best Supporting Actor (Harold Russell), Best Film Editing (Daniel Mandell), Best Adapted Screenplay (Robert Sherwood), and Best Original Score (Hugo Friedhofer).[4] In addition to its critical success, the film quickly became a great commercial success upon release. It became the highest-grossing film in both the United States and UK since the release of Gone with the Wind. It remains the sixth most-attended film of all time in the UK, with over 20 million tickets sold.[5] The film had one of the highest viewing figures of all time, with ticket sales exceeding $20.4 million.[6]
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Plot
After World War II, Fred Derry (Dana Andrews), Homer Parrish (Harold Russell), and Al Stephenson (Fredric March) meet while flying home to Boone City (a fictional city patterned after Cincinnati, Ohio.[2]). Fred was a decorated Army Air Forces captain and bombardier with the Eighth Air Force in Europe who still suffers from nightmares of combat. Homer lost both hands from burns suffered when his aircraft carrier was sunk, and now uses mechanical hook prostheses. Al served as an infantry platoon sergeant in the 25th Infantry Division in the Pacific. Before the war, Al was a bank loan officer. He is a mature man with a comfortable home and a loving family: wife Milly (Myrna Loy), adult daughter Peggy (Teresa Wright), and college freshman son Rob. Al has trouble readjusting to civilian life, as do his two new acquaintances, and is showing signs of alcoholism. Shortly after returning home, Al is pursuaded to return to the bank (with a promotion and raise). The bank president views Al's military experience as valuable in dealing with other vets who are returning to civilian life, and may seek loans from the bank. Al soon realizes the narrow tightrope that he's walking, when he approves a loan (without collateral) to a young Navy vet who wishes to purchase land for a farm, and is soon forced to explain to the bank president why he made the approval. Later, at a banquet held by the bank officers in his honor, a slightly inebriated Al manages to eloquently articulate, with some rambling, his belief that the bank (and America) must stand with the vets who risked everything to defend the country, and give them every chance possible to rebuild their lives back home. Before the war, Fred had been an unskilled drugstore soda jerk. He wants something better, but the tight postwar job market forces him to reluctantly return to his old job. Fred had met Marie (Virginia Mayo) while in flight training and married her shortly afterward, before shipping out less than a month later. Marie became a nightclub waitress while Fred was overseas. Marie seems to have been largely enamored of Fred when he was an aviator, and now does not enjoy being married to a soda jerk. Homer was a football quarterback and became engaged to Wilma (Cathy O'Donnell) before joining the Navy. Both Homer and his parents now have trouble dealing with his disability. He does not want to burden Wilma with a handicapped man and so pushes her away, although she adjusts best to his changed life, and still wants to marry him. Peggy meets Fred while bringing her father home from a bar where the three men meet once again. They are attracted to each other, and Peggy dislikes Marie, finding her shallow. Peggy tells her parents she intends to end Fred and Marie's marriage, but they tell her that their own marriage overcame similar problems. In order to protect Peggy, Al demands that Fred to stop seeing his daughter. Fred agrees, but the friendship between the two men becomes strained. At Fred's drugstore an obnoxious customer, who says that the war was fought against the wrong enemies, gets into a fight with Homer. Fred intervenes to protect his friend, and knocks the man into a glass counter. Having lost his job, Fred and Homer leave the drugstore. Later, Fred encourages Homer to put his misgivings behind and marry Wilma, offering to be his best man if he needs one. Arriving home, Fred discovers his wife with another veteran (Steve Cochran). Marie confronts Fred and tells him that she thinks he is a flop and that she is getting a divorce. Fred decides to leave town, and gives his father his medals and citations, saying that they were "passed out with the K-rations." His father tries to persuade Fred to stay and start a new life on his home turf. After Fred leaves, his father is nearly brought to tears when reading the citation for Fred's Distinguished Flying Cross, and learns for the first time what a hero his son truly had been. At the airport, Fred books space on the first outbound aircraft, without regard for the destination. While waiting, he wanders into a vast aircraft boneyard. Inside the nose of a B-17, he begins to relive and purge himself of the intense memories of combat. The boss of a work crew interrupts him. When the crew chief says the aluminum from the aircraft is being salvaged to build housing, Fred persuades the boss to hire him. At home, one evening, Wilma visits Homer and tells him that her parents want to her leave Boone City for an extended period, to try and forget him. Torn between wanting her to stay, but not wishing to burden her life living with someone in his condition, Homer bluntly demonstrates to Wilma how hard life with him would be, but when Wilma makes clear that she loves him anyway, he gives in and agrees to marry her.
1946 The Best Years of Our Lives The story concludes on the day of Homer and Wilma's wedding, in the Parrish home. True to his word, the now-divorced Fred is Homer's best man at the wedding. Al and Fred meet for the first time after their confrontation in Butch's over his relationship with Peggy; and despite Al's friendly overtures, Fred remains cool. During the ceremony, Fred and Peggy watch each other tentatively from across the room. After the ceremony, Fred becomes convinced that he has to put the past behind him and build a new life. He approaches Peggy and holds her, telling her that it might be years before their lives become comfortable. She smiles and they embrace.
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Cast
Myrna Loy as Milly Stephenson Fredric March as Technical Sergeant Al Stephenson Dana Andrews as Captain Fred Derry Teresa Wright as Peggy Stephenson Virginia Mayo as Marie Derry Cathy O'Donnell as Wilma Cameron Hoagy Carmichael as Uncle Butch Harold Russell as Petty Officer 2nd Class Homer Parrish Gladys George as Hortense Derry Roman Bohnen as Pat Derry Ray Collins as Mr. Milton Minna Gombell as Mrs. Parrish Walter Baldwin as Mr. Parrish Steve Cochran as Cliff Dorothy Adams as Mrs. Cameron Don Beddoe as Mr. Cameron Marlene Aames as Luella Parrish Charles Halton as Prew Ray Teal as Mr. Mollett Howland Chamberlain as Thorpe Dean White as Novak Erskine Sanford as Bullard Michael Hall as Rob Stephenson Victor Cutler as Woody
Casting brought together established stars as well as character actors and relative unknowns. Famed drummer Gene Krupa was seen in archival footage, while Tennessee Ernie Ford, later a famous television star, appeared as an uncredited "hillbilly singer" (in the first of his only three film appearances). At the time the film was shot, Ford was unknown as a singer. He worked in San Bernardino as a radio announcer-disc jockey. Blake Edwards, later notable as a film producer and director, appeared fleetingly as an uncredited "Corporal". Actress Judy Wyler was cast in her first role in her father's production. Additional uncredited cast members include Mary Arden, Al Bridge, Harry Cheshire, Joyce Compton, Heinie Conklin, Clancy Cooper, Claire Du Brey, Tom Dugan, Edward Earle, Billy Engle, Pat Flaherty, Stuart Holmes, John Ince, Teddy Infuhr, Robert Karnes, Joe Palma, Leo Penn, Jack Rice, Suzanne Ridgeway, Ralph Sanford and John Tyrrell.[7]
Production
Director William Wyler had flown combat missions over Europe in filming Memphis Belle (1944) and worked hard to get accurate depictions of the combat veterans he had encountered. Wheeler changed the original casting that had featured a veteran suffering from posttraumatic stress disorder and sought out Harold Russell, a non-actor to take on the exacting role of Homer Parrish.[8] For The Best Years of Our Lives, he asked the principal actors to purchase their own clothes, in order to connect with daily life and produce an authentic feeling. Other Wyler touches included constructing life-size sets, which went against the standard larger sets that were more suited to camera positions. The impact for the audience was immediate, as each scene played out in a realistic, natural way.[8] The movie began filming on April 15, 1946 at a variety of locations, including the Los Angeles County Arboretum and Botanic Garden, Ontario International Airport, Ontario, California, Raleigh Studios, Hollywood and the Samuel Goldwyn/Warner Hollywood Studios.[8] Many scenes were also filmed in Phoenixville, PA, most notably the banking scenes using the Farmers and Mechanics Bank located on Main Street and various other scenes showing Bridge Street and Main Street in Phoenixville, PA. The Best Years of Our Lives is notable for cinematographer
1946 The Best Years of Our Lives Gregg Toland's use of deep focus photography, in which objects both close to and distant from the camera are in sharp focus.[9] For the passage of Fred Derry's reliving a combat mission while sitting in the remains of a former bomber, Wyler used "zoom" effects to simulate an aircraft's taking off.[10] The "Jackson High" football stadium seen early in the movie in aerial footage was Corcoran Stadium, the home of Xavier University's (Cincinnati) football team from 1929 to 1973. After the war, the combat aircraft featured in the film were being destroyed and disassembled for reuse as scrap material. The scene of Derry's walking among aircraft ruins was filmed at the Ontario Army Air Field in Ontario, California. The former training facility had been converted into a scrap yard, housing nearly 2,000 former combat aircraft in various states of disassembly and reclamation.[8] Big-band jazz drummer Gene Krupa briefly appears in a montage of nightclub performers.
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Reception
Upon its release, the film received extremely positive reviews from critics. Shortly after its premiere at the Astor Theater, New York, Bosley Crowther, film critic for The New York Times, hailed the film as a masterpiece. He wrote, It is seldom that there comes a motion picture which can be wholly and enthusiastically endorsed not only as superlative entertainment but as food for quiet and humanizing thought... In working out their solutions Mr. Sherwood and Mr. Wyler have achieved some of the most beautiful and inspiring demonstrations of human fortitude that we have had in films."[11] He also said the ensemble casting gave the "'best' performance in this best film this year from Hollywood." A present-day critic, Dave Kehr, wrote, The film is very proud of itself, exuding a stifling piety at times, but it works as well as this sort of thing can, thanks to accomplished performances by Fredric March, Myrna Loy, and Dana Andrews, who keep the human element afloat. Gregg Toland's deep-focus photography, though, remains the primary source of interest for today's audiences."[9] David Thomson offers tempered praise: "I would concede that Best Years is decent and humane... acutely observed, despite being so meticulous a package. It would have taken uncommon genius and daring at that time to sneak a view of an untidy or unresolved America past Goldwyn or the public."[12] Manny Farber called it "a horse-drawn truckload of liberal schmaltz."[13][14] In July 2010, the film has a 97% "Fresh" rating at Rotten Tomatoes, based on 36 reviews.[15] The film enjoys a 100% "Fresh" rating on the site's "Top Critics" section, based on 8 reviews. Chicago Sun Times film critic Roger Ebert put the film on his "Great Movies" list in 2007, calling it "...modern, lean, and honest."[16] The film was a massive popular success. When box office prices are adjusted for inflation, it remains one of the top 100 grossing films in U.S. history. Among films released before 1950, only Gone With the Wind, The Bells of St. Mary's and four Disney titles have done more total business, in part due to later re-releases. (Reliable box office figures for certain early films such as Birth of a Nation and Charlie Chaplin's comedies are unavailable.) [17]
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Awards and honors

1947 Academy Awards The film received seven Academy Awards. Fredric March won his second Best Actor award (after winning in 1932 for Dr. Jekyll and Mr. Hyde). (Dana Andrews' brilliant performance turned out to be overshadowed by the acclaim Fredric March and Harold Russell received.) Despite his Oscar-nominated performance, Harold Russell was not a professional actor. As the Academy Board of Governors considered him a long shot to win, they gave him an honorary award "for bringing hope and courage to his fellow veterans through his appearance". When Russell won Best Supporting Actor, there was an enthusiastic response. He is the only actor to have received two Academy Awards for the same performance. He later sold one of the awards at auction for $60,000, to pay his wife's medical bills.[18]
Award Best Motion Picture Best Director Best Actor Best Writing (Screenplay) Best Supporting Actor Best Film Editing Best Music (Score of a Dramatic or Comedy Picture) Best Sound Recording Result Won Won Won Won Won Won Won Nominated Won Winner Samuel Goldwyn Productions (Samuel Goldwyn, Producer) William Wyler Fredric March Robert E. Sherwood Harold Russell Daniel Mandell Hugo Friedhofer Gordon E. Sawyer Winner was John P. Livadary - The Jolson Story To Harold Russell
Honorary Award
1947 Golden Globe Awards Won: Best Dramatic Motion Picture Won: Special Award for Best Non-Professional Acting - Harold Russell 1948 BAFTA Awards Won: BAFTA Award for Best Film from any Source Other wins National Board of Review: NBR Award Best Director, William Wyler; 1946. New York Film Critics Circle Awards: NYFCC Award Best Director, William Wyler; Best Film; 1946. Bodil Awards: Bodil; Best American Film, William Wyler; 1948. Cinema Writers Circle Awards, Spain: CEC Award; Best Foreign Film, USA; 1948.
In 1989, the National Film Registry selected it for preservation in the United States Library of Congress as being deemed "culturally, historically, or aesthetically significant." American Film Institute recognition 1998 AFI's 100 Years... 100 Movies #37 2006 AFI's 100 Years... 100 Cheers #11 2007 AFI's 100 Years... 100 Movies (10th Anniversary Edition) #37
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References
Notes
[1] " 'Best Years of Our Lives' (1946)." (http:/ / www. boxofficemojo. com/ movies/ ?id=bestyearsofourlives. htm) Box Office Mojo. Retrieved: February 4, 2010. [2] Orriss 1984, p. 119. [3] Levy, Emmanuel. "Review: "The Best Years of Our Lives" (1946)." (http:/ / www. emanuellevy. com/ article. php?articleID=583) emanuellevy.com, 4 May 2010. Retrieved: November 20, 2011. [4] "The 19th Academy Awards (1947) Nominees and Winners." (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 19th-winners. html) oscars.org. Retrieved: November 20, 2011. [5] "BFI'S Ultimate Film Chart." (http:/ / www. bfi. org. uk/ features/ ultimatefilm/ chart/ index. php) BFi.org.uk. Retrieved: July 27, 2010. [6] "Top 100 films." (http:/ / www. film4. com/ ) Channel 4. Retrieved: October 25, 2010. [7] " 'The Best Years of Our Lives' (1946): Full cast and credits." (http:/ / www. imdb. com/ title/ tt0036868/ fullcredits#cast) Internet Movie Database. Retrieved: February 4, 2010. [8] Orriss 1984, p. 121. [9] Kehr, Dave. The Best Years of Our Lives. (http:/ / onfilm. chicagoreader. com/ movies/ capsules/ 942_BEST_YEARS_OF_OUR_LIVES) The Chicago Reader. Retrieved: April 26, 2007. [10] Orriss 1984, pp. 121122 [11] Crowther, Bosley. The Best Years of our Lives. (http:/ / movies2. nytimes. com/ mem/ movies/ review. html?res=EE05E7DF1739E561BC4A51DFB767838D659EDE) The New York Times, November 22, 1946. Retrieved: April 26, 2007. [12] Thomson, 2002, p. 949. [13] Flood, 1998, p. 15. [14] OCLC90715570 "Manny Farber." (http:/ / www. findarticles. com/ p/ articles/ mi_m0268/ is_n1_v37/ ai_21118156)findarticles.com. Retrieved: April 26, 2007. [15] " 'The Best Years of Our Lives'." (http:/ / www. rottentomatoes. com/ m/ best_years_of_our_lives/ ) Rotten Tomatoes. Retrieved: July 30, 2010. [16] Ebert, Roger. "The Best Years of Our Lives (1946)." (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20071229/ REVIEWS08/ 473062636/ 1023) Chicago Sun Times, December 29, 2007. Retrieved: November 20, 2011. [17] "All-time Films (adjusted)." (http:/ / boxofficemojo. com/ alltime/ adjusted. htm) Box Office Mojo. Retrieved: September 19, 2010. [18] Bergan, Ronald. "Obituary: Harold Russell; Brave actor whose artificial hands helped him win two Oscars." (http:/ / www. guardian. co. uk/ news/ 2002/ feb/ 06/ guardianobituaries) The Guardian, February 6, 2002. Retrieved: June 12, 2012.
Bibliography
Dolan, Edward F. Jr. Hollywood Goes to War. London: Bison Books, 1985. ISBN 0-86124-229-7. Flood, Richard. "Reel crank - critic Manny Farber." Artforum, Volume 37, Issue 1, September 1998. ISSN 0004-3532. Hardwick, Jack and Ed Schnepf. "A Viewer's Guide to Aviation Movies", in The Making of the Great Aviation Films. General Aviation Series, Volume 2, 1989. Kinn, Gail and Jim Piazza. The Academy Awards: The Complete Unofficial History. New York: Black Dog & Leventhal, 2008. ISBN 978-1-57912-772-5. Orriss, Bruce. When Hollywood Ruled the Skies: The Aviation Film Classics of World War II. Hawthorn, California: Aero Associates Inc., 1984. ISBN 0-9613088-0-X. Thomson, David. "Wyler, William". A Biographical Dictionary of Film. London: Little, Brown, 2002. ISBN 0-316-85905-2.
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External links
The Best Years of Our Lives (http://www.imdb.com/title/tt0036868/) at the Internet Movie Database. The Best Years of Our Lives (http://www.allrovi.com/movies/movie/v4943) at AllRovi. The Best Years of Our Lives (http://tcmdb.com/title/title.jsp?stid=68507) at the TCM Movie Database. The Best Years of Our Lives (http://www.rottentomatoes.com/m/best_years_of_our_lives/) at Rotten Tomatoes The Best Years of Our Lives (http://www.filmsite.org/besty.html) detailed synopsis/analysis at Film Site by Tim Dirks. The Best Years of Our Lives (http://www.reelclassics.com/Movies/BestYears/bestyears.htm) film article at Reel Classics. Includes MP3s. The Best Years of Our Lives (http://www.thegoldenyears.org/years.html) at the Golden Years web site. Streaming audio The Best Years of Our Lives (http://ia700508.us.archive.org/0/items/ScreenGuildTheater/ Sgt_47-11-24_ep363_The_Best_Years_of_Our_Lives.mp3) on Screen Guild Theater: November 24, 1947 The Best Years of Our Lives (http://ia700308.us.archive.org/31/items/ScreenDirectorsPlayhouse/ SDP_49-04-17_ep015-The_Best_Years_of_Our_Lives.mp3) on Screen Directors Playhouse: April 17, 1949
1947 Gentleman's Agreement
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Gentleman's Agreement
original movie poster
Directed by Produced by Written by Starring Elia Kazan Darryl F. Zanuck Laura Z. Hobson (novel) Moss Hart (screenplay) Gregory Peck Dorothy McGuire John Garfield Celeste Holm June Havoc Anne Revere Alfred Newman
Music by
Cinematography Arthur C. Miller Editing by Distributed by Release date(s) Running time Language Budget Harmon Jones Twentieth Century Fox November 11, 1947 (New York City premiere) 118 min. English $2,000,000 (estimated)
Gentleman's Agreement is a 1947 drama film about a journalist (played by Gregory Peck) who goes undercover as a Jew to conduct research for an expos on antisemitism in New York City and the affluent community of Darien, Connecticut. It was nominated for eight Oscars and won three: Best Picture, Best Supporting Actress (Celeste Holm), and Best Director (Elia Kazan). The movie was controversial in its time, as was a similar film on the same subject, Crossfire, which was also released the same year. The film was based on Laura Z. Hobson's 1947 novel of the same name. The movie was released on DVD as part of the 20th Century Fox Studio Classics collection.
Plot
Philip Schuyler Green (Gregory Peck) is a widowed journalist who has just moved to New York City with his son Tommy (Dean Stockwell) and mother (Anne Revere). Green meets with magazine publisher John Minify (Albert Dekker), who asks Green, a gentile, to write an article on antisemitism ("some people don't like other people just because they're Jews"). He's not very enthusiastic at first, but after initially struggling with how to approach the topic in a fresh way, Green is inspired to adopt a Jewish identity ("Phil Greenberg") and writes about his own first-hand experiences. Green and Minify agree to keep it secret that Phil is not Jewish; since he and his family are new to New York, it should be easy to hide.
Dorothy McGuire and Gregory Peck
1947 Gentleman's Agreement At a dinner party, Phil meets Minify's divorced niece Kathy Lacey (Dorothy McGuire), who turns out to be the person who originally suggested the story idea. Minify provides her with a large apartment and money. Kathy "works" as a pre-school teacher. The next day, Phil tries to explain anti-Jewish prejudice to his young, precocious son - directly after displaying some anti-female prejudice of his own. Green tells his mother that he's struck by the odd notion that the idea for the article came from "a girl" at the magazine. His mother replies, "Why, women will be thinking next". Phil and Kathy begin dating. Phil has considerable difficulty getting started on his assignment. Every angle he thinks of ends in a stone wall. It is only when his mother has heart pain in the middle of the night and he must summon a doctor, that he realizes that he can never feel what another person feels unless he experiences it himself. He recalls having "lived as an Okie on Route 66" or as a coalminer for previous writing jobs, instead of tapping a man on the shoulder and making him talk. That's when he decides to write, "I Was Jewish for Six Months". Though Kathy seems to have liberal views, when he reveals what he intends to do, she is taken aback and asks if he actually is Jewish. The strain on their relationship due to Kathy's subtle acquiescence to bigotry becomes a key theme in the film. At the magazine, Phil is assigned a secretary, Elaine Wales (June Havoc), who reveals that she too is Jewish. She changed her name in order to get the job (her application under her real, Jewish-sounding name, Estelle Wilovsky, was rejected). After Phil informs Minify about Wales' experience, Minify orders the magazine to adopt hiring policies that are open to Jews. Wales has reservations about the new policy, fearing that the "wrong Jews" will be hired and ruin things for the few Jews working there now. Phil meets fashion editor Anne Dettrey (Celeste Holm), who becomes a good friend and potentially more, particularly as strains develop between Phil and Kathy. As Phil's assignment proceeds, his childhood friend, Dave Goldman (John Garfield), who is Jewish, moves to New York for a job and lives with the Greens while he looks for a home for his family. Housing is scarce in the city, but it is particularly difficult for Goldman, since not all landlords will rent to a Jewish family. When Phil tells Dave about his project, Dave is supportive, but concerned. As time goes on, Phil experiences several incidents of bigotry. When his mother becomes ill with a heart condition, the doctor discourages him from consulting a specialist with an obviously Jewish name, John Garfield and Dorothy McGuire suggesting he might be cheated. When Phil reveals that he is himself Jewish, the doctor becomes uncomfortable and leaves. Also, when Phil wants to celebrate his honeymoon at a swanky hotel for rich people in the country, the manager of the hotel refuses to register Phil, due to his being a Jew. Also, when kids at school learn that Tommy is Jewish, he becomes the target of bullies. Phil is troubled by the way Kathy consoles Tommy, telling him that their taunts of "dirty Jew" are wrong because he isn't Jewish, not that the epithet is wrong in and of itself. Kathy's attitudes are revealed further when she and Phil announce their engagement. Her sister Jane (Jane Wyatt) invites them to a celebration in her home in Darien, Connecticut, which is known to be a "restricted" community where Jews are not welcome. Fearing an awkward scene, Kathy wants to tell her family and friends that Phil is only pretending to be a Jew, but Phil prevails on Kathy to tell only Jane. At the party, everyone is very friendly to Phil, though many people are "unable" to attend at the last minute. Dave announces that he will have to quit his job because he cannot find a place for his family. Kathy owns a vacant cottage in Darien, but though Phil sees it as the obvious solution to Dave's problem, Kathy is unwilling to offend her neighbors by renting it to a Jewish family. She and Phil break their engagement. Phil announces that he will be moving away from New York when his article is published. When it comes out, it is very well received by the magazine staff.
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1947 Gentleman's Agreement Kathy meets with Dave and tells him how sick she felt when a party guest told a bigoted joke. However, she has no answer when Dave repeatedly asks her what she did about it. She comes to realize that remaining silent condones the prejudice. The next day, Dave tells Phil that he and his family will be moving into the cottage in Darien and Kathy will be moving in with her sister next door to make sure they are treated well by their neighbors. When Phil hears this, he reconciles with Kathy.
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Production
Zanuck decided to make a film version of Hobson's novel after being refused membership in the Los Angeles Country Club when it was assumed incorrectly that he was Jewish. Before filming commenced, Samuel Goldwyn and other Jewish film executives approached Darryl Zanuck and asked him not to make the film, fearing that it would "stir up trouble". They also warned that Hays Code enforcer Joseph Breen might not allow the film to pass the censors, as he had been known to make disparaging remarks about Jews. There was also concern that Dorothy McGuire's character being divorced would offend the National Legion of Decency. The role of Phillip Green was first offered to Cary Grant, but he turned it down. Peck decided to accept the role, although his agent advised him to refuse, believing he would be endangering his career. Jewish actor John Garfield agreed to play a lesser role in the film in order to be a part of the film. Portions of the film were shot on location in Darien, Connecticut.[1]
Main cast and characters

Gregory Peck as Philip Schuyler Green Anne Revere as Mrs. Green
Dorothy McGuire as Kathy Lacey
June Havoc as Elaine Wales
John Garfield as Dave Goldman
Albert Dekker as John Minify
Celeste Holm as Anne Dettrey
Jane Wyatt as Jane
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Other cast members

Dean Stockwell as Tommy Green Nicholas Joy Sam Jaffe as Doctor Craigie as Professor Fred Lieberman
Reception
Gentleman's Agreement received a generally favorable reception from influential New York Times critic Bosley Crowther. Crowther said that "every point about prejudice which Miss Hobson had to make in her book has been made with superior illustration and more graphic demonstration in the film, so that the sweep of her moral indignation is not only widened but intensified thereby." Crowther said that the movie shared the novel's failings in that "explorations are narrowly confined to the upper-class social and professional level to which he is immediately exposed." He also said that the main character's shock at the extent of antisemitism was lacking in credibility: "it is, in a careful analysis, an extraordinarily naive role."[2] In addition to winning Academy Awards for best picture and best director, Gentleman's Agreement was one of Fox's highest grossing movies of 1947. The political nature of the film, however, upset the House Un-American Activities Committee, with Elia Kazan, Darryl Zanuck, John Garfield, and Anne Revere all being called to testify before the committee. Revere refused to testify outright and although Garfield appeared, he refused to "name names". Both were placed in the Red Channels of the Hollywood Blacklist. Garfield remained on the blacklist for one year, was called again to testify against his wife, and died of a heart attack at the age of 39 before his second hearing date. In recognition for producing Gentleman's Agreement, the Hollywood chapter of B'nai B'rith International honored Darryl Zanuck as its "Man of the Year" for 1948. On Sunday, December 12, a gala commemoration evening was held in downtown Los Angeles, at the Biltmore Hotel, before a crowd of over a thousand. Among the tributes to Zanuck, New Mexico Senator Clinton Anderson said, He does not storm up and down the streets of a community, urging its citizens to do good. He does not fill the pages of books with words that string together into a sermon. He allows you to be seated comfortably in a theater, to be absorbed in a problem and to walk out into the night with your thoughts clarified and your lips say, This situation ought to be changed.[3] After the formal speeches there was a tremendous, star-studded variety show, including the astonishing debut before the Hollywood film world of the team of Dean Martin and Jerry Lewis.
Awards
The film won three Oscars: Academy Award for Best Picture - 20th Century-Fox (Darryl F. Zanuck, producer) Academy Award for Best Supporting Actress - Celeste Holm Academy Award for Directing - Elia Kazan It was nominated for another five Oscars: Academy Award for Best Actor - Gregory Peck Academy Award for Best Actress - Dorothy McGuire Academy Award for Best Supporting Actress - Anne Revere Academy Award for Film Editing - Harmon Jones Academy Award for Best Writing, Screenplay - Moss Hart
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References
[1] Lynn Haney Gregory Peck: A Charmed Life, Da Capo Press, 2003 ISBN 0-7867-1473-5 [2] Crowther, Bosley (November 11, 1947). "Gentleman's Agreement (1947)" (http:/ / movies. nytimes. com/ movie/ review?res=9E0DE7DE113AE233A25751C1A9679D946693D6CF). New York Times. . [3] Los Angeles Times, Dec. 14, 1948, p. 14
External links
Gentleman's Agreement (http://www.imdb.com/title/tt0039416/) at the Internet Movie Database Gentleman's Agreement (http://www.allrovi.com/movies/movie/v19402) at AllRovi Gentleman's Agreement (http://tcmdb.com/title/title.jsp?stid=76108) at the TCM Movie Database Gentleman's Agreement (http://www.rottentomatoes.com/m/gentlemans_agreement/) at Rotten Tomatoes
1948 Hamlet
175
1948 Hamlet
Hamlet
theatrical poster
Directed by Produced by Screenplay by Based on Starring Laurence Olivier Laurence Olivier Laurence Olivier Hamletby William Shakespeare Laurence Olivier Basil Sydney Eileen Herlie Jean Simmons Stanley Holloway William Walton
Music by
Cinematography Desmond Dickinson Editing by Studio Distributed by Release date(s) Running time Country Language Budget Helga Cranston Two Cities Rank Film Distributors Ltd.
4 May 1948
155 minutes United Kingdom English 600,000

[1]
Hamlet is a 1948 British film adaptation of William Shakespeare's play Hamlet, adapted and directed by and starring Sir Laurence Olivier. Hamlet was Olivier's second film as director, and also the second of the three Shakespeare films that he directed (the 1936 As You Like It had starred Olivier, but had been directed by Paul Czinner). Hamlet is the only one of Olivier's directorial efforts to be filmed in black and white, and was the first British film to win the Academy Award for Best Picture.[2] It is also the first sound film of the play in English. A 1935 sound film adaptation, Khoon Ka Khoon, had been made in India and filmed in the Urdu language.[3] Olivier's Hamlet is the Shakespeare film that has received the most prestigious accolades, winning the Academy Awards for Best Picture and Best Actor and the Golden Lion at the Venice Film Festival. However, it proved controversial among Shakespearean purists, who felt that Olivier had made too many alterations and excisions to the four-hour play by cutting nearly two hours worth of content. Milton Shulman wrote in The Evening Standard "To some it will be one of the greatest films ever made, to others a deep disappointment. Laurence Olivier leaves no doubt that he is one of our greatest living actors...his liberties with the text, however, are sure to disturb many."[4]
1948 Hamlet
176
Plot
The film follows the overall story of the play, but cuts nearly half the dialogue, leaves out two major characters, and includes an opening voice-over that represents Hamlet's fundamental problem as indecision. The film begins with a narrator (actually Olivier himself) quoting some of Hamlet's lines from Act I Scene IV: So oft it chances in particular men, That through some vicious mole of nature in them, By the o'ergrowth of some complexion, Oft breaking down the pales and forts of reason, Or by some habit grown too much [this line is changed; Shakespeare's original line is or by some habit that too much o'erleavens the form of plausive manners[5]] ; that these men Carrying, I say, the stamp of one defect, Their virtues else - be they as pure as grace, Shall in the general censure take corruption, From that particular fault... Olivier then breaks from Shakespeare's words to inform us "This is the tragedy of a man who could not make up his mind." The action begins on the battlements of Elsinore where a sentry, Francisco, (John Laurie) is relieved of his watch (and questioned if he has seen anything) by another sentry, Bernardo (Esmond Knight), who, with yet another sentry, Marcellus (Anthony Quayle), has twice previously seen the Ghost of King Hamlet. Marcellus then arrives with the skeptical Horatio (Norman Wooland), Prince Hamlet's friend. Suddenly, all three see the Ghost, and Horatio demands that the ghost speak. The ghost vanishes then, without a word. Inside the Great Hall of the castle, the court is celebrating the marriage of Gertrude (Eileen Herlie) and King Claudius (Basil Sydney); old King Hamlet has died apparently of an accidental snakebite, and his wife, Gertrude, has, within a month of the tragedy, married the late King's brother. Prince Hamlet (Laurence Olivier) sits alone, refusing to join in the celebration, despite the protests of the new King. When the court has left the Great Hall, Hamlet fumes over the hasty marriage, muttering to himself the words "and yet, within a month!" Soon, Horatio and the sentries enter telling Hamlet of the ghostly apparition of his father. Hamlet proceeds to investigate, and upon arriving on the battlements, sees the ghost. Noting that the ghost beckons him forward, Hamlet follows it up onto a tower, wherein it reveals its identity as the Ghost of Hamlet's father. He tells Hamlet that he was murdered, who did it, and how it was done. The audience then sees the murder re-enacted in a flashback as the ghost describes the deed Claudius is seen pouring poison into the late King Hamlet's ear, thereby killing him. Hamlet does not at first accept this as the truth, and then prepares to feign madness, so as to test Claudius' conscience, without jumping to conclusions. This feigned insanity attracts the attention of Polonius (Felix Aylmer) who is completely convinced that Hamlet has gone mad. Polonius pushes this point with the King, claiming that it is derived from Hamlet's love for Ophelia (Jean Simmons), Polonius's daughter. Claudius, however, is not fully convinced, and has Polonius set up a meeting between Hamlet and Ophelia. Hamlet's "madness" is constant even in this exchange, and Claudius is convinced. Hamlet then hires a group of wandering stage performers, requesting that they enact the play The Murder of Gonzago for the king. However, Hamlet makes a few alterations to the play, so as to make it mirror the circumstances of the late King's murder. Claudius, unable to endure the play, calls out for light, and retires to his room. Hamlet is now convinced of Claudius' treachery. He finds Claudius alone, and has ample opportunity to kill the villain. However, at this time, Claudius is praying, and Hamlet does not seek to send him to heaven, so, he waits, and bides his time.
1948 Hamlet He instead confronts Gertrude about the matter of his father's death and Claudius' treachery. During this confrontation, he hears a voice from the arras, and, believing that it was Claudius eavesdropping, plunges his dagger into the curtains. On discovering that he has in fact, killed the eavesdropping Polonius instead, Hamlet is only mildly upset, and he continues to confront his mother. He then sees the ghostly apparition of his father, and proceeds to converse with it (the Ghost is uncredited in the film, but is apparently voiced by Olivier himself). Gertrude, who cannot see the ghost, is now also convinced that Hamlet is mad. Hamlet is deported to England by Claudius, who has given orders for him to be killed once he reaches there. Fortunately, Hamlet's ship is attacked by pirates, and he is returned to Denmark. In his absence, however, Ophelia, goes mad over Hamlet's rejection and the idea that her own sweetheart has killed her father, and drowns, supposedly committing suicide. Laertes (Terence Morgan), Ophelia's brother, is driven to avenge her death, as well as his father's. Claudius and Laertes learn of Hamlet's return, and prepare to have him killed. However, they plan to make it look like an accident. Claudius orders Laertes to challenge Hamlet to a duel, wherein Laertes will be given a poisoned blade that will kill with a bare touch. In case Laertes is unable to hit Hamlet, Claudius also prepares a poisoned drink. Hamlet meets Laertes' challenge, and engages him in a duel. Hamlet wins the first two rounds, and Gertrude drinks from the cup, suspecting that it is poisoned. Whilst in-between bouts, Laertes rushes Hamlet, and strikes him on the arm, fatally poisoning him. Hamlet, not knowing this, continues to duel. Hamlet eventually disarms Laertes, and switches blades with him. Hamlet then strikes Laertes in the wrist, fatally wounding him. Gertrude then submits to the poison, and dies, warning Hamlet not to drink from the cup. (Olivier thus makes Gertrude's death a virtual suicide to protect her son, while Shakespeare writes it as if it were purely accidental, with Gertrude having no idea that the cup is poisoned.) Laertes, dying, confesses the whole plot to Hamlet, who flies at Claudius in a fit of rage, killing him, before finally expiring himself. Horatio, horrified by all this, orders that Hamlet be given a decent funeral, and the young prince's body is taken away, while the Danish court kneels and the cannons of Elsinore fire off a peal of ordinance in respect. (A few women can be seen weeping quietly in the background.)
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Cast
The Danish court
Basil Sydney as King Claudius. Claudius is the brother, and murderer of the late King Hamlet, and marries his widow only two months after the King's death. Sydney was a British actor who made many screen appearances, including a supporting role in Walt Disney's 1950 version of Treasure Island. Eileen Herlie as Queen Gertrude. Gertrude, now married to Claudius, does not suspect foul play, and fears for the health of her son. Herlie was a Scottish-American actress, who went on to a play a recurring role in the TV series All My Children. Herlie's role in Hamlet was secured by arrangement with Sir Alexander Korda, and she would repeat it in the 1964 Broadway production starring Richard Burton. Laurence Olivier as Hamlet, Prince of Denmark and the voice of Hamlet's father's ghost. Hamlet is the conflicted son of the late King, who is now suspicious of his father's death. Olivier, considered by many to be the greatest actor of the 20th century, had played this role twice on stage in 1937, at the Old Vic Theatre and later at Elsinore Castle, the actual setting of the play. His 1948 film performance of the role was the only one of his to win him an Academy Award for Best Actor, despite three prior nominations, and five subsequent ones. Olivier, however, did receive several Honorary Oscars. Norman Wooland as Horatio. Horatio is Hamlet's level-headed friend. Wooland was a German born British actor, who later played another companion to Olivier's character in Richard III. Felix Aylmer as Polonius, the Lord Chamberlain. Polonius is suspicious of Hamlet, and is convinced his insanity stems from the young prince's love for his daughter, Ophelia. Aylmer had worked with Olivier on his Henry V, also alongside him in As You Like It.
1948 Hamlet Terence Morgan as Laertes, Polonius' son. Laertes arrives in Denmark to discover his father killed by Hamlet and Ophelia, his sister, first driven mad and then to her own death. He vows vengeance against Hamlet. Morgan was a British actor, who joined the Old Vic company in 1948. Jean Simmons as Ophelia. Ophelia is the daughter of Polonius, and is driven mad by his death, as well as by Hamlet's rejection. Simmons' performance in this film won her a nomination for Best Supporting Actress at that year's Oscars. She went on to become a major Hollywood star, appearing in such hits as 20th Century Fox's The Robe and Universal's Spartacus. Until her death she was the last surviving principal cast member (excluding extras).
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Soldiers
John Laurie as Francisco. Francisco is a weary sentry, who is relieved by Bernardo at the beginning of the film and never reappears. John Laurie was a Scottish actor who appeared in all three of Olivier-directed Shakespeare films as well as in the 1936 As You Like It, which starred Olivier. Laurie would go on to earn fame as the undertaker in the popular sitcom Dad's Army. Esmond Knight as Bernardo, or, as it is sometimes spelled, Barnardo. Bernardo is a sentry who is sent to relieve Francisco, however, in the process he sees the apparition of King Hamlet. He and Marcellus have seen it twice before, but have found it difficult to convince Horatio, until Horatio sees it himself. Esmond Knight was a British character actor who appeared in four of Olivier's Shakespeare films, as well as his The Prince and the Showgirl. He also portrayed the orchestra conductor in the film The Red Shoes. Anthony Quayle as Marcellus. Marcellus is a soldier stationed at Elsinore. He and Bernardo have already seen the ghost. Anthony Quayle was an English actor who would go onto a highly successful film career, appearing in such classics as The Guns of Navarone and Lawrence of Arabia. Niall MacGinnis as 'Sea Captain'. The Sea Captain (a character invented for the film) is the captain of the ship that Hamlet sets out on for England. The captain's lines, though, are from the original play, where they are spoken by a sailor. MacGinnis was an Irish actor who made many screen appearances. He played Zeus in the 1963 film Jason and the Argonauts opposite Honor Blackman as Hera, and one of the four murderers in the film Becket. Christopher Lee, who would go on to become a celebrated horror film actor in the series of Frankenstein and Dracula films made by Hammer Studios, has an uncredited role as a spear carrier. He has no spoken lines, and is known to today's audiences as Count Dooku in the Star Wars prequels and Saruman in Peter Jackson's Lord of the Rings film trilogy and in the upcoming The Hobbit.
The play within the play

Harcourt Williams as the First Player. The First Player is enlisted by Hamlet to alter their play to mirror his suspicions about Claudius. Harcourt Williams had appeared in Olivier's film of Henry V prior to this. Patrick Troughton as the Player King. The Player King enacts a mimed play that echoes Claudius' treachery. Patrick Troughton was a British actor, who would go on to earn fame as the Second Doctor in the popular series Doctor Who. Tony Tarver as the Player Queen. The Player Queen plays the King's wife onstage; in Olivier's film she is a satire of Gertrude, intended to catch the conscience of Claudius. This was Tarver's only screen appearance.
Servants to the court

Peter Cushing as Osric. Osric is a foppish courtier who referees the duel between Hamlet and Laertes. In later film versions of the play, such as the 1969 one with Nicol Williamson, Osric would be made more openly "swishy". This was Cushing's first major role. He would go on to become a prolific actor for Hammer Films, often alongside Christopher Lee, and earn mainstream fame for his performance as Grand Moff Tarkin in Star Wars. He would also play Sherlock Holmes in several films, notably the 1959 Hammer Films remake of The Hound of
1948 Hamlet the Baskervilles. Stanley Holloway as Gravedigger. (The second Gravedigger of the play is omitted.) The Gravedigger is digging Ophelia's grave when Hamlet and Horatio come across him. Stanley Holloway was a British entertainer, who would later be most recognised for his role as Alfred P. Doolittle in both the original stage and 1964 film versions of My Fair Lady. Holloway's portrayal is considered to be one of the best portrayals of the character to date and made him a very sought after Shakesperean actor. He was the paternal grandfather of Sophie Dahl. Russell Thorndike as the Priest. The Priest leads the funeral ceremony for Ophelia. Russell Thorndike was the brother of Dame Sybil Thorndike.
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Production
Casting and filming Eileen Herlie, who plays Hamlet's mother, was 28 years old when the movie was filmed. Olivier, who plays her son, was 40. Olivier played the voice of the Ghost himself by recording the dialogue and playing it back at a reduced speed, giving it a haunted, other-worldly quality. However, for many years it was assumed, even in film reference books, that John Gielgud had played the voice of the Ghost. Gielgud would go on to play this role in three later productions - the 1964 film and stage versions of Richard Burton's Hamlet, the 1970 telecast of the Hallmark Hall of Fame production starring Richard Chamberlain, and a 1994 radio production starring Kenneth Branagh.[6] The film marked the only screen appearance of Jean Simmons in a Shakespearean role. Cinematography The cinematography, by Desmond Dickinson, makes use of the deep focus photography previously popularized in films directed by William Wyler and Orson Welles. Music The music was composed by William Walton and, next to his score for Olivier's 1944 film Henry V, has become his most celebrated film score. Editor The movie was edited by Helga Cranston.
Critical reception
The film's opening with Olivier's voiceover of his own interpretation of the play, was criticised as reductive: "This is the tragedy of a man who could not make up his mind."[7] Olivier excised the "political" elements of the play (entirely cutting Fortinbras, Rosencrantz and Guildenstern) in favour of an intensely psychological performance, partly to save time. Olivier himself stated that "one great whacking cut had to be made", and the cut he chose to make was the omission of Rosencrantz and Guildenstern.[8] This was not much criticized at first, but later critics did take more notice of it, especially after shorter productions of Hamlet that did not leave out these characters were presented on television. John Gielgud took much the same approach years later by also leaving out Rosencrantz, Guildenstern, and Fortinbras out of his 1951 radio production of the play, broadcast on the program Theatre Guild on the Air. Gielgud also followed the lead of Olivier's film version by giving the final lines of the play to Horatio instead of to Fortinbras.[9] Olivier also played up the Oedipal overtones of the play by having Hamlet kiss his mother lovingly on the lips several times during the film. Film scholar Jack Jorgens has commented that "Hamlet's scenes with the Queen in her low-cut gowns are virtually love scenes."[10] In contrast, Jean Simmons' Ophelia is destroyed by Hamlet's treatment of her in the nunnery scene.
1948 Hamlet According to J. Lawrence Guntner, the style of the film owes much to German Expressionism and to film noir: the cavernous sets featuring narrow winding stairwells correspond to the labyrinths of Hamlet's psyche.[11]
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Awards and honors

The 1948 Hamlet was the only film in which the leading actor has directed himself to an Oscar-winning performance, until 1998, when Roberto Benigni directed himself to an Oscar in Life Is Beautiful. Olivier is also the only actor to win an Oscar for a Shakespearean role. Hamlet is the only film to have won both the Golden Lion and the Academy Award for Best Picture. It is also the first foreign film to win the Best Picture Academy Award, the second being Slumdog Millionaire. (Technically however, there is no Best Foreign Film Oscar, but rather a Best Foreign Language Film one.)
Academy Awards
Award [12] Name Laurence Olivier
Best Actor in a Leading Role
Best Art Direction-Set Decoration, Black-and-White Roger Furse Carmen Dillon Best Costume Design, Black-and-White Best Picture Roger Furse J. Arthur Rank-Two Cities Film (Laurence Olivier, producer)
Nomination Best Actress in a Supporting Role Best Score Best Director Jean Simmons William Walton Laurence Olivier
Other awards
1948 - Venice Film Festival - Great International Prize of Venice (winner) 1949 - BAFTA Award - Best Film From Any Source (winner) 1949 - BAFTA Award - Best British Film (nominee) 1949 - Bodil Awards - Best European Film (winner) 1949 - Golden Globe Award - Best Motion Picture - Foreign (winner) 1949 - Golden Globe Award - Best Actor (Laurence Olivier) (winner)
Influence
In the past, the 1948 film was often considered the definitive cinematic rendition of Hamlet. Over the years, however, it has lost some of its status, especially in comparison to Olivier's versions of Henry V and Richard III.[13] This is primarily because Olivier, according to some critics,[14] overemphasized Hamlet's Oedipal fixation on his mother, and because Rosencrantz and Guildenstern, two of the most important supporting characters in the play, were completely omitted from this film version, robbing the film of what could have been some of its best comedic moments. (The fact that Rosencrantz and Guildernstern had been included in the 1969 Nicol Williamson - Tony Richardson Hamlet and the 1990 Mel Gibson - Franco Zeffirelli version, both of which are shorter than Olivier's, did not help Olivier's rationale[15] that the play needed such drastic cuts to work on screen). In contrast, Kenneth Branagh's 1996 film version of the complete Hamlet included everything that Olivier had omitted.
1948 Hamlet Pauline Kael has asserted that "even if you feel that certain scenes should be done differently, when has the rest of the play been done so well? Whatever the omissions, the mutilations, the mistakes, this is very likely the most exciting and most alive production of Hamlet you will ever see on the screen. It's never dull, and if characters such as Fortinbras and Rosencrantz and Guildenstern have been sacrificed, it's remarkable how little they are missed."[16] In fact Time magazine wrote in 1948:"A man who can do what Laurence Olivier is doing for Shakespeare is certainly among the more valuable men of his time."[17]
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Television debut
Hamlet was the second of Olivier's Shakespeare films to be telecast on American commercial network television the first was Richard III, which was given an afternoon rather than a prime-time showing by NBC on March 11, 1956, the same day that it premiered in movie theatres in the U.S. The American Broadcasting Company gave the Olivier Hamlet a prime time showing in December 1956 but, like many theatrical films shown on television during that era, it was split into two 90-minute halves and telecast over a period of two weeks, rather than being shown complete on one evening. Only a month previously, MGM's 1939 film The Wizard of Oz had had its first television showing on CBS and, unlike Hamlet, had been shown complete in one evening.
Home media
In North America, Olivier's Hamlet has been released on DVD as part of the Criterion Collection, which has also released his film versions of Henry V and Richard III on DVD. The film has been released on Blu-ray Disc in the UK, however this disc is Region B locked and will not work in most American players.
References
Notes
[1] "BRITISH FILMS' UPHILL FIGHT." (http:/ / nla. gov. au/ nla. news-article62918109). Townsville Daily Bulletin (Qld. : 1885 - 1954) (Qld.: National Library of Australia): p.7. 3 September 1947. . Retrieved 6 July 2012. [2] Robertson, Patrick. The Guinness Book of Almost Everything You Didn't Need to Know About the Movies. Great Britain: Guinness Superlatives Ltd., Enfield, Middlesex, 1986. ISBN 0-85112-481-X, p. 40 [3] http:/ / www. imdb. com/ title/ tt0026566/ [4] Robert Tanitch Olivier. Abbeville Press, 1985 [5] http:/ / shakespeare. mit. edu/ hamlet/ hamlet. 1. 4. html [6] John Gielgud: The Authorized Biography; by Sheridan Morley. Simon & Schuster 2002; p. 463 [7] Brode, Douglas, Shakespeare In The Movies (Berkley Boulevard, 2001), 120 [8] Guntner, J. Lawrence: "Hamlet, Macbeth and King Lear on film" in Jackson, Russell (ed.) The Cambridge Companion to Shakespeare on Film (Cambridge University Press, 2000), p. 118 [9] http:/ / ia340911. us. archive. org/ 1/ items/ TheaterGuildontheAir/ Tgoa_51-03-04_ep065-Hamlet. mp3 [10] Jorgens, Jack Shakespeare on Film (Bloomington, 1997) p.217 cited by Davies, Anthony in The Shakespeare films of Laurence Olivier in Jackson, Russell (ed.) The Cambridge Companion to Shakespeare on Film (Cambridge University Press, 2000) p.171 [11] Guntner, p.119 [12] "NY Times: Hamlet" (http:/ / movies. nytimes. com/ movie/ 21342/ Hamlet/ awards). NY Times. . Retrieved 2008-12-20. [13] dOc DVD Review: Laurence Olivier's Hamlet (1948) (http:/ / www. digitallyobsessed. com/ showreview. php3?ID=721) [14] Amazon.com: FOCUS ON SHAKESPEAREAN FILMS.: Charles W. Eckert: Books (http:/ / www. amazon. com/ dp/ B000OIVLD8) [15] Amazon.com: Laurence Olivier on Acting: Laurence Olivier: Books (http:/ / www. amazon. com/ dp/ B000SZ9AWQ) [16] http:/ / www. amazon. com/ dp/ 0805013679 [17] "Cinema: Olivier's Hamlet" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,779905-8,00. html). Time. 28 June 1948. . Retrieved 4 May 2010.
Bibliography Vermilye, Jerry. The Great British Films. Citadel Press, 1978. ISBN 0-8065-0661-X pp 113116
1948 Hamlet
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External links
Hamlet (http://www.imdb.com/title/tt0040416/) at the Internet Movie Database Hamlet (http://www.screenonline.org.uk/film/id/440240/) at the British Film Institute's Screenonline Hamlet (http://tcmdb.com/title/title.jsp?stid=28119) at the TCM Movie Database Hamlet (http://www.allrovi.com/movies/movie/v21342) at AllRovi Hamlet (http://www.rottentomatoes.com/m/1009123-hamlet/) at Rotten Tomatoes Rafferty, Terrence "Hamlet" (http://web.archive.org/web/20070707115725/http://www.criterion.com/asp/ release.asp?id=82&eid=92&section=essay), Criterion Collection essay
1949 All the King's Men
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1949 All the King's Men

All the King's Men
original film poster
Directed by Produced by Written by Starring Robert Rossen Robert Rossen Robert Rossen Robert Penn Warren (novel) Broderick Crawford John Ireland Joanne Dru John Derek Mercedes McCambridge Louis Gruenberg
Music by
Cinematography Burnett Guffey Editing by Distributed by Release date(s) Running time Country Language Box office Robert Parrish Al Clark Columbia Pictures November 8, 1949 109 minutes United States English $2.4 million (US rentals)
[1]
All the King's Men is a 1949 drama film based on the Robert Penn Warren novel of the same name. It was directed by Robert Rossen and starred Broderick Crawford in the role of Willie Stark.
Plot
All The King's Men is the story of the rise of politician Willie Stark (Broderick Crawford) from a rural county seat to the governor's mansion. He first teaches himself law and becomes a lawyer, championing the local people and gaining popularity. He then decides to go into politics. Along the way he loses his innocence, and becomes as corrupt as the politicians he once fought against. The main story is a thinly disguised version of the rise and assassination of real-life 1930s Louisiana Governor, Huey Long. Also included is a series of complex relationships between a journalist friend who slowly sours to his ways, the journalist's girlfriend (who has an affair with Stark), her brother (a top surgeon), her uncle (a top judge who is appointed AG but eventually resigns). When his son becomes paralyzed following a drunk driving accident which kills a female passenger, Stark's world starts to unravel and he discovers that not everyone can be bought off. The story has a complex series of relationships. All is seen through the vexes of the journalist, Jack Burden, who admires Stark and even when disillussioned still sticks by him. Stark's campaign assistant, Sadie (Mercedes McCambridge) is clearly in love with Stark and wants him to leave his wife, Lucy. Meanwhile Stark philanders and gets involved with many women, most notably Jack's own girlfriend, Anne Stanton.
1949 All the King's Men When Stark's reputation is brought into disrepute by Judge Stanton (Anne's uncle) he seeks to blacken his name. When he eventually succeeds the judge commits suicide. Anne seems to forgive him, but her brother, a doctor and the surgeon who helped saved his son's life after the car crash, cannot. The doctor eventually assassinates Stark after he wins an impeachment investigation. The doctor in turn is shot down by Sugar Boy, Stark's fawning assistant.
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Cast
Broderick Crawford Willie Stark John Ireland Jack Burden Joanne Dru Anne Stanton John Derek Tom Stark Mercedes McCambridge Sadie Burke Shepperd Strudwick Adam Stanton Ralph Dumke Tiny Duffy Anne Seymour Mrs. Lucy Stark Katherine Warren Mrs. Burden (as Katharine Warren) Raymond Greenleaf Judge Monte Stanton Walter Burke Sugar Boy
Will Wright Dolph Pillsbury Grandon Rhodes Floyd McEvoy
Production
Rossen originally offered the starring role to John Wayne, who found the proposed film script unpatriotic and indignantly refused the part. Crawford, who eventually took the role, won the 1949 Academy Award for Best Actor, beating out Wayne, who had been nominated for his role in Sands of Iwo Jima. The film was shot at various locations in California using local residents, something that was fairly unknown for Hollywood at the time.[2]
Awards
Academy Awards 1949
All the King's Men was the 36th film to get more than six Academy Awards nominations.[3] It won three Academy Awards.
Award Best Motion Picture Best Director Result Won Nominated Won Nominated Winner Robert Rossen ProductionsColumbia (Robert Rossen, Producer) Robert Rossen Winner was Joseph L. Mankiewicz - A Letter to Three Wives Broderick Crawford Robert Rossen Winner was Joseph L. Mankiewicz - A Letter to Three Wives John Ireland Winner was Dean Jagger - Twelve O'Clock High Mercedes McCambridge Robert Parrish and Al Clark Winner was Harry W. Gerstad - Champion
Best Actor Best Writing, Screenplay
Best Supporting Actor
Nominated Won Nominated
Best Supporting Actress Best Film Editing
1949 All the King's Men In 2001 the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry. To date, it is the last Best Picture winner to be based on a Pulitzer Prize-winning novel.
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AFI's 100 Years...100 Movies - Nominated[4] AFI's 100 Years...100 Heroes and Villains: Willie Stark - Nominated Villain[5] AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated[6]
References
[1] 'The Top Box Office Hits of 1950', Variety, January 3, 1951 [2] Higham, Charles; Greenberg, Joel (1968). Hollywood in the Forties. London: A. Zwemmer Limited. p.79. ISBN0-302-00477-7. [3] 1931 Cimarron (7) 1935 The Lives of a Bengal Lancer (8) and Mutiny on the Bounty (8) 1936 Anthony Adverse (7), Dodsworth (7), The Great Ziegfeld (7) and The Life of Emile Zola (10) 1937 A Star Is Born (7) 1938 You Can't Take It With You (7) 1939 Gone with the Wind (13), Mr. Smith Goes to Washington (11), Stagecoach (7) and Wuthering Heights (8) 1940 The Grapes of Wrath and Rebecca (10) 1941 Citizen Kane (9), Here Comes Mr. Jordan (7), How Green Was My Valley (10) and Sergeant York (11) 1942 Mrs. Miniver (12), The Pride of the Yankees (11) and Yankee Doodle Dandy (8) 1943 Casablanca (8), For Whom the Bell Tolls (9) and The Song of Bernadette (12) 1944 Going My Way (10), Since You Went Away (9) and Wilson (10) 1945 The Bells of St. Mary's (8), The Lost Weekend (7) 1946 The Best Years of Our Lives (8) and The Yearling (7) 1947 Gentleman's Agreement (8) 1948 Hamlet (7), Joan of Arc (8), Johnny Belinda (12) [4] AFI's 100 Years...100 Movies Nominees (http:/ / www. afi. com/ Docs/ 100Years/ movies400. pdf) [5] AFI's 100 Years...100 Heroes and Villains Nominees (http:/ / www. afi. com/ Docs/ 100Years/ handv400. pdf) [6] AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot (http:/ / www. afi. com/ Docs/ 100Years/ Movies_ballot_06. pdf)
External links
All the King's Men (http://www.imdb.com/title/tt041113/) at the Internet Movie Database All the King's Men (http://tcmdb.com/title/title.jsp?stid=27628) at the TCM Movie Database All the King's Men (http://www.allrovi.com/movies/movie/v1609) at AllRovi All the King's Men (http://www.rottentomatoes.com/m/1000654-all_the_kings_men/) at Rotten Tomatoes All The King's Men (http://ia600505.us.archive.org/11/items/NBC_University_Theater/ NBC_University_Theater_490116_024_All_the_Kings_Men.mp3) on NBC University Theater: January 16, 1949
1950 All About Eve
186
1950 All About Eve

All About Eve
1967 US re-release film poster
Directed by Produced by Written by Starring Joseph L. Mankiewicz Darryl F. Zanuck Joseph L. Mankiewicz Bette Davis Anne Baxter George Sanders Celeste Holm Alfred Newman
Music by
Cinematography Milton R. Krasner Editing by Distributed by Release date(s) Running time Country Language Box office Barbara McLean 20th Century Fox
October 13, 1950
138 minutes United States English $2.9 million (US rentals)

[1]
All About Eve is a 1950 American drama film written and directed by Joseph L. Mankiewicz, based on the 1946 short story "The Wisdom of Eve", by Mary Orr. The film stars Bette Davis as Margo Channing, a highly regarded but aging Broadway star. Anne Baxter plays Eve Harrington, a willingly helpful young fan who insinuates herself into Channing's life, ultimately threatening Channing's career and her personal relationships. George Sanders, Celeste Holm, Hugh Marlowe, Barbara Bates, Gary Merrill and Thelma Ritter also appear, and the film provided one of Marilyn Monroe's earliest important roles. Praised by critics at the time of its release, All About Eve was nominated for 14 Academy Awards (a feat unmatched until the 1997 film Titanic) and won six, including Best Picture. As of 2012, All About Eve is still the only film in Oscar history to receive four female acting nominations (Davis and Baxter as Best Actress, Holm and Ritter as Best Supporting Actress). All About Eve was selected in 1990 for preservation in the United States National Film Registry and was among the first 50 films to be registered. All About Eve appeared at #16 on AFI's 1998 list of the 100 best American films.[2]
1950 All About Eve
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Plot
At an awards dinner, Eve Harrington (Anne Baxter) the newest and brightest star on Broadway is being presented the Sarah Siddons Award for her breakout performance as Cora in Footsteps on the Ceiling. Theatre critic Addison DeWitt (George Sanders) observes the proceedings and, in a sardonic voiceover, recalls how Eve's star rose as quickly as it did. The film flashes back a year. Margo Channing (Bette Davis) is one of the biggest stars on Broadway, but despite her success she is bemoaning her age, having just turned forty and knowing what that will mean for her career. After a performance one night, Margo's close friend Karen Richards (Celeste Holm), wife of the play's author Lloyd Richards (Hugh Marlowe), meets besotted fan Eve Harrington in the cold alley outside the stage door. Recognizing her from having passed her many times in the alley (as Eve claims to have seen every performance of Margo's current play, Aged in Wood), Karen takes her backstage to meet Margo. Bette Davis as Margo Channing Eve tells the group gathered in Margo's dressing room Karen and Lloyd, Margo's boyfriend Bill Sampson (Gary Merrill), a director who is eight years her junior, and Margo's maid Birdie (Thelma Ritter) that she followed Margo's last theatrical tour to New York after seeing her in a play in San Francisco. She tells a moving and involving story of a difficult life, including losing her young husband in the recent war. She is becomingly humble and flattering in her idolization of Margo. In response, Margo quickly befriends Eve, moves her into her home, and takes her on as her assistant, leaving Birdie, who instinctively dislikes Eve, feeling put out. While maintaining a seamless outward appearance of humility and of a desire only to serve, Eve is gradually shown to be working to supplant Margo, scheming to become her understudy behind her back (driving wedges between Margo and Lloyd and between Margo and Bill) and conspiring with an unsuspecting Karen to cause Margo to miss a performance. Eve, knowing in advance that she will be the one appearing that night, invites the city's theatre critics to attend that evening's performance, which is a triumph for her. Eve tries to seduce Bill, but he rejects her. Following a scathing newspaper column by Addison, Margo and Bill reconcile, dine with the Richardses, and decide to marry. That same night at the restaurant, Eve blackmails Karen into telling Lloyd to give her the part of Cora, by threatening to tell Margo of Karen's role in Margo's missed performance. Before Karen can talk with Lloyd, Margo announces to everyone's surprise that she does not wish to play Cora and would prefer to continue in Aged in Wood. Eve secures the role and attempts to climb higher by using Addison, who is beginning to doubt her. Just before the premiere of her play at the Shubert in New Haven, Eve presents Addison with her next plan: to marry Lloyd, who, she claims, has come to her professing his love and his eagerness to leave his wife for
Anne Baxter in wig and costume as Margo Channing's understudy
1950 All About Eve her. Now, Eve exults, Lloyd will write brilliant plays showcasing her. Addison is infuriated that Eve has attempted to use him and reveals that he knows that her back story is all lies. Her real name is Gertrude Slojinski, and she is no war widow, no orphan, no follower of Margo's tour. Before meeting Margo, she had been paid to leave town over her affair with her boss, a brewer in Wisconsin. Addison blackmails Eve, informing her that she will not be marrying Lloyd or anyone else; in exchange for Addison's silence, she now "belongs" to him. The film returns to the opening scene in which Eve, now a shining Broadway star headed for Hollywood, is presented with her award. In her speech, she thanks Margo and Bill and Lloyd and Karen with characteristic effusion, while all four stare back at her coldly. After the awards ceremony, Eve hands her award to Addison, skips a party in her honor, and returns home alone, where she encounters a young fana high-school girlwho has slipped into her apartment and fallen asleep. The young girl professes her adoration and begins at once to insinuate herself into Eve's life, offering to pack Eve's trunk for Hollywood and being accepted. "Phoebe" (Barbara Bates), as she calls herself, answers the door to find Addison returning with Eve's award. In a revealing moment, the young girl flirts daringly with the older man. Addison hands over the award to Phoebe and leaves without entering. Phoebe then lies to Eve, telling her it was only a cab driver who dropped off the award. While Eve rests in the other room, Phoebe dons Eve's elegant costume robe and poses in front of a multi-paned mirror, holding the award as if it were a crown. The mirrors transform Phoebe into multiple images of herself, and she bows regally, as if accepting the award to thunderous applause, while triumphant music plays.
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Production
Origin
The story of All About Eve originated in an anecdote related to Mary Orr by actress Elisabeth Bergner. While performing in The Two Mrs. Carrolls during 1943 and 1944, Bergner allowed a young fan to become part of her household and employed her as an assistant, but later regretted her generosity when the woman attempted to undermine her. Referring to her only as "the terrible girl," Bergner related the events to Orr, who used it as the basis for her short story "The Wisdom of Eve" (1946). In the story, Orr gives the girl a more ruthless character and allows her to succeed in stealing the career of the older actress. Bergner later confirmed the basis of the story in her autobiography Bewundert viel, und viel gescholten (Greatly Admired and Greatly Scolded). In 1949, Mankiewicz was considering a story about an aging actress and, upon reading "The Wisdom of Eve," felt the conniving girl would be a useful added element. He sent a memo to Darryl F. Zanuck saying it "fits in with an original idea [of mine] and can be combined. Superb starring role for Susan Hayward." Mankiewicz presented a film treatment of the combined stories under the title Best Performance. He changed the main character's name from Margola Cranston to Margo Channing and retained several of Orr's characters, Eve Harrington, Lloyd and Karen Richards, and Miss Casswell, while removing Margo Channing's husband completely and replacing him with a new character, Bill Sampson. The intention was to depict Channing in a new relationship and allow Eve Harrington to threaten both Channing's professional and personal lives. Mankiewicz also added the characters Addison DeWitt, Birdie Coonan, Max Fabian, and Phoebe. Zanuck was enthusiastic and provided numerous suggestions for improving the screenplay. In some sections he felt Mankiewicz's writing lacked subtlety or provided excessive detail. He suggested diluting Birdie Coonan's jealousy of Eve so the audience would not recognize Eve as a villain until much later in the story. Zanuck reduced the screenplay by about 50 pages and chose the title All About Eve from the opening scenes in which Addison DeWitt says he will soon tell "more of Eve ... All about Eve, in fact."[3]
1950 All About Eve
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Casting and characters

Bette Davis was cast as Margo Channing after Claudette Colbert severely injured her back and was forced to withdraw shortly before filming began.[4] Davis, who had recently ended an 18-year association with Warner Brothers after several poorly received films, later commented she had read the script in one sitting and immediately accepted the role after realizing it was one of the best she had ever read. Channing had originally been conceived as genteel and knowingly humorous, but with the casting of Davis, Mankiewicz revised the character to be more abrasive. Among other actresses considered before Colbert were Mankiewicz's original inspiration, Susan Hayward, rejected by Zanuck as "too young," Marlene Dietrich, dismissed as "too German," and Gertrude Lawrence, who was ruled out of contention when her lawyer insisted that Lawrence not have to drink or smoke in the film, and that the script would be rewritten to allow her to sing a torch song.[4] Zanuck favored Barbara Stanwyck, but she was not available. Tallulah Bankhead and Ingrid Bergman were also considered. Joan Crawford was also considered for the part[5] but Crawford was already working on the film The Damned Don't Cry. Mankiewicz praised Davis for both her professionalism and the calibre of her performance, but in later years continued to discuss how Colbert would have played the role. Anne Baxter had spent a decade in supporting roles and had won the 1946 Academy Award for Best Supporting Actress for The Razor's Edge. She got the role of Eve Harrington after the first choice, Jeanne Crain, became pregnant. Crain was at the height of her popularity and had established a career playing likable heroines; Zanuck believed she lacked the "bitch virtuosity" required by the part, and audiences would not accept her as a deceitful character. The role of Bill Sampson was originally intended for John Garfield or Ronald Reagan. Reagan's future wife Nancy Davis was considered for Karen Richards and Jose Ferrer for Addison DeWitt. Zsa Zsa Gabor actively sought the role of Phoebe without realizing the producers were considering her, along with Angela Lansbury, for Miss Casswell. Mankiewicz greatly admired Thelma Ritter and wrote the character of Birdie Coonan for her after working with her on A Letter to Three Wives in 1949. As Coonan was the only one immediately suspicious of Eve Harrington, he was confident Ritter would contribute a shrewd characterisation casting doubt on Harrington and providing a counterpoint to the more "theatrical" personalities of the other characters. Marilyn Monroe, relatively unknown at the time, was cast as Miss Casswell, referred to by DeWitt as a "graduate of the Copacabana School of Dramatic Art." Monroe got the part after a lobbying campaign by her agent,[6] despite Zanuck's initial antipathy and belief she was better suited to comedy. Angela Lansbury had been originally considered for the role.[6] The inexperienced Monroe was cowed by Bette Davis, and took 11 takes to complete the scene in the theatre lobby with the star; when Davis barked at her, Monroe left the set to vomit.[6] Smaller roles were filled by Gregory Ratoff as the producer Max Fabian, Barbara Bates as Phoebe, a young fan of Eve Harrington, and Walter Hampden as the master of ceremonies at an award presentation.[3]
Cast
Bette Davis as Margo Channing Anne Baxter as Eve Harrington George Sanders as Addison DeWitt Celeste Holm as Karen Richards Gary Merrill as Bill Sampson Hugh Marlowe as Lloyd Richards Thelma Ritter as Birdie
Gregory Ratoff as Max Fabian Marilyn Monroe as Miss Casswell Barbara Bates as Phoebe
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Response
Critical reaction
All About Eve received overwhelmingly positive reviews from critics upon its release on October 13, 1950 at a New York City premiere. The film's competitor, Sunset Boulevard, released the same year, drew similar praise, and the two were often favorably compared. Film critic Bosley Crowther loved the film, stating it was "a fine Darryl Zanuck production, excellent music and on air ultra-class complete the superior satire". Film critic Roger Ebert of the Chicago Sun Times has praised the film, saying Bette Davis' character "veteran actress Margo Channing in All About Eve was her greatest role".[7] A collection of reviews from the film's release are stored on the website Rottentomatoes.com, and All About Eve has garnered 100% positive reviews there, making it "Certified fresh." Boxoffice.com stated that it "is a classic of the American cinema to this day the quintessential depiction of ruthless ambition in the entertainment industry, with legendary performances from Bette Davis, Anne Baxter and George Sanders anchoring one of the very best films from one of Hollywood's very best Golden Era filmmakers: Joseph L. Mankiewicz. It is a film that belongs on every collector's shelf whether on video or DVD. It is a classic that deserves better than what Fox has given it."[8]
Thematic content
Critics and academics have delineated various themes in the film. Rebecca Flint Marx, in her Allmovie review, notes the antagonism that existed between Broadway and Hollywood at the time, stating that the "script summoned into existence a whole array of painfully recognizable theatre types, from the aging, egomaniacal grand dame to the outwardly docile, inwardly scheming ingenue to the powerful critic who reeks of malignant charm."[9] Roger Ebert, in his online review, says Eve Harrington is "a universal type", and focuses on the aging actress plot line, comparing the film to Sunset Boulevard.[10] Similarly, Marc Lee's 2006 review of the film for The Daily Telegraph describes a subtext "into the darker corners of show business, exposing its inherent ageism, especially when it comes to female stars."[11] Kathleen Woodward's 1999 book, Figuring Age: Women, Bodies, Generations (Theories of Contemporary Culture), also discusses themes that appeared in many of the "aging actress" films of the 1950s and 1960s, including All About Eve. She reasons that Margo has three options: "To continue to work, she can perform the role of a young woman, one she no longer seems that interested in. She can take up the position of the angry bitch, the drama queen who holds court (the deliberate camp that Sontag finds in this film). Or she can accept her culture's gendered discourse of aging which figures her as in her moment of fading. Margo ultimately chooses the latter option, accepting her position as one of loss."[12] Professor Robert J. Corber, an expert on homophobia within the cultural context of the Cold War in the United States, posits that the foundational theme in All About Eve is that the defense of the norms of heterosexuality, specifically in terms of patriarchal marriage, must be upheld in the face of challenges from female agency and homosexuality.[13] The nurturing heterosexual relationships of Margo and Bill and of Karen and Lloyd serve to contrast with the loveless relationship predation and sterile careerism of the homosexual characters, Eve and Addison.[14] Eve uses her physical femininity as a weapon to try to break up the marriages of both couples, and the extreme cynicism of Addison serves as a model of
Gary Merrill as Bill Sampson
1950 All About Eve Eve's future. For instance, shortly after Eve had a phone call placed to Lloyd Richards in an attempt to break up his marriage, she was shown walking up to her room with her female co-conspirator, their arms about one another and each of them dressed for bed. Even film reviewer Kenneth Geist, despite being critical of the emphasis that Sam Staggs' book All About All About Eve places on the film's homosexual elements, nonetheless acknowledged that Eve's lesbianism seemed apparent, and not just in that scene; specifically, Geist states that "manifestations of Eves lesbianism are only twice briefly discernible".[15] Geist asserted that Mankiewicz "was highly contemptuous of both male and female homosexuals",[15] although Mankiewicz himself suggested otherwise in an interview in which he argued that society should "drop its vendetta against them".[16] Homosexuality was often linked to Communism during the Cold War's Lavender Scare and critics have written about film's subtle, yet central, Cold War narrative. The fair amount of subtlety employed in All About Eve is seen as primarily being due to Production Code restrictions on the depiction of homosexuals in the media during this time.[13][17] However, notwithstanding those restrictions, Corber cites the film as but one example of a recurrent theme within American film of the homosexual as an emotionally bereft predator.[13] The documentary The Celluloid Closet also affirms this theme to which Corber refers, including citing numerous other film examples from the same Production Code time period in which All About Eve was made.[13][18] Another important thematic of the film, in terms of war politics and sexuality, involves the post-World War II pressure placed upon women to acquiesce agency. This pressure to resume George Sanders as Addison DeWitt "traditional" female roles is especially illustrated in this film in the contrast between Margo's mockery of Karen Richards for being a "happy little housewife" and her lengthy and inspired monologue, as a reformed woman later, about the virtuousness of marriage, including how a woman is not truly a woman without having a man beside her. This submissive and effeminate Margo is contrasted with the theatricality, combativeness, and egotism of the earlier career woman Margo, and the film's two homosexual characters. Margo quips that Eve should place her award "where her heart should be", and Eve is shown bereft at the end of the film. At dinner, the two married couples see Eve and Addison in a similarly negative light, with Margo wondering aloud what schemes Eve was constructing in her "feverish little brain". Additionally, Eve's utility as a personal assistant to Margo early in the film, which is a subtle construct of a same-sex intimate relationship, is decried by Birdie, the same working-class character who immediately saw through Eve's story about a fictional husband. Birdie sees such agency as being unnatural, and the film contrasts its predatory nature ("studying you like a blueprint") with the love and warmth of her later reliance upon Bill. The pressure to acquiesce agency and more highly value patriarchy, following the return of men from the war, after having been shown propaganda promoting agency such as Rosie the Riveter and after having occupied traditionally male roles such as bomb-building factory worker, was deemed "the problem that has no name" by well-known feminist Betty Friedan.[19] Despite what critics such as Corber have described as the homophobia pervasive in the movie,[13] All About Eve has long been a favored film among gay audiences, likely due to its campy overtones (in part due to the casting of Davis) and its general sophistication. Davis, who long had a strong gay fan base, expressed support for gay men in her 1972 interview with The Advocate.[20][21][22]
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Awards and honors

Academy Awards
The film won six Academy Awards.[23] Best Picture20th Century-Fox (Darryl F. Zanuck, producer) Best Supporting ActorGeorge Sanders Best Costume Design for a Black-and-White filmEdith Head and Charles Le Maire Best DirectorJoseph L. Mankiewicz Best Writing, ScreenplayJoseph L. Mankiewicz Best Sound RecordingThomas T. Moulton Nominated: Best Leading ActressAnne Baxter Nominated: Best Leading ActressBette Davis Nominated: Best Supporting ActressCeleste Holm Nominated: Best Supporting ActressThelma Ritter Nominated: Best Set Direction for a Black-and-White filmGeorge W. Davis, Thomas Little, Walter M. Scott, and Lyle R. Wheeler Nominated: Best Cinematography for a Black-and-White filmMilton R. Krassner Nominated: Best Film EditingBarbara McLean Nominated: Best Music ScoreAlfred Newman[24]
Golden Globe Awards

Best Motion Picture ScreenplayJoseph L. Mankiewicz Nominated: Best Drama Motion PictureDarryl F. Zanuck, producer Nominated: Best Drama Motion Picture ActressBette Davis Nominated: Best Motion Picture DirectorJoseph L. Mankiewicz Nominated: Best Supporting Actor in a Motion PictureGeorge Sanders Nominated: Best Supporting Actress in a Motion PictureThelma Ritter
NY Film Critics Circle Awards

Best Motion PictureDarryl F. Zanuck Best DirectorJoseph L. Mankiewicz Best ActressBette Davis
Directors Guild of America Awards

Outstanding Directorial Achievement in a Motion PictureJoseph L. Mankiewicz

Best Actress PrizeBette Davis Jury Special PrizeJoseph L. Mankiewicz Nominated: Grand Prize of the FestivalJoseph L. Mankiewicz[25]
1950 All About Eve
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British Academy of Film and Television Arts

Best Film from any SourceDarryl F. Zanuck
Later recognition and rankings

In 1990, All About Eve was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."[26] The film received in 1997 a placement on the Producers Guild of America Hall of Fame. The film also earns a 100% rating on Rotten Tomatoes. American Film Institute Lists AFI's 100 Years... 100 Movies#16 AFI's 100 Years... 100 Heroes and Villains Eve Harrington#23 Villain AFI's 100 Years... 100 Movie Quotes: "Fasten your seatbelts. It's going to be a bumpy night"#9 AFI's 100 Years of Film ScoresNominated AFI's 100 Years... 100 Movies (10th Anniversary Edition)#28 When AFI named Bette Davis # 2 on its list of the greatest female American screen legends, All About Eve was the film selected to highlight Davis' legendary career. (Marilyn Monroe, who makes a brief appearance in Eve, ranked # 6 on the screen legends list.)
Sarah Siddons Award

The film opens with the image of a fictitious award trophy, described by DeWitt as the "highest honor our theater knows: the Sarah Siddons Award for Distinguished Achievement." In 1952, a small group of distinguished Chicago theater-goers began to give an award with that name, which was sculpted to look like the one used in the film. It has been given annually, with past honorees including Bette Davis and Celeste Holm.
Adaptations
A radio version of All About Eve starring Tallulah Bankhead as Margo Channing was presented on NBC's The Big Show by the Theatre Guild of the Air on November 16, 1952.[27] The production is notable in that Mary Orr, the writer of the original short story that formed the basis for the original film, played the role of Karen Richards. The cast also featured Alan Hewitt as Addison DeWitt (who narrated), Beatrice Pearson as Eve Harrington, Don Briggs as Lloyd Richards, Kevin McCarthy as Bill Samson, Florence Robinson as Birdie Coonan, and Stefan Schnabel as Max Fabian.[27] In 1970, All About Eve was the inspiration for the stage musical Applause, with book by Betty Comden and Adolph Green, lyrics by Lee Adams, and music by Charles Strouse. The original production starred Lauren Bacall as Margo Channing, and it won the Tony Award for Best Musical that season. It ran for four previews and 896 performances at the Palace Theatre on Broadway. After Bacall left the production, she was replaced by Anne Baxter in the role of Margo Channing.
In popular culture
The plot of the film has been used numerous times, frequently as an outright homage to the film, with one notable example being a 1974 episode of The Mary Tyler Moore Show, "A New Sue Ann". In the episode, the character of Sue Ann Nivens (Betty White), hostess of a popular local cooking show, hires a young, pretty and very eager fan as her apprentice and assistant, but the neophyte quickly begins to sabotage her mentor, in an attempt to replace her as host of the show. Sue Ann, however, unlike Margo Channing, prevails in the end, countering the young
1950 All About Eve woman's attempts to steal her success and sending her on her way.[28] The rock band of the same name got its name when lead singer Julianne Regan and (then) drummer Manuela Zwingmann saw the film for the first time at the former's parents' house in 1985. A 2008 episode of The Simpsons, "All About Lisa", is influenced by this film. In the episode, Lisa becomes Krusty the Clown's assistant, eventually taking his place on television and receiving an entertainment award.[29] Pedro Almodovar's 1999 Academy Award-winning Spanish language film, Todo sobre mi madre (All About My Mother), has elements similar to those found in All About Eve. The title of the film itself is an homage to the 1950 film. In the first scene, the character of Manuela and her son, Esteban, are watching a dubbed version of the movie on television when the film is introduced as "Eve Unveiled." Esteban comments that the film should be called "Todo Sobre Eva" ("All About Eva"). Later in the scene, he begins writing about his mother in his notebook and calls the piece "Todo sobre Eva." Also in All About My Mother, Manuela replaces Nina Cruz as Stella for a night in a production of A Streetcar Named Desire, leading a furious Nina to accuse her of learning the part "just like Eve Harrington!" In a season 3 episode of Gossip Girl, titled "Enough About Eve", Blair has a dream where she is Margo Channing. In the fifth season of The L Word, a fan becomes Jenny's assistant while she is directing a movie; later the fan blackmails the movie studio into letting her direct and she proceeds to take over Jenny's life.
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In the second season of Glee, Kurt Hummel calls his fellow glee club member Santana Lopez "a Latina Eve Harrington", after learning she is blackmailing closeted jock Dave Karofsky into becoming her "beard" and running mate for Prom Queen and King. In the first season of Will & Grace, Grace becomes dependent on a maid to give her a confidence boost during a design competition. This prompts her drunken assistant Karen to suspect a plot and she confronts the maid, exclaiming "I've seen 'All About Eve'. Poooor Eve!" In the pilot episode of Political Animals, when Susan suspects Georgia, a fellow reporter, has a crush on her boyfriend and is attempting to outshine her at the newspaper, she says, "If Eve Harrington were an actual person today, she would look like Georgia. She would bake cupcakes, and she would have a blog."
References
Notes
[1] [2] [3] [4] [5] [6] [7] 'The Top Box Office Hits of 1950', Variety, January 3, 1951 "America's Greatest Movies" (http:/ / connect. afi. com/ site/ DocServer/ movies100. pdf?docID=264) AFI.com. Retrieved 8 August 2009. Staggs, Sam: All About "All About Eve". St Martin's Press, 2001. ISBN 0-312-27315-0 TCM Notes (http:/ / www. tcm. com/ tcmdb/ title. jsp?stid=67044& category=Notes) Legendaryjoancrawford.com (http:/ / www. legendaryjoancrawford. com/ castaphrocies. html) Miller, Frank "All About Eve" (http:/ / www. tcm. com/ tcmdb/ title/ 67044/ All-About-Eve/ articles. html#05) on TCM.com Ebert, Roger "All About Eve (1950)" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20000611/ REVIEWS08/ 6110301/ 1023) Chicago Sun-Times (11 June 2000) [8] Boxoffice.com (http:/ / www. boxoffice. com/ boxoffice_scr/ boxoffice_dvd_result. asp?terms=12) [9] Marx, Rebecca Flint. All About Eve review (http:/ / www. allmovie. com/ work/ all-about-eve-1546/ review) on AllMovie.com. Retrieved 8 August 2009. [10] Ebert, Roger. "All About Eve (1950)" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20000611/ REVIEWS08/ 6110301/ 1023), "Great Movies by Roger Ebert" on rogerebert.com, 6-11-2000. [11] Lee, Marc. "Must-have movies: All About Eve (1950)" (http:/ / www. telegraph. co. uk/ culture/ film/ filmreviews/ 3653627/ Must-have-movies-All-About-Eve-1950. html) The Daily Telegraph (7 July 2006). Retrieved 8 August 2009. [12] Woodward, Kathleen M. Figuring Age: Women, Bodies, Generations (Theories of Contemporary Culture) Indiana University Press, 1999, p. 242. ISBN 0-253-21236-7}}. [13] Field, Douglas. "Gender and Sexuality All about the Subversive Femme Cold War Homophobia in All About Eve" in American Cold War Culture (http:/ / books. google. com/ books?id=DztQtydwimMC), Edinburgh University Press, 2005 ISBN 0-7486-1923-2, ISBN 978-0-7486-1923-8 [14] White, Patricia. "A Star is Beaten" in unInvited: Classical Hollywood Cinema and Lesbian Representability (http:/ / books. google. com/ books?id=gPxwl7uSYfYC), Indiana University Press, 1999. p. 202-12. ISBN 0253213452, ISBN 9780253213457
1950 All About Eve

[15] Geist, Kenneth. "All About 'All About Eve'" (http:/ / www. filmsinreview. com/ 2001/ 06/ 23/ all-about-all-about-eve/ ). Films in Review, 2000 [16] Mankiewicz, Joseph L. and Dauth, Brian. Joseph L. Mankiewicz: Mankiewicz (http:/ / books. google. com/ books?id=scIks6TovMEC& pg=PA73& lpg=PA73& dq=all+ about+ eve+ Mankiewicz+ homosexuality& source=bl& ots=82Shoe8IJv& sig=Zki6cYoq_YJJL7NKI82vIS8G0H8& hl=en& ei=VNNITKK1GsH98Aa_h7WRDw& sa=X& oi=book_result& ct=result& resnum=6& ved=0CCUQ6AEwBTgK#v=onepage& q=homosexual& f=false) University Press of Mississippi, 2008) [17] Corber, Robert. "Cold War Femme: Lesbian Visibility In ... All About Eve" (http:/ / glq. dukejournals. org/ cgi/ pdf_extract/ 11/ 1/ 1). GLQ Journal Duke University, 2005 11(1):1-22; doi:10.1215/10642684-11-1-1 [18] Russo, Vito. The Celluloid Closet (http:/ / books. google. com/ books?id=DH1ZAAAAMAAJ& dq=celluloid+ closet+ all+ about+ eve& q=all+ about+ eve& pgis=1). New York: Harper & Row, 1981 ISBN 0-06-090871-8, ISBN 978-0-06-090871-3 [19] Hunt, Heather. What Happened To Rosie The Riveter? (http:/ / www. honors. umd. edu/ HONR269J/ projects/ hchunt/ main. htm), University of Maryland, 1999 [20] Burston, Paul. "Shes better, shes Bette" (http:/ / entertainment. timesonline. co. uk/ tol/ arts_and_entertainment/ film/ article2915384. ece), The Times of London (22 November 2007) [21] Cleto, Fabio. Camp: Queer Aesthetics and the Performing Subject (http:/ / books. google. com/ books?id=4QKtjdIa7AwC), University of Michigan Press, 1999, ISBN 0-472-06722-2 [22] Sikov, Ed. Dark Victory: The Life of Bette Davis. New York: Macmillan, 2007, ISBN 0-8050-7548-8 [23] "The 23rd Academy Awards (1951) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 23rd-winners. html). oscars.org. Archived (http:/ / web. archive. org/ web/ 20110706093818/ http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 23rd-winners. html) from the original on 6 July 2011. . Retrieved 2011-08-19. [24] "NY Times: All About Eve" (http:/ / movies. nytimes. com/ movie/ 1546/ All-About-Eve/ awards). NY Times. . Retrieved 2008-12-20. [25] "Festival de Cannes: All About Eve" (http:/ / www. festival-cannes. com/ en/ archives/ ficheFilm/ id/ 4072/ year/ 1951. html). festival-cannes.com. . Retrieved 2009-01-11. [26] "National Film Registry" (http:/ / www. loc. gov/ film/ registry_titles. php). Library of Congress, accessed October 28, 2011. [27] Ironically, Bette Davis played three roles that had been originated on Broadway by Tallulah Bankhead (in Dark Victory, Reflected Glory and The Little Foxes) Bankhead and Davis were considered to be somewhat similar in style, with Davis a more disciplined performer who understood film better than Bankhead. Source: liner notes, All About Eve, Moving Finger LP MF002 [28] "A New Sue Ann" (http:/ / www. starpulse. com/ movie/ The_Mary_Tyler_Moore_Show:_A_New_Sue_Ann/ V269407/ 0/ 2/ ) Starpulse.com [29] The Simpsons on Fox (http:/ / www. tvguide. com/ detail/ tv-show. aspx?tvobjectid=100521& more=ucepisodelist& episodeid=7723638) TVGuide.com. Retrieved 18 April 2009.
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External links
All About Eve Script (http://www.imsdb.com/scripts/All-About-Eve.html) from Internet Movie Script Database All About Eve (http://www.imdb.com/title/tt0042192/) at the Internet Movie Database All About Eve (http://tcmdb.com/title/title.jsp?stid=67044) at the TCM Movie Database All About Eve (http://www.allrovi.com/movies/movie/v1546) at AllRovi All About Eve (http://www.rottentomatoes.com/m/1000626-all_about_eve/) at Rotten Tomatoes All About Eve (http://www.filmsite.org/alla.html) on Filmsite.org Literature on All About Eve (http://film.virtual-history.com/film.php?filmid=1753) Streaming audio All About Eve (http://ia700404.us.archive.org/34/items/Lux16/Lux_51-10-01_All_About_Eve.mp3) on Lux Radio Theater: October 1, 1951 All About Eve (http://ia700204.us.archive.org/10/items/TheaterGuildontheAir/ Tgoa_52-11-16_ep127-All_About_Eve.mp3) on Theater Guild on the Air: November 16, 1952
1951 An American in Paris
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An American in Paris
Directed by Produced by Written by Starring Vincente Minnelli Arthur Freed Alan Jay Lerner Gene Kelly Leslie Caron Oscar Levant Georges Gutary Nina Foch George Gershwin (music) Ira Gershwin (lyrics) Saul Chaplin(uncredited)
Music by
Cinematography Alfred Gilks John Alton (ballet) Editing by Distributed by Release date(s) Running time Country Language Budget Box office Adrienne Fazan Metro-Goldwyn-Mayer
November 11, 1951
113 minutes United States English $2,723,903 $4,500,000 $8,005,000 (worldwide theatrical rentals)
[1]
An American in Paris is a 1951 MGM musical film inspired by the 1928 orchestral composition by George Gershwin. Starring Gene Kelly, Leslie Caron, Oscar Levant, Georges Guetary, and Nina Foch, the film is set in Paris, and was directed by Vincente Minnelli from a script by Alan Jay Lerner. The music is by George Gershwin, with lyrics by his brother Ira, with additional music by Saul Chaplin, the music director. The story of the film is interspersed with dance numbers choreographed by Gene Kelly and set to Gershwin's music. Songs and music include "I Got Rhythm", "I'll Build A Stairway to Paradise", " 'S Wonderful", and "Our Love is Here to Stay". The climax of the film is "The American in Paris" ballet, a 16 minute dance featuring Kelly and Caron set to Gershwin's An American in Paris. The ballet alone cost more than $500,000.
Plot
Jerry Mulligan (Gene Kelly), an American World War II veteran, is now an exuberant expatriate in Paris trying to make a reputation as a painter. His friend, Adam (Oscar Levant), is a struggling concert pianist who is a long time associate of a French singer, Henri Baurel (Georges Gutary). A lonely society woman, Milo Roberts (Nina Foch), takes Jerry under her wing and supports him, but is more interested in Jerry than his art. Jerry remains oblivious to her feelings and falls in love with Lise (Leslie Caron), a French girl he meets at a restaurant. Lise loves him as well but she is already in a relationship with Henri, to whom she feels indebted for keeping her safe during World War II. For most of the film Jerry is unaware of Lise's relationship with Henri.
1951 An American in Paris Eventually Jerry learns that Lise is in love with him but is marrying Henri the next day. He invites Milo to a masked ball that night. At the raucous masked ball, with everyone in black-and-white costumes, Milo learns from Adam that Jerry is not interested in her, and Henri overhears Jerry and Lise saying goodbye to each other. When Henri and Lise drive away, Jerry daydreams about being with her all over Paris to the tune of the George Gershwin composition An American in Paris. His reverie is broken by a car horn, the sound of Henri bringing Lise back to him. They embrace as the Gershwin composition (and the film) ends.
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Cast
Gene Kelly as Jerry Mulligan Leslie Caron as Lise Bouvier Oscar Levant as Adam Cook Georges Gutary as Henri "Hank" Baurel Nina Foch as Milo Roberts
Cast notes Hayden Rorke, best known for playing Dr. Bellows on the TV series I Dream of Jeannie, has a small part as a friend of Nina Foch's character. Noel Neill, later to portray Lois Lane on the TV series The Adventures of Superman, has a small role as an American art student who tries to criticize Jerry Mulligan's paintings. Judy Landon, better known for her appearance in Kelly's next musical Singin' in the Rain (and as the wife of Brian Keith), appears as a dancer in the Stairway to Paradise sequence.
Music and dance

"Embraceable You" (Leslie Caron) "Nice Work If You Can Get It" (Georges Gutary) "By Strauss" (Gene Kelly, Gutary, Oscar Levant) "I Got Rhythm" (Kelly) "Tra-la-la (This Time It's Really Love)" (Kelly and Levant) "Our Love Is Here to Stay" (Kelly and Caron) "I'll Build a Stairway to Paradise" (Georges Gutary) "Concerto in F for Piano and Orchestra" (Levant and The MGM Symphony Orchestra) " 'S Wonderful" (Kelly and Gutary) "An American in Paris Ballet" (Kelly, Caron, and ensemble)
Production
The film was shot in Hollywood, so it features some quirks in the occasional French dialogue. Notably, near the beginning of the I Got Rhythm number, one of the French children says Jerry, parle anglais nous, which sounds rather curious, containing mistakes both in direct object placement and in respectful address. In the French soundtrack, which switches to the original sound for the duration of the songs, the nous is masked through a plop sound, to make the sentence more palatable. Hollywood movies set in France seldom used location shooting or native speakers. However, great care was sometimes put into reproducing Paris surroundings, as in An American in Paris or Irma La Douce. Many French Paris-set movies of this era avoided location work too, and sometimes the same art directors (Alexandre Trauner being the best known example) worked on both sides of the Atlantic Ocean.
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Awards and honors

Academy Awards
Wins Academy Award for Best Picture: Arthur Freed, producer Academy Award for Best Art Set Decoration, Color: E. Preston Ames, Cedric Gibbons, F. Keogh Gleason, and Edwin B. Willis Academy Award for Best Cinematography, Color: John Alton and Alfred Gilks Academy Award for Best Costume Design, Color: Orry-Kelly, Walter Plunkett, and Irene Sharaff Academy Award for Best Musical Score: Saul Chaplin and Johnny Green Academy Award for Best Writing, Scoring and Screenplay: Alan Jay Lerner Nominations Academy Award for Best Director: Vincente Minnelli Academy Award for Best Film Editing: Adrienne Fazan
Golden Globes
Wins Golden Globe Award for Best Motion Picture Musical or Comedy Nominations Golden Globe Award for Best Director Motion Picture: Vincente Minnelli Golden Globe Award for Best Actor Motion Picture Musical or Comedy: Gene Kelly
Others
Gene Kelly received an Academy Honorary Award that year for "his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film." It was his only Oscar. The film was entered into the 1952 Cannes Film Festival.[2] In 1993, An American in Paris was selected for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant". American Film Institute recognition 1998: AFI's 100 Years... 100 Movies #68 2002: AFI's 100 Years... 100 Passions #39 2004: AFI's 100 Years... 100 Songs #32 I Got Rhythm 2006: AFI's Greatest Movie Musicals #9 AFI also honored star Gene Kelly as #15 of the top 25 American male screen legends.
Stage adaptation
A stage version of the musical was adapted by Ken Ludwig, and began previews at the Alley Theatre (Houston) on April 29, 2008, officially opening on May 18 and running through June 22. The production, directed by Alley artistic director Gregory Boyd with choreography by Randy Skinner, stars Harry Groener and Kerry O'Malley. The musical has many of the film's original songs, and also incorporates other Gershwin songs, such as "They All Laughed", "Let's Call the Whole Thing Off", and "Love Walked In".[3][4]
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References
[1] Box Office Information for An American in Paris. (http:/ / www. the-numbers. com/ movies/ 1951/ 0AAIP. php) The Numbers. Retrieved April 13, 2012. [2] "Festival de Cannes: An American in Paris" (http:/ / www. festival-cannes. com/ en/ archives/ ficheFilm/ id/ 3984/ year/ 1952. html). festival-cannes.com. . Retrieved 2011 October 08. [3] "The Gershwins' An American in Paris Again Extends Houston Run" (http:/ / www. playbill. com/ news/ article/ 118229. html). playbill.com. 2011 October 08. . Retrieved 2011 October 08. [4] "The Gershwins' An American in Paris: 2007-2008 Season" (http:/ / www. alleytheatre. org/ Alley/ The_Gershwins_An_American_in_Paris_EN. asp?SnID=138638290). Alley Theatre. . Retrieved 2011 October 08.
External links
An American in Paris (film) (http://www.imdb.com/title/tt0043278/) at the Internet Movie Database An American in Paris (film) (http://tcmdb.com/title/title.jsp?stid=67241) at the TCM Movie Database An American in Paris (film) (http://www.allrovi.com/movies/movie/v2070) at AllRovi An American in Paris (film) (http://www.rottentomatoes.com/m/american_in_paris/) at Rotten Tomatoes Filmsite.org's Greatest Films An American in Paris (http://www.filmsite.org/amer.html) Combustible Celluloid's review of An American in Paris (http://www.combustiblecelluloid.com/amerparis. shtml)
1952 The Greatest Show on Earth
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The Greatest Show on Earth
Original theatrical poster
Directed by Produced by Written by Cecil B. DeMille Cecil B. DeMille Fredric M. Frank Theodore St. John Frank Cavett Barr Lyndon Cecil B. DeMille Betty Hutton Cornel Wilde Charlton Heston James Stewart Dorothy Lamour Gloria Grahame Victor Young
Music by
Cinematography George Barnes Editing by Distributed by Release date(s) Running time Country Language Box office Anne Bauchens Paramount Pictures January 10, 1952 152 minutes United States English $12 million (US)
[1]
The Greatest Show on Earth is a 1952 drama film set in the Ringling Bros. and Barnum & Bailey Circus and starring Betty Hutton, Cornel Wilde, and Charlton Heston. The film was produced, directed, and narrated by Cecil B. DeMille, and won the Academy Award for Best Picture. Its storyline is supported by lavish production values, actual circus acts, and documentary, behind-the-rings looks at the massive logistics effort which made big top circuses possible. The film stars Hutton and Wilde as trapeze artists competing for the center ring, and Heston as the circus manager running the show. James Stewart also stars as a mysterious clown who never removes his make-up, even between shows, while Dorothy Lamour and Gloria Grahame play supporting roles. In addition to the film actors, the real Ringling Bros. and Barnum & Bailey's Circus' 1951 troupe appears in the film, with its complement of 1400 people, hundreds of animals, and 60 carloads of equipment and tents. The actors learned their respective circus roles and participated in the acts. Adjusted for inflation, the film's box office is among the highest-grossing films in the United States and Canada. A television series, also called The Greatest Show on Earth, was inspired by the film, but with Jack Palance in the role of Charlton Heston's character. The program ran on Tuesday evenings for thirty episodes on ABC during the 19631964 season.
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DeMille's opening remarks

"We bring you the circus that Pied Piper whose magic tunes lead children of all ages, from 6 to 60, into a tinseled and spun-candied world of reckless beauty and mounting laughter; whirling thrills; of rhythm, excitement and grace; of daring, enflaring and dance; of high-stepping horses and high-flying stars. "But behind all this, the circus is a massive machine whose very life depends on discipline, motion and speed... a mechanized army on wheels that rolls over any obstacle in its path... that meets calamity again and again, but always comes up smiling... a place where disaster and tragedy stalk the Big Top, haunt the backyards, and ride the circus rails... where Death is constantly watching for one frayed rope, one weak link, or one trace of fear. "A fierce, primitive fighting force that smashes relentlessly forward against impossible odds: That is the circus. And this is the story of the biggest of the Big Tops... and of the men and women who fight to make it The Greatest Show on Earth! "
Plot
Brad Braden is the no-nonsense general manager of what was at the time the world's largest railroad circus. He has a number of problems on his hands for the upcoming season. The show's board of directors plan to run a short 10 week season rather than risk losing $25,000 a day in a shaky post-war economy. Brad bargains to keep the circus on the road as long as it is making a profit, thus keeping the 1,400 performers and roustabouts who make Ringling Bros. and Barnum & Bailey Circus' the Greatest Show On Earth working. Brad's first problem is having to tell his girlfriend, Holly, a flyer who has no idea whom she is in love with and who had been expecting to be the star of that season's show, that she's out of the center ring. The only way he was able to get management to agree to a full season was to hire The Great Sebastian, "the debonair King of the Air" and world-class trapeze artist, as the star of the show. Holly knows Brad must think of the show first and personal feelings second, and that he does not take chances with the show, but is nevertheless infuriated at his decision. His second problem is keeping Sebastian under control. He has a well-deserved reputation as a ladies' man who has cut a wide swath through the female contingent of every show he's ever worked in, to the detriment of the running of those shows. His third problem is keeping an eye on Harry, a midway concessionaire he suspects of running crooked games of chance, who works for a mysterious gangster named Mr. Henderson (who has a healthy respect for Brad Braden and not much for Harry). Another situation unbeknownst to Brad involves the beloved Buttons the Clown, who is never seen without his makeup. During a performance, Buttons converses with a woman member of the audience who warns him that an unnamed "they" are asking questions about him again. She is in fact his mother and they see each other only once a year. Hints about his former life are revealed as he gives first aid to performers and wraps bandages around a trapeze for Holly in an expert manner. Holly later finds a newspaper article about a doctor who had "mercy killed" his wife. The competition between Holly and Sebastian for the center ring develops into a romantic triangle as well, with both Sebastian and Brad vying for Holly as the aerialists' acts become increasingly daring and dangerous. Sebastian ignores his former lovers on the show: Angel, who performs in the elephant act; and Phyllis, who does a double turn as an iron jaw artist and a vocalist starring in a South Seas spectacular built around her talent as a singer. The duel ends when, in response to a challenge from Holly, Sebastian removes his safety net and suffers serious injuries in a fall when a trick goes wrong. Buttons tends to him, and when a doctor expresses admiration for the way he dealt with the injuries the clown explains, a little nervously, that he used to be a pharmacist's mate. Holly finally has the center ring and star billing but not the way she wanted it. Brad is unable to comfort her because she is in love with Sebastian.
1952 The Greatest Show on Earth One problem at least is resolved. When Harry is caught cheating circus attendees on the midway, Brad calls him on it and fires him, finishing the fight Harry started by throwing him into a puddle of mud. Harry leaves the lot, vowing revenge. He is seen now and then on the periphery of the show, shooting craps and sowing disaffection, particularly with Klaus the elephant trainer who is obsessed with Angel, one of the "ballet girls" (female performers whose primary job is to look beautiful, as opposed to performing a specialty act) who works with his elephants as "the Sultan's Favorite." Sebastian rejoins the show, but is unable to return to the trapeze due to an injury which has left him with a useless right arm. A guilt-ridden Holly professes her love for her former rival over the cold, unfeeling Brad. Calling Holly a fool "for busting up the swellest guy in the circus," Angel makes a pass at Brad and they become an item. This sits badly with Klaus, who has spent the entire season pursuing Angel and cannot accept that she is not in love with him and does not want him. As they are about to leave one stand, Special Agent Gregory of the FBI intercepts Brad, asking if the circus doctor looked like a photograph of a man he is hunting (the photo is of Buttons without makeup). Having never seen Buttons without makeup, Brad doesn't recognize the man in the photo. The detective boards the train to continue his investigation. Brad mentions this to Buttons, who tells him that Sebastian has feeling in his injured hand a sign that his disability is not permanent. Brad makes the connection between Buttons and the fugitive doctor and comments that the police will be taking fingerprints. The implication is that Buttons should make himself scarce until the detective leaves the show to search elsewhere. The joy of Sebastian's potential recovery is overshadowed by a spectacular collision of the circus' two trains, set up by Harry, the crooked midway operator fired by Brad, and Angel's rejected suitor, Klaus, as a byproduct of their robbing the circus pay wagon of the money earned by the show at the last stand. Buttons, who had been about to flee, returns after a plea from Holly, who, like Brad, had made the connection between the doctor "who killed the wife he loved, then vanished" and his new identity as Buttons the Clown, and saves the critically injured Brad's life by giving him a blood transfusion from Sebastian "on the fly," despite knowing that Gregory is watching. This in turn leads to Gregory reluctantly arresting Buttons, who he declares "is all right." Holly realizes that she is actually in love with Brad, that she has always loved him; and takes command of the show, mounting a circus parade through the town nearest the crash and staging an open air show by the crash site (as the Big Top and lighting were lost in the wreck). Brad's near-death experience forces him to admit that he is in love with Holly, but ironically she now hasn't time for him because the show must go on. The last loose end is tied up when Sebastian proposes to Angel and she accepts. The movie ends with the troupe mounting a "spec" to open their improvised performance, which will keep the show in the black and enable them to continue their tour, a magnificent recovery from disaster.
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Cast
Betty Hutton as Holly Cornel Wilde as The Great Sebastian Charlton Heston as Brad Braden James Stewart as Buttons the Clown Dorothy Lamour as Phyllis Gloria Grahame as Angel Henry Wilcoxon as FBI Agent Gregory Lyle Bettger as Klaus Lawrence Tierney as Mr. Henderson
Brad Johnson as unnamed reporter The film features about 85 Ringling Bros. and Barnum & Bailey Circus acts, including clowns Emmett Kelly and Lou Jacobs, midget Cucciola, bandmaster Merle Evans and aerialist Antoinette Concello.[2] John Ringling North
1952 The Greatest Show on Earth plays himself as the owner of the circus. There are a number of unbilled cameo appearances (mostly in the circus audiences) including Bob Hope and Bing Crosby, Dorothy Lamour's co-stars in the Road to... movies.[2] William Boyd appears in his usual guise of Hopalong Cassidy. Danny Thomas, Van Heflin, character actor Oliver Blake, and Noel Neill are seen as circus patrons, among others. Leon Ames is seen and heard in the train wreck sequence. However, the plot and cameos play second fiddle to the documentary-like look at The Greatest Show On Earth in its last years under canvas. A barker, kept anonymous until the very end, is heard in the closing moments of the film. The voice is finally revealed to be that of Edmond O'Brien.
203
Production
Lucille Ball was offered Gloria Grahame's role in the picture by DeMille, but dropped out when she discovered she was pregnant with her first child, Lucie Arnaz. The music for the song, "Lovely Luawana Lady", was written by John Ringling North, who appears briefly as himself during the discussion about whether the show would play the road rather than have a short 10 week season. North was a nephew of the five Ringling Brothers who founded Ringling Bros. and Barnum & Bailey Circus. At the time the movie was filmed, John Ringling North was the owner of The Greatest Show On Earth.
Reception
The film earned an estimated $12 million at the North American box office in 1952[3] and was the most popular film in Britain that year.[4] In 1952, Bosley Crowther called The Greatest Show on Earth a "lusty triumph of circus showmanship and movie skill" and a "piece of entertainment that will delight movie audiences for years":[5] Sprawling across a mammoth canvas, crammed with the real-life acts and thrills, as well as the vast backstage minutiae, that make the circus the glamorous thing it is and glittering in marvelous Technicolortruly marvelous color, we repeatthis huge motion picture of the big-top is the dandiest ever put upon the screen. In 1952, Time magazine called it a "mammoth merger of two masters of malarkey for the masses: P. T. Barnum and Cecil B. de Mille" as well as a film that "fills the screen with pageants and parades [and] finds a spot for 60-odd circus acts" with a plot that "does not quite hold all this pageantry together."[6] In 1952, Variety wrote that the film "effectively serve[s] the purpose of a framework for all the atmosphere and excitement of the circus on both sides of the big canvas."[2] In 1999, critic Leonard Maltin opined that "like most of DeMille's movies, this may not be art, but it's hugely enjoyable".[7] In 2005, "The Official Razzie Movie Guide: Enjoying The Best of Hollywood's Worst"[8] includes The Greatest Show On Earth. The general sentiment about the film seems to be: it was a heinous mistake on the part of the Academy to give it the coveted Best Picture award. And in that same year the magazine Empire listed it as the third worst Best Picture winner of all time.[9] In 2006, in an article for MSNBC about the 78th Academy Awards selection of Crash as Best Picture, Erik Lundegaard called Crash the "worst Best Picture winner since the 'dull, bloated' film The Greatest Show on Earth"[10]
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Awards
At the 25th Academy Awards, the movie won Oscars for Best Picture (earning that recognition over films such as High Noon and The Quiet Man and the classic Singin' in the Rain) and for Best Story. It received nominations for Best Director, Best Film Editing, and Best Costume Design, Color. Many consider this film among the worst to have ever won the Academy Award for Best Picture. The American film magazine Premiere placed the movie on its list of the 10 worst Oscar winners[11] and the British film magazine Empire rated it #3 on their list of the 10 worst Oscar winners.[12] It has the second lowest spot on Rotten Tomatoes' list of the 81 films to win Best Picture.[13] There have been allegations that the film's Best Picture Oscar was due to the political climate in Hollywood in 1952. Senator Joseph McCarthy was pursuing Communists at the time, and Cecil B. DeMille was one of his supporters; another Best Picture nominee, High Noon, was produced by Carl Foreman, who would soon be on the Hollywood blacklist. Another likely reason The Greatest Show On Earth was voted Best Picture of 1952 was that it was seen as a "last chance" vote for Cecil B. DeMille, to honor him for a lifetime of film making going well back into the silent movie era. DeMille's best work had been done before the Academy of Motion Picture Arts and Sciences was created. It may be that the members of the Academy (which included many veterans of the silent era) felt that as an elder statesman of Hollywood, he deserved the honor even if films like The Quiet Man, High Noon, Singin' in the Rain, and Ivanhoe were seen as better than The Greatest Show On Earth.
Influence
The self-titled closing theme song later served as the theme for WGN-TV's long running The Bozo Show.[14] The Greatest Show on Earth was the first film that director Steven Spielberg saw and he credits it as one of the major inspirations that led him into a film career.[15] He pointed out the film's train crash scene as a major influence, and this influence was later reflected in the 2011 science fiction film Super 8, which he produced. In Steven Spielberg's remake of War of the Worlds, in an early scene the children of Tom Cruise's character are seen channel-surfing on their television, and the train-wreck scene from The Greatest Show On Earth is being broadcast.
References
[1] CHRISTON, LAWRENCE. "The Greatest Show on Earth" (http:/ / www. variety. com/ article/ VR1117881949). Variety. . Retrieved 11 May 2012. [2] The Greatest Show On Earth (http:/ / www. variety. com/ index. asp?layout=Variety100& reviewid=VE1117488052& content=jump& jump=review& category=1935& cs=1), a January 2, 1952 review from Variety [3] 'Top Box-Office Hits of 1952', Variety, January 7, 1953 [4] "COMEDIAN TOPS FILM POLL." (http:/ / nla. gov. au/ nla. news-article18504988). The Sunday Herald (Sydney, NSW : 1949 - 1953) (Sydney, NSW: National Library of Australia): p.4. 28 December 1952. . Retrieved 9 July 2012. [5] De Mille Puts Greatest Show on Earth on Film for All to See (http:/ / movies. nytimes. com/ movie/ review?res=9C06E2DB153BE23BBC4952DFB7668389649EDE), a January 11, 1952 review from The New York Times [6] The New Pictures (January 14, 1952) (http:/ / www. time. com/ time/ printout/ 0,8816,806239,00. html), a review from Time magazine [7] Maltin, Leonard (1999). Leonard Maltin's Family Film Guide. New York: Signet. p.225. ISBN0-451-19714-3. [8] Wilson, John (2005). The Official Razzie Movie Guide: Enjoying the Best of Hollywoods Worst. New York: Grand Central Publishing. ISBN978-0-446-69334-9. [9] http:/ / www. hollywood. com/ news/ Mel_Gibsons_Braveheart_Voted_Worst_Oscar_Winner/ 2435436 [10] Oscar misfire: Crash and burn (http:/ / www. msnbc. msn. com/ id/ 11700333/ print/ 1/ displaymode/ 1098/ ) from a March 2006 MSNBC article [11] http:/ / imdb. com/ news/ wenn/ 2006-03-01/ #celeb9 [12] http:/ / in. rediff. com/ movies/ 2005/ mar/ 01worst. htm [13] http:/ / www. rottentomatoes. com/ guides/ best_of_the_best_pictures_2011/ [14] Hollis, Tim, ed. (2001). Hi there, boys and girls! America's local children's TV shows (http:/ / books. google. com/ books?id=h3nCJAlg5qUC& pg=PA100& lpg=PA100& dq=paddy+ the+ pelican#v=onepage& q=paddy the pelican& f=false). University of

Mississippi. pp.361. ISBN1-57806-396-5. . Retrieved 6 February 2011. [15] Interview with Steven Spielberg, Mark Kermode, BBC Culture Show, broadcast 2006-11-04
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External links
The Greatest Show on Earth (http://www.imdb.com/title/tt0044672/) at the Internet Movie Database The Greatest Show on Earth (http://www.allrovi.com/movies/movie/v20838) at AllRovi The Greatest Show on Earth (http://tcmdb.com/title/title.jsp?stid=4608) at the TCM Movie Database The Greatest Show on Earth (http://www.rottentomatoes.com/m/greatest_show_on_earth/) at Rotten Tomatoes
1953 From Here to Eternity
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From Here to Eternity
original movie poster
Directed by Produced by Written by Fred Zinnemann Buddy Adler James Jones (novel) Daniel Taradash Burt Lancaster Montgomery Clift Deborah Kerr Donna Reed Frank Sinatra Ernest Borgnine Philip Ober Jack Warden George Duning
Starring
Music by
Cinematography Burnett Guffey Editing by Distributed by Release date(s) Running time Country Language Budget Box office William A. Lyon Columbia Pictures
August 5, 1953

[1]
From Here to Eternity is a 1953 drama film directed by Fred Zinnemann and based on the novel of the same name by James Jones. It deals with the troubles of soldiers, played by Burt Lancaster, Montgomery Clift, Frank Sinatra and Ernest Borgnine, stationed on Hawaii in the months leading up to the attack on Pearl Harbor. Deborah Kerr and Donna Reed portrayed the women in their lives. The film won eight Academy Awards out of 13 nominations, including for Picture, Best Director (Fred Zinnemann), Adapted Screenplay, Supporting Actor (Frank Sinatra) and Supporting Actress (Donna Reed).[2]
Plot
In 1941, Private Robert E. Lee Prewitt (Montgomery Clift), a bugler, is transferred from the Bugle Corps at Fort Shafter (giving up his corporal stripes) to a rifle outfit, Company "G," at Schofield Barracks on the island of Oahu. When Captain Dana "Dynamite" Holmes (Philip Ober) learns of his reputation as a talented boxer, he recommends that Prewitt join the regimental boxing club that he heads, and promises that Prewitt will be promoted to corporal or even sergeant, if he helps win the boxing trophy on December 15, but Prewitt refuses, though he keeps silent about his reasons. Holmes retaliates by making army life as miserable as possible for Prewitt, hoping he will give in. Unable to break Prewitt's spirit, Holmes orders First Sergeant Milton Warden (Burt Lancaster) to prepare court martial papers. Warden, however, knowing of Holmes' treatment and realizing Prewitt is a career soldier, suggests
1953 From Here to Eternity that he try to entice Prewitt to change his mind by doubling up on company punishment. The other non-commissioned officers assist in the conspiracy. Prewitt is supported only by his friend, Private Angelo Maggio (Frank Sinatra). Meanwhile, Warden begins an affair with Holmes' neglected wife Karen (Deborah Kerr). Sergeant Maylon Stark (George Reeves) has told Warden that Karen had many affairs at Fort Bliss, including with him. As their relationship develops, Warden asks Karen about her numerous affairs to test her sincerity with him. Karen relates that Holmes has been unfaithful to her most of their marriage. She miscarried one night when Holmes came back from one affair drunk, and unable to assist her to the hospital. She then affirms her genuine love for Warden.
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Lancaster and Kerr in the iconic beach scene at Halona Cove, Oahu, Hawaii.
Prewitt and Maggio spend their liberty time at the New Congress Club, a gentlemen's club where Prewitt meets and falls for Lorene (Donna Reed). Prewitt confides to Lorene the reason he refuses to box for the company is that he blinded Dixie Wells, a close friend while sparring. Maggio encounters Sergeant Judson (Ernest Borgnine) at the club. When Maggio complains that Judson's piano playing is interfering with his dancing, the two nearly come to blows. Maggio is told that Judson is the Sergeant of the Guard at the stockade. Later, at a tavern called "Choy's," located near the base, Judson sees Maggio holding a photograph of his family. Judson makes an rude comment to Prewitt about Maggio's sister causing Maggio to smash a bar stool over Judson's head. Judson pulls a switchblade on Maggio, but Warden, sitting in a corner, intervenes to save Maggio by telling Judson that killing Maggio would "create two weeks of paperwork" for him. When Judson advances on Warden with the knife, Warden breaks a beer bottle in two and uses the jagged edge as a weapon. Judson retreats, throws down his knife and goes to the bar for a drink. However, he warns Maggio that sooner or later Maggio would end up in the stockade and he would be there waiting for him. Karen tells Warden that if he became an officer, she could divorce Holmes and they could return to the States and marry. Warden is not keen on the idea because of his dislike of officers, but agrees to consider the matter. Prewitt manages a weekend pass, courtesy of Warden, and goes to meet Lorene who is too busy at the club to talk. However, she meets him later at a bar for a drink. He tells Lorene he loves the Army, and shows Lorene his prized possession, a bugle mouthpiece. Prew tells her the honor of his lifetime, being selected to play Taps at Arlington National Cemetery on Armistice Day with the President in attendance. Maggio then walks in drunk and in uniform, explaining that he was assigned to guard duty that night, but deserted his post. Lorene encourages Prewitt to take Maggio back to the base. While Prewitt is calling for a cab, Military Police arrive and arrest Maggio, and he is sentenced to six months in the stockade. Matters come to a head for Prewitt when Sergeant Galovitch picks a fight with Prewitt while on yard detail, and the two come to blows. At first, Galovitch repeatedly pummels Prewitt, who initially refuses to fight back, and then resorts to using only body blows. But as Galovitch and others watching continue taunting him, Prewitt's fighting side re-emerges, and Prewitt comes close to knocking Galovitch out before Holmes (observing from outside the crowd) finally steps in and stops the fight. When Galovitch falsely accuses Prewitt of insubordination, Holmes is about to punish Prewitt again until the man in charge of the detail says that it was Galovitch, not Prewitt, who was spoiling
1953 From Here to Eternity for the fight. But instead of punishing Galovitch, Holmes abruptly lets him off the hook and disperses the crowd. The entire incident is witnessed by the base commander, who orders an investigation by the Inspector General. When Holmes' true intentions are revealed to the commander, he orders a court-martial. When Holmes begs for an alternative, the commander's aide suggests that Holmes resign his commission "for the good of the service" and leave the Army, which the general accepts with dispatch. Holmes' replacement, Captain Ross, verbally reprimands the others involved, and then orders Sergeant Galovitch's demotion to private and put in charge of the latrine. Maggio manages to escape from the stockade and find Prewitt and dies in his arms after telling of the abuse he suffered from Judson in the stockade. The following night Prewitt plays taps as tears stream down his cheeks. Seeking revenge, Prewitt tracks down Judson in town and invites him into a back alley to talk, then attacks him using the very same switchblade Judson had pulled on Maggio earlier. Prewitt kills Judson, but not before sustaining a serious stomach wound. Prewitt runs from the alley and goes into hiding at Lorene's apartment. Despite Prewitt's AWOL status, his platoon sergeant carries him "present" for three days at Warden's direction. Lorene, whose real name is Alma, tends to Prewitt's wounds. When the Japanese attack Pearl Harbor, Prewitt, still weak from his unhealed wound, finds out about the attack, and attempts to return to camp under cover of darkness, but is shot dead by a sentry. Warden identifies the body, laments Prewitt's stubbornness and states the irony that because of the attack, the boxing tournament is cancelled. Holmes' resignation results in Karen having to return to the States with him. When she finds out that Warden failed to apply for officer status, she realizes they will never be together. At the end, Lorene and Karen meet on a ship leaving for the mainland. Karen then tosses two leis into the water. She tells Alma, "There's a legend: if they float to shore, you'll return to Hawaii. If they float out to sea, you'll never return." Alma says she will never return, telling Karen that her fianc was an Army Air Corps pilot killed in a B-17 during the attack, "he was awarded the Silver Star, they sent it to his mother. She wrote me. She wanted me to have it. They are very fine people, Southern people. He was named after a general. Robert E. Lee... Prewitt." Karen recognizes Prewitt's name from conversations with Warden. Lorene holds Prewitt's treasured bugle mouth piece.
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Cast
Burt Lancaster as First Sergeant Milton Warden Montgomery Clift as Private Robert E. Lee "Prew" Prewitt Deborah Kerr as Karen Holmes Donna Reed as Alma "Lorene" Burke Frank Sinatra as Private Angelo Maggio Philip Ober as Captain Dana "Dynamite" Holmes Mickey Shaughnessy as Corporal Leva Harry Bellaver as Private First Class Mazzioli Ernest Borgnine as Staff Sergeant James R. "Fatso" Judson Jack Warden as Corporal Buckley John Dennis as Sergeant Ike Galovitch Merle Travis as Sal Anderson Tim Ryan as Sergeant Pete Karelsen Arthur Keegan as Treadwell Barbara Morrison as Mrs. Kipfer George Reeves as Sergeant Maylon Stark Claude Akins as Sergeant 'Baldy' Dhom
Alvin Sargent as Nair Joseph Sargent as soldier Robert J. Wilke as Sergeant Henderson
1953 From Here to Eternity Carleton Young as Colonel Ayres Tyler McVey as Major Stern (uncredited) The novel's author, James Jones, had a small, uncredited part.
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Production
Hollywood legend has it that Frank Sinatra got the role in the movie because of his alleged Mafia connections, and that this was the basis for a similar subplot in The Godfather.[3] This has been dismissed on several occasions, however, by the cast and crew of the film. Director Fred Zinneman commented that "...the legend about a horse's head having been cut off is pure invention, a poetic license on the part of Mario Puzo who wrote The Godfather."[3] More plausible is the notion that Sinatra's then-wife Ava Gardner persuaded studio head Harry Cohn's wife to use her influence with him; this version is related by Kitty Kelley in her Sinatra biography.[3] Sinatra himself had been bombarding Cohn with letters and telegrams asking to play the ill-fated Maggio, even signing some of the letters "Maggio". Sinatra benefited when Eli Wallach, who was originally cast as Maggio, dropped out to appear on Broadway instead. Sinatra gained the role, ultimately taking a pay cut in the process (earning $8,000, a huge drop from his $130,000 salary for Anchors Aweigh) to star in the film. Sinatra's screen-test was used in the final cut of the film; the scene included Sinatra improvising with a handful of olives, pretending they were a pair of dice. Joan Crawford and Gladys George were offered roles, but George lost her role when the director decided he wanted to cast the female roles against type while Crawford's demands to be filmed by her own cameraman led to the studio taking a chance on Deborah Kerr, also playing against type.[4] The material of the rather explicit novel had to be considerably toned down to appease the censors of the time. For example, in the famous beach scene, it is less obvious that Kerr's and Lancaster's characters are having sex than it is in the novel and in the later, miniseries based on the book. Also left out of the film are Maggio being a male hustler and the portrait of the gay nightlife in Waikiki. The on-screen chemistry between Lancaster and Kerr may have spilled off-screen; it was alleged that the stars became romantically involved during filming.[5] A rumor has been circulating for years that George Reeves, who played Sgt. Maylon Stark, had his role drastically edited after preview audiences recognized him as television's Superman. This is depicted in the film Hollywoodland. However, Zinnemann maintains all his scenes were kept intact from the first draft, nor was there ever a preview screening. The U.S. Army withheld its cooperation from the production (most of the movie was filmed where it was set, at Schofield Barracks, Hawaii) until the producers agreed to several modifications, most noticeably the fate of Captain Holmes. Numerous barracks locations are still intact and still occupied by active duty troops. In both the movie and the book the bar and restaurant called Choy's, where the fight scene takes place in the movie and where the novel opens is named Kemo'o (pronounced "kay-moe-o" in Hawaiian) Farms Bar and Grill. Choy's was chosen by James Jones in honor of Kemo'o Farms' head chef. Kemo'o Farms Bar and Grill is still in operation and remains deeply associated with the adjacent Schofield Barracks, and the cast and crew, especially Sinatra, are reputed to have patronized the bar to the point of excess. Two songs are noteworthy: "Re-Enlistment Blues" and "From Here to Eternity", by Robert Wells and Fred Karger.
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Reception
Opening to rave reviews, From Here to Eternity proved to be an instant hit with critics and the public alike, the Southern California Motion Picture Council extolling: "A motion picture so great in its starkly realistic and appealing drama that mere words cannot justly describe it." Variety agreed: "The James Jones bestseller, 'From Here to Eternity,' has become an outstanding motion picture in this smash screen adaptation. It is an important film from any angle, presenting socko entertainment for big business. The cast names are exceptionally good, the exploitation and word-of-mouth values are topnotch, and the prospects in all playdates are very bright whether special key bookings or general run." [6] Of the actors, Variety went on to say, "Burt Lancaster, whose presence adds measurably to the marquee weight of the strong cast names, wallops the character of Top Sergeant Milton Warden, the professional soldier who wet-nurses a weak, pompous commanding officer and the GIs under him. It is a performance to which he gives depth of character as well as the muscles which had gained marquee importance for his name. Montgomery Clift, with a reputation for sensitive, three-dimensional performances, adds another to his growing list as the independent GI who refuses to join the company boxing team, taking instead the "treatment" dished out at the C.O.'s instructions. Frank Sinatra scores a decided hit as Angelo Maggio, a violent, likeable Italo-American GI. While some may be amazed at this expression of the Sinatra talent versatility, it will come as no surprise to those who remember the few times he has had a chance to be something other than a crooner in films.[6] The New York Post applauded Frank Sinatra, remarking that "He proves he is an actor by playing the luckless Maggio with a kind of doomed gaiety that is both real and immensely touching." Newsweek also stated that "Frank Sinatra, a crooner long since turned actor, knew what he was doing when he plugged for the role of Maggio." The cast agreed, Burt Lancaster commenting in the book Sinatra: An American Legend that "His fervour (Sinatra), his bitterness had something to do with the character of Maggio, but also with what he had gone through the last number of years. A sense of defeat and the whole world crashing in on him... They all came out in that performance."[3] With a gross of $30.5 million equating to earnings of $12.2 million, From Here to Eternity was not only one of the top grossing films of 1953, but one of the ten highest-grossing films of the decade. Adjusted for inflation, its box office gross would be equivalent to in excess of $240 million U.S. in recent times.[1]

Academy Awards
Award Best Picture Best Director Best Actor Result Won Won Nominated Buddy Adler Fred Zinnemann Montgomery Clift Winner was William Holden Stalag 17 Burt Lancaster Winner was William Holden Stalag 17 Deborah Kerr Winner was Audrey Hepburn Roman Holiday Daniel Taradash Frank Sinatra Donna Reed Burnett Guffey Winner
Best Actor
Nominated
Best Actress
Nominated Won Won Won Won
Best Writing, Screenplay Best Supporting Actor Best Supporting Actress Best Cinematography (Black-and-White)
211
Jean Louis Winner was Edith Head Roman Holiday William A. Lyon George Duning and Morris Stoloff Winner was Bronislau Kaper Lili John P. Livadary
Best Costume Design (Black-and-White)
Nominated Won Nominated Won
Best Film Editing Best Score of a Dramatic or Comedy Picture
Best Sound (Recording)
William Holden, who won the Best Actor Oscar for Stalag 17, felt that Lancaster should have won. Sinatra would later comment that he thought his performance of heroin addict Frankie Machine in The Man With the Golden Arm was more deserving of an Oscar than his role as Maggio.
Golden Globe Awards

Winner Golden Globe Best Supporting Actor Frank Sinatra Winner Best Director Fred Zinneman
New York Film Critics' Circle Awards

Winner New York Film Critics' Circle Awards Best Film Winner Best Actor Burt Lancaster Winner Best Director Fred Zinneman

Winner 1954 Cannes Film Festival Special Award of Merit Nominated Grand Prize of the Festival[7]
British Academy of Film and Television Arts

Nominated BAFTA Best Film from Any Source
Directors Guild of America

Winner Directors Guild of America Outstanding Directorial Achievement Fred Zinneman
Writers Guild of America

Winner Writers Guild of America Award Best Written American Drama
Photoplay
Winner Photoplay Awards Gold Medal
National Film Registry

In 2002, the United States Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry.

1998 AFI's 100 Years...100 Movies #52 2002 AFI's 100 Years...100 Passions #20
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References
Notes
[1] "Box Office Information for 'From Here to Eternity'." (http:/ / www. the-numbers. com/ movies/ 1953/ 0FHTE. php) The Numbers. Retrieved: April 12, 2012. [2] "The 26th Academy Awards (1954) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 26th-winners. html). oscars.org. . Retrieved 2011-08-20.. [3] Sinatra 1995, p. 106 [4] "From Here to Eternity (1953)." (http:/ / www. moviesplanet. com/ movies/ 88514/ from-here-to-eternity/ trivia) moviesplanet.com. Retrieved: May 31, 2011. [5] Buford 2000 [6] Brogdon, William. "Review:'From Here to Eternity'." (http:/ / www. variety. com/ index. asp?layout=Variety100& reviewid=VE1117791141& content=jump& jump=review& category=1935& cs=1) Variety, July 29, 1953. Retrieved: January 14, 2010. [7] "From Here to Eternity." (http:/ / www. festival-cannes. com/ en/ archives/ ficheFilm/ id/ 3801/ year/ 1954. html) Festival de Cannes. Retrieved: January 25, 2009.
Bibliography Buford, Kate. Burt Lancaster: An American Life. New York: Knopf, 2000. ISBN 0-679-44603-6. Dolan Edward F. Jr. Hollywood Goes to War. London: Bison Books, 1985. ISBN 0-86124-229-7. Evans, Alun. Brassey's Guide to War Films. Dulles, Virginia: Potomac Books, 2000. ISBN 1-57488-263-5. Sinatra, Nancy. Frank Sinatra: An American Legend. Chappaqua, New York: Readers Digest Association, 1995. ISBN 0-7621-0134-2.
External links
From Here to Eternity (http://www.imdb.com/title/tt0045793/) at the Internet Movie Database From Here to Eternity (http://www.allrovi.com/movies/movie/v18738) at AllRovi From Here to Eternity (http://tcmdb.com/title/title.jsp?stid=16762) at the TCM Movie Database From Here to Eternity (http://www.rottentomatoes.com/m/1007931-from_here_to_eternity/) at Rotten Tomatoes From Here to Eternity at Virtual History (http://www.virtual-history.com/movie/film/772/ from-here-to-eternity) Script (pdf) (http://sfy.ru/pdf/from_here_to_eternity_(1953).pdf)
1954 On the Waterfront
213

On the Waterfront
theatrical release poster
Directed by Produced by Written by Starring Music by Elia Kazan Sam Spiegel Budd Schulberg Marlon Brando Leonard Bernstein
Cinematography Boris Kaufman, ASC Editing by Distributed by Release date(s) Running time Country Language Budget Box office Gene Milford Columbia Pictures July 28, 1954 108 minutes United States English $910,000 (est.) $9,600,000
On the Waterfront is a 1954 American crime drama film about union violence and corruption among longshoremen. The film was directed by Elia Kazan and written by Budd Schulberg. It stars Marlon Brando, Karl Malden, Lee J. Cobb, Rod Steiger and Eva Marie Saint. The soundtrack score was composed by Leonard Bernstein. It is based on a series of articles written in the New York Sun by Malcolm Johnson. The film received eight Academy Awards, including Best Picture, Best Actor and Best Director. It is Leonard Bernstein's only original film score not adapted from a stage production with songs. On the Waterfront' was based on a 24-part series of articles in the New York Sun by Malcolm Johnson, titled "Crime on the Waterfront". The series won the 1949 Pulitzer Prize for Local Reporting. The stories detailed widespread corruption, extortion and racketeering on the waterfront of Manhattan and Brooklyn.
Plot
Mob-connected union boss Johnny Friendly (Lee J. Cobb) gloats about his iron-fisted control of the waterfront. The police and the Waterfront Crime Commission know that Friendly is behind a number of murders, but witnesses play "D and D" ("deaf and dumb"), accepting their subservient position rather than risk the danger and shame of informing. Terry Malloy (Marlon Brando) is a dockworker whose brother Charley (Rod Steiger) is Friendly's right hand man. Some years earlier, Terry had been a promising boxer until Friendly had Charley instruct him to deliberately lose a fight that he could have won, so that Friendly could win money betting against him. Terry is used to coax a popular dockworker, Joey Doyle (Ben Wagner), out to an ambush, preventing him from testifying against Friendly before the Crime Commission. Terry resents being used as a tool in Joey's death but is still willing to remain "D and D". Terry meets and is smitten by the murdered Joey Doyle's sister, Edie (Eva Marie Saint), who has shamed "waterfront priest" Father Barry (Karl Malden) into fomenting action against the
1954 On the Waterfront mob-controlled union. Soon both Edie and Father Barry are urging Terry to testify. Another dockworker, Kayo Dugan, who agrees to testify after Father Barry's promise of unwavering support, ends up dead after Friendly arranges for him to be crushed by a load of whiskey in a staged accident. As Terry, tormented by his awakening conscience, increasingly leans toward testifying, Friendly decides that Terry must be killed unless Charley can coerce him into keeping quiet. Charley tries bribing Terry with a good job, and finally threatens him by holding a gun up against him, but recognizes he has failed to sway Terry, who places the blame for his own downward spiral on his well-off brother. In one of the most famous scenes in film history, Terry reminds Charley that if it had not been for the fixed fight, "I coulda been a contender." Charley gives Terry a gun and advises him to run. Friendly has been spying on the situation, so he has Charley murdered, his body hanged in an alley as bait to get at Terry. Terry sets out to shoot Friendly, but Father Barry obstructs that course of action and finally convinces Terry to fight Friendly by testifying. After the testimony, Friendly announces that Terry will not find employment anywhere on the waterfront. Edie tries to persuade him to leave the waterfront with her, but he nonetheless shows up during recruitment at the docks. When he is the only man not hired, Terry openly confronts Friendly, proclaiming that he is proud of what he did. Finally, the confrontation develops into a vicious brawl, with Terry getting the upper hand until Friendly's thugs gang up on Terry and beat him nearly to death. The dockworkers, who witnessed the confrontation, declare their support for Terry and refuse to work unless Terry is working too. Finally, the badly wounded Terry forces himself to his feet and enters the dock, followed by the other longshoremen despite Friendly's threats.
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Cast
Marlon Brando as Terry Malloy Eva Marie Saint as Edie Doyle Lee J. Cobb as Johnny Friendly Karl Malden as Father Barry Rod Steiger as Charley Malloy Pat Henning as Kayo Dugan Ben Wagner as Joey Doyle Fred Gwynne as Slim (uncredited) Martin Balsam as Gillette (uncredited) Pat Hingle as Bartender (uncredited)
Production
On the Waterfront was filmed over 36 days on Marlon Brando as Terry Malloy with Eva Marie Saint as Edie Doyle location in various places in Hoboken, New Jersey, including the docks, workers' slum dwellings, bars, littered alleys, rooftops. Furthermore, some of the labor boss's goons in the film Abe Simon as Barney, Tony Galento as Truck and Tami Mauriello as Tullio &ndashl were actual former professional heavyweight boxers. Protagonist Terry Malloy's (Brando's) fight against corruption was in part modeled after whistle-blowing longshoreman Anthony DiVincenzo, who testified before a real-life Waterfront Commission on the facts of life on the Hoboken Docks and had suffered a degree of ostracism for his deed. DiVincenzo sued and settled, many years after, with Columbia Pictures over the appropriation of what he considered his story. DiVincenzo claimed to have recounted his story to screenwriter Budd Schulberg during a month-long session of waterfront barroom meetings.
1954 On the Waterfront Schulberg attended Di Vincenzo's waterfront commission testimony every day during the hearing. Karl Malden's character, Father Barry, was based on the real-life "waterfront priest" Father John M. Corridan, S.J., a Jesuit priest, graduate of Regis High School who operated a Roman Catholic labor school on the west side of Manhattan. Father Corridan was extensively interviewed by Budd Schulberg, who wrote the foreword to a biography of Father Corridan, Waterfront Priest by Allen Raymond. The church used for the exterior scenes in the film was the historic Our Lady of Grace in Hoboken, built in 1874, while the interiors were shot at the Church of St. Peter and St. Paul, also in Hoboken, at 400 Hudson Street.[1]
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Political context
The film is widely considered to be Kazan's answer to those who criticized him for identifying eight (former) Communists in the film industry before the House Committee on Un-American Activities (HUAC) in 1952. Kazan's critics included his friend and collaborator, the noted playwright Arthur Miller, who had written the original screenplay titled The Hook for the film that would become On the Waterfront. Miller was replaced by Budd Schulberg, also a witness before HUAC.[2] Budd Schulberg later published a novel simply titled Waterfront that was much closer to his original screenplay than the version that was released on-screen. Among several differences is that Terry Malloy is brutally murdered.
Reception
Upon its release, the film received rave reviews from critics. On the critics' website Rotten Tomatoes, the film holds a 100% "Certified Fresh" rating, based on 50 reviews.[3] In 1989, this film was deemed "culturally, historically or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry. Film critic Roger Ebert lauded the film, stating that Brando and Kazan changed acting in American movies forever and then adding it to his "Great Movies" list. The New York Times critic A. H. Weiler also hailed the film as a masterpiece, calling it "an uncommon powerful, exciting, and imaginative use of the screen by gifted professionals." It is also on the Vatican's list of 45 greatest films of all time, compiled in 1995.[4] The film earned an estimated $4.2 million in rentals at the North American box office in 1954.[5]
Awards and honors

Academy Awards Wins: It was the winner of eight Oscars:[6]
Marlon Brando as Terry Malloy and Eva Marie Saint as Edie Doyle in the film's trailer
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Karl Malden as Father Barry with Eva Marie Saint.
Award Best Motion Picture Best Director Best Actor Best Story and Screenplay Best Supporting Actor
Result Won Won Won Won Nominated
Winner Columbia Pictures (Sam Spiegel, Producer) Elia Kazan Marlon Brando Budd Schulberg Lee J. Cobb
Winner was Edmond O'Brien The Barefoot Contessa

Karl Malden
Nominated

Rod Steiger
Nominated Won Won Won Won Nominated

Eva Marie Saint Richard Day Boris Kaufman Gene Milford Leonard Bernstein Winner was Dimitri Tiomkin The High and the Mighty
Best Supporting Actress Best Art Direction-Set Decoration Black-and-White Best Cinematography (Black-and-White) Best Film Editing Best Score of a Dramatic or Comedy Picture
After Marlon Brando won the Academy Award for Best Actor, it was stolen and did not turn up until much later when a London auction house contacted the actor and informed him of its whereabouts. Before that he had been using it to help hold his front door open. American Film Institute recognition AFI's 100 Years... 100 Movies #8 AFI's 100 Years... 100 Heroes and Villains: Terry Malloy #23 Hero Johnny Friendly Nominated Villain AFI's 100 Years... 100 Movie Quotes: "You don't understand! I coulda had class. I coulda been a contender. I coulda been somebody instead of a bum, which is what I am." #3 AFI's 100 Years of Film Scores #22 AFI's 100 Years... 100 Cheers #36
1954 On the Waterfront AFI's 100 Years... 100 Movies (10th Anniversary Edition) #19 AFI's 10 Top 10 Nominated Gangster film
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DVD release
The latest version was released in 2001. Among the special features is the featurette "Contender: Mastering the Method," a video photo gallery, an interview with Elia Kazan, an audio commentary, filmographies, production notes, and theatrical trailers.
References
Notes
[1] Alleman, Richard. The Movie Lover's Guide to New York. New York: Harper & Row, 1988. ISBN 0060960809, p.10-11 [2] Haas, Geneveive (November 21, 2006). "Dartmouth acquires Budd Schulberg '36 papers" (http:/ / www. dartmouth. edu/ ~news/ releases/ 2006/ 11/ 21a. html). Dartmouth News. . Retrieved January 6, 2007. [3] "On the Waterfront" (http:/ / www. rottentomatoes. com/ m/ on_the_waterfront/ ). Rotten Tomatoes. . Retrieved July 3, 2012. [4] "(Film and Broadcasting) Vatican Best Films List" (http:/ / www. usccb. org/ movies/ vaticanfilms. shtml). USCCB. . Retrieved March 7, 2010. [5] 'The Top Box-Office Hits of 1954', Variety Weekly, January 5, 1955 [6] "NY Times: On the Waterfront" (http:/ / movies. nytimes. com/ movie/ 36311/ On-the-Waterfront/ awards). NY Times. . Retrieved December 21, 2008.
Bibliography Raymond, Allen, Waterfront Priest (New York: Henry Holt and Company, 1955); forward by On the Waterfront screenwriter Budd Schulberg
External links
On the Waterfront (http://www.imdb.com/title/tt0047296/) at the Internet Movie Database On the Waterfront (http://tcmdb.com/title/title.jsp?stid=4749) at the TCM Movie Database On the Waterfront (http://www.allrovi.com/movies/movie/v36311) at AllRovi On the Waterfront (http://www.rottentomatoes.com/m/on_the_waterfront/) at Rotten Tomatoes Literature (http://film.virtual-history.com/film.php?filmid=1867) filmsite.org (http://www.filmsite.org/onth.html) Bibliography of articles and books about On the Waterfront (http://www.lib.berkeley.edu/MRC/kazan. html#waterfront) via UC Berkeley Media Resources Center The Priest Who Made Budd Schulberg Run: On the Waterfront and Jesuit Social Action, Inside Fordham Online, May 2003 (http://www.fordham.edu/Campus_Resources/Public_Affairs/Inside_Fordham/ Inside_Fordham_Archi/May_2003/News/The_Priest_Who_Made__11100.asp)
1955 Marty
218
1955 Marty
Not to be confused with Martin. For other uses, see Marty (disambiguation). Marty is a 1953 teleplay by Paddy Chayefsky. It was telecast live May 24, 1953, on The Goodyear Television Playhouse with Rod Steiger in the title role and Nancy Marchand, in her television debut, playing opposite him as Clara. Chayefsky's story of a decent, hard-working Bronx butcher, pining for the company of a woman in his life but despairing of ever finding true love in a relationship, was produced by Fred Coe with associate producer Gordon Duff.[1] The teleplay was adapted into a full-length feature film in 1955. It was directed by Delbert Mann and written by Chayefsky. The film won both the Academy Award for Best Picture and the Palme d'Or award at the Cannes Film Festival.[2]
Development
In his collected Television Plays (1955), Chayefsky recalled: I set out in Marty to write a love story, the most ordinary love story in the world. I didn't want my hero to be handsome, and I didn't want the girl to be pretty. I wanted to write a love story the way it would literally have happened to the kind of people I know... The actor who played Marty, Rod Steiger, is one of the most gifted young actors in the theater, and I owe him a genuine debt of gratitude for all that he contributed to this show.[1] The story originated by chance when Delbert Mann and Chayefsky were rehearsing The Reluctant Citizen in the old Abbey Hotel's ballroom, which was also used for Friday night meetings of the Friendship Club. After Chayefsky wandered around and spotted a sign which read, "Girls, Dance With the Man Who Asks You. Remember, Men Have Feelings, Too", he told Mann he thought there was a play possibility about a young woman in that type of setting. Speaking to Mann later that day, he told him that such a drama could work better with a man as the central character rather than a woman. Mann told him to go talk to Fred Coe, which Chayefsky did. He pitched the idea by simply saying, "I want to do a play about a guy who goes to a ballroom." Coe told him to start writing it.[3]
Cast
Rod Steiger as Marty Pilletti Nancy Marchand as Clara Esther Minciotti as Mrs. Pilletti - Mother Joe Mantell as Angie Augusta Ciolli as Aunt Catherine Betsy Palmer as Virginia Lee Philips as Tommy Rosanna San Marco as Woman Howard Caine as Bartender Nehemiah Persoff as Critic Don Gordon as Young Man Andrew Gerardo as Patsy George Maharis as Dancer at the Dance Club[1]
1955 Marty
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Reception
Tony Schwartz reviewed the television production in The New York Times: It's the stark, simple portrait of a gentle, lonely man, played by Rod Steiger, who lives with his mother, works as a butcher and longs for a loving relationship as he heads toward middle age. "I'm 36 years old and I've been lookin' for a girl every Saturday night of my life," he tells his best friend. "I'm a fat little ugly guy and girls don't go for me, that's all." It's just that sort of unfettered sentiment that gives the drama such powerful resonance. The story centers mostly on a single Saturday night in Marty's life. After despairing about how to spend it, and then suffering another humiliating rejection when he calls a girl to ask her out, Marty finally decides to attend a lonelyhearts social at the Waverly Ballroom. There he meets a girl (Nancy Marchand) who has just been ditched by her blind datea slick fellow who offers Marty "five bucks if you take this dog home for me." Marty approaches her, and in their mutual misery they find a bond. She rejects his first fumbling attempt to kiss her, but mostly in an effort not to seem overeager. Even in the afterglow of a wonderful evening, Marty is subjected the next day to ridicule from his friends, who insist that the girl is a homely loser not worth pursuing. The story hinges on whether he'll follow their advice or follow his own instincts to see her again. The drama is most convincing when it sticks with Martyand much less so when it drifts off into a stilted subplot about his mother's attempts to convince a sister to move into their household. Because the whole play is less than an hour long (a subsequent film version of the play ran 90 minutes), the second story simply gets in the way.[4] The acclaimed television drama was honored a decade later when the kinescope of the production was selected for showing at the Museum of Modern Art on February 1720, 1963, as part of Television USA: Thirteen Seasons, described by MoMA Film Library curator Richard Griffith as "a grand retrospective of the best that has been done in American television."[5] The original 1953 telecast is commercially available as part of a three-DVD set, "The Golden Age of Television" (Criterion Collection), a series which aired on PBS in 1981 with Eva Marie Saint as the host of Marty. It features interviews with Steiger, Marchand and Mann. Only Esther Minciotti, Augusta Ciolli and Joe Mantell repeated their 1953 TV drama roles in the 1955 film adaptation. Steiger turned down the opportunity to repeat his role in the film because he did not want to compromise his independence, while producers Hecht-Lancaster insisted he sign a multi-picture contract.[6]
References
[1] Chayefsky, Paddy. "Two Choices of Material". Television Plays, Simon & Schuster, 1955. [2] Chronopoulos, Themis. "Paddy Chayefskys Marty and Its Significance to the Social History of Arthur Avenue, The Bronx, in the 1950s. The Bronx County Historical Society Journal XLIV (Spring/Fall 2007): 50-59." (http:/ / themis. slass. org/ marty. html). . Retrieved 6/6/2012. [3] Stempel, Tom. Storytellers to the Nation: A History of American Television Writing. Syracuse University Press, 1992. (http:/ / books. google. com/ books?id=lFTZrcyWnswC& pg=PA49& dq=marty+ chayefsky+ goodyear& hl=en& ei=hO1fTdKyOYLGlQe37uWwDA& sa=X& oi=book_result& ct=result& resnum=4& ved=0CFAQ6AEwAw#v=onepage& q=marty chayefsky goodyear& f=false) [4] Schwartz, Tony. "TV: 'Golden Age' series opening wth 'Marty'", The New York Times, August 27, 1981. (http:/ / www. nytimes. com/ 1981/ 08/ 27/ arts/ tv-golden-age-series-opening-with-marty. html) [5] Museum of Modern Art: "Television USA:Thirteen Seasons" (http:/ / www. moma. org/ docs/ press_archives/ 3099/ releases/ MOMA_1963_0011_10. pdf?2010) [6] Schmidt, M.A. "Rod Steiger: From V.A. to V.I.P. on Screen", The New York Times, January 29, 1956. (http:/ / select. nytimes. com/ gst/ abstract. html?res=F10816FC3B5E1B7A93CBAB178AD85F428585F9)
1956 Around the World in 80 Days
220

Around the World in 80 Days
Original theatrical poster
Directed by Produced by Michael Anderson Kevin McClory William Cameron Menzies Michael Todd James Poe John Farrow S. J. Perelman Around the World in Eighty Daysby Jules Verne David Niven Cantinflas Robert Newton Shirley MacLaine Victor Young
Written by
Based on
Starring
Music by
Cinematography Lionel Lindon Editing by Howard Epstein Gene Ruggiero Paul Weatherwax United Artists
Distributed by Release date(s) Running time Country Language Budget Box office
October 17, 1956
183 minutes United States English $6 million

[1] [2]
$33 million
Around the World in 80 Days (sometimes spelled as Around the World in Eighty Days) is a 1956 adventure film produced by the Michael Todd Company and released by United Artists. It was directed by Michael Anderson. It was produced by Michael Todd, with Kevin McClory and William Cameron Menzies as associate producers. The screenplay was written by James Poe, John Farrow and S. J. Perelman based on the classic novel of the same name by Jules Verne. The music score was composed by Victor Young, and the Todd-AO 70 mm cinematography was by Lionel Lindon. The film won multiple Academy Awards, including Best Picture. The film's seven-minute-long animated title sequence, shown at the end of the film, was created by award-winning designer Saul Bass.
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Plot
The film begins with a special onscreen prologue introduced by broadcast journalist Edward R. Murrow, and featuring footage of an early science fiction/fantasy film by Georges Mlis, A Trip to the Moon (1902), which is based loosely on From the Earth to the Moon by Jules Verne.[3] Included also is the launching of an unmanned rocket and footage of the earth receding. Around 1872, an English gentleman Phileas Fogg (David Niven) claims he can circumnavigate the world in eighty days. He makes a 20,000 wager (equal to 1324289 today) with several skeptical fellow members of the Reform Club, that he can arrive back within 80 days before exactly 8:45 pm. Together with his resourceful valet, Passepartout (Cantinflas), Fogg sets out on his journey from Paris via a hot air balloon. Meanwhile, suspicion grows that Fogg has stolen 55,000 (equal to 3641794 today) from the Bank of England so Police Inspector Fix (Robert Newton) is sent out by Scotland Yard to trail and arrest Fogg. Hopscotching around the globe, Fogg pauses in Spain, where Passepartout engages in a comic bullfight. In India, Fogg and Passepartout rescue young widow Princess Aouda (Shirley MacLaine) from being forced into a funeral pyre with her late husband. The threesome visit Hong Kong, Japan, San Francisco, and the Wild West. Only hours short of winning his wager, Fogg is arrested upon returning to London, by the diligent yet misguided Inspector Fix. At the jail, the humiliated Fix informs Fogg that the real culprit was caught in Brighton. Though eventually exonerated of the charges, he has lost everything except the love of the winsome Aouda. But salvation is at hand when Passepartout realizes the next morning that, by crossing the International Date Line, they have gained a day. There is still time to reach the Reform Club and win the bet. To the surprise of all waiting at the club, Fogg arrives just before the clock's chime at 8:45 pm. Aouda and Passepartout then arrive. Noticing Fogg's whole travel party has arrived, and noting the fact that a woman and a Frenchman have entered the hallowed British gentlemen's precinct, the Reform Club announces the completion of the journey and The End of the British Empire.
Cast
The movie boasts a huge cast, with David Niven and Cantinflas in the lead roles of Fogg and Passepartout. Fogg is the classic Victorian gentleman, well-dressed, well-spoken, and extremely punctual, whereas his servant Passepartout (who has an eye for the ladies) provides much of the comic relief as a "jack of all trades" for the film in contrast to his master's strict formality. Joining them are Shirley MacLaine as Princess Aouda and Robert Newton as the detective Fix, in his last role. The role of Passepartout was greatly expanded from the novel to accommodate Cantinflas, the most famous Latin-American comedian at the time, and winds up the focus of the film. While Passepartout describes himself as a Parisian in the novel, this is unclear in the filmhe has a French name, but speaks Spanish when he and his master arrive in Spain by balloon. In the Spanish version the name of his character was changed from the French Passepartout to the Spanish "Juan Picatoste".[4] There is also a comic bullfighting sequence especially created for Cantinflas that is not in the novel.[4] Indeed, when the film was released in non-English speaking nations, Cantinflas was billed as the lead.[4] According to the guidebook describing the movie, this was done because of an obstacle Todd faced in casting Cantinflas, who had never before appeared in an American movie and had turned down countless offers to do so. Todd allowed Cantinflas to appear in the film as a Latin, "so," the actor said himself, "...to my audience in Latin America, I'll still be Cantinflas." Over 40 famous performers make cameo appearances, including Marlene Dietrich, George Raft, and Frank Sinatra to name a few. The film was significant as the first of the so-called Hollywood "make work" films, employing dozens of faded film personalities. John Wayne turned down Todd's offer for the role of the Colonel leading the Cavalry charge, a role filled in by Tim McCoy. Promotional material released at the time quoted a Screen Actors Guild representative looking at the shooting call sheet and crying: "Good heavens Todd, you've made extras out of all the stars in Hollywood!"[5] As of Evelyn Keyes death in 2008, Shirley Maclaine and Glynis Johns are the last surviving
1956 Around the World in 80 Days members of the entire cast.
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Complete credited cast

(excluded are numerous extras) David Niven - Phileas Fogg Cantinflas - Passepartout Shirley MacLaine - Princess Aouda Robert Newton - Mr. Fix
Other appearances
Charles Boyer - Monsieur Gasse, balloonist Joe E. Brown - Station Master, rural Nebraska Martine Carol - Tourist, Paris John Carradine - Col. Proctor Stamp, San Francisco Charles Coburn - Clerk, Hong Kong Ronald Colman - Railway Official, India Melville Cooper - Steward Robert Cabal - Elephant Driver-Guide Nol Coward - Hesketh-Baggott Finlay Currie - Stuart, whist partner Reginald Denny - Police Chief, Bombay Andy Devine - First Mate, S.S. Henrietta Marlene Dietrich - Hostess, Barbary Coast Saloon Luis Miguel Domingun - Bullfighter Fernandel - Coachman, Paris Walter Fitzgerald - Club Member John Gielgud - Foster, Fogg's former butler Hermione Gingold - Sportin' Lady Jos Greco - Flamenco dancer Trevor Howard - Falletin Glynis Johns - Companion Buster Keaton - Conductor Evelyn Keyes - Flirt Beatrice Lillie - Revivalist, London Peter Lorre - Steward, S.S. Carnatic Edmund Lowe - Engineer, S.S. Henrietta A.E. Matthews - Club Member Mike Mazurki - Character (in Hong Kong bar) Col. Tim McCoy - Colonel, U.S. Cavalry Victor McLaglen - Helmsman, S.S. Henrietta John Mills - Cabby in London Robert Morley - Ralph (Reform Club) Alan Mowbray - Consul Edward R. Murrow - Narrator, prologue Jack Oakie - Captain of S.S. Henrietta George Raft - Bouncer at Barbary Coast Saloon Gilbert Roland - Achmed Abdullah Cesar Romero - Henchman Frank Sinatra - Barbary Coast Saloon Pianist Red Skelton - Drunk, Barbary Coast saloon Ronald Squire - Club Member Basil Sydney - Club Member Richard Wattis - Insp. Hunter Harcourt Williams - Hinshaw
Sir Cedric Hardwicke - General Sir Francis Gromarty, India
Production
Around the World in 80 Days was produced by Michael Todd, a Broadway showman who had never before produced a movie.[1] The director he hired, Michael Anderson, had directed the highly acclaimed British war movie The Dam Busters, the 1956 film of George Orwell's Nineteen Eighty-Four and other classic films. Todd sold his interest in the Todd-AO film format to help finance the film.[2] In the autobiographical book The Moon's a Balloon, published in 1972, the actor David Niven discussed his meeting with Todd and the subsequent events that led to the film being produced. According to Niven, when Todd asked him if he would appear as Fogg, Niven enthusiastically replied, 'I'd do it for nothing!' He later admitted to being grateful that Todd did not hold him to his claim. He also described the first meeting between Todd and Robert Newton (who suffered with drink problems) when the latter was offered the role of the Detective, Fix; Niven alleged that Newton was offered the part on condition that he did not drink any alcohol during the filming, and that his celebration following the completion of his role led to his untimely demise and that he did not live to see the film released.
1956 Around the World in 80 Days Filming took place in late 1955, from August 9 to December 20. The crew worked fast (75 actual days of filming), producing 680000 feet (unknown operator: u'strong' m) of film, which was edited down to 25734 feet (unknown operator: u'strong'm) of finished film. The picture cost just under $6 million to make, employing 112 locations in 13 countries and 140 sets.[1] Todd said he and the crew visited every country portrayed in the picture, including England, France, India, Spain, Thailand and Japan. According to the Time magazine review of the film,[1] the cast including extras totaled 68,894 people; it also featured 7,959 animals, "including four ostriches, six skunks, 15 elephants, 17 fighting bulls, 512 rhesus monkeys, 800 horses, 950 burros, 2,448 American buffalo, 3,800 Rocky Mountain sheep and a sacred cow that eats flowers on cue." There is also a cat, at the Reform Club. The wardrobe department spent $410,000 to provide 74,685 costumes and 36,092 trinkets.[1] Some 10,000 extras were used in filming the bullfight scene in Spain, with Cantinflas as the matador; Cantinflas had previously done some The main square of Chinchn arranged as a bullring bullfighting. They used all 6,500 residents of a small Spanish town called Chinchn, 45 kilometres (unknown operator: u'strong'mi) from Madrid, but Todd decided there weren't enough spectators. So he found 3,500 more from nearby towns. He used 650 Indians for a fight on a train in the West. Many were indeed Indians, but some were Hollywood extras. All 650 had their skin color altered with dye. Todd used about 50 US gallons (unknown operator: u'strong'l; unknown operator: u'strong'impgal) of orange-colored dye for those extras. Todd sometimes used models of boats, ships and trains in the film, but he often decided that they didn't look realistic so he switched to the real thing where he could. The scene of a collapsing train bridge is partly without models. The overhead shot of a train crossing a bridge was full scale, but the bridge collapse was a large-scale miniature, verifiable by observing the slightly jerky motion of the rear passenger car as the train pulls away, as well as the slowed-down water droplets which are out of scale in the splashing river below. All the steamships shown in the first half are miniatures shot in an outdoor studio tank. The exception is the American ship shown at the intermission point, which is real. A tunnel was built for a train sequence out of paper mache. After the train filming was complete, the "tunnel" was pushed over into the gorge. The scenes of the crossing of the Atlantic Ocean by steamship took place off San Francisco and were shot on a specially built prop steamer, a converted barge mocked up to resemble a small ocean-going steamship, with mock paddles driven by the electric motor from an old streetcar. In his memoirs, Niven described the whole thing as being dangerously unstable (though stability improved as it was dismantled as though to feed it into its own furnaces as the plot required). Many of the balloon scenes with Niven and Cantinflas were filmed using a 160-foot (unknown operator: u'strong'm) crane. Even that height bothered Niven, who was afraid of heights. Tom Burges, who was shorter than Niven, was used as a stand-in for scenes where the balloon is seen from a distance. Many of the lots used in the film are now on the land occupied by Century City, an office complex in the L.A. area. One of the most famous sequences in the film, the flight by hot air balloon, is not in the original Jules Verne novel. Because the film was made in Todd AO, the sequence was expressly created to show off the locations seen on the flight, as projected on the giant curved screen used for the process. A similar balloon flight can be found in an earlier Jules Verne novel, Five Weeks in a Balloon, in which the protagonists explore Africa from a hot air balloon.[6] In his memoirs, Niven related that Todd completed filming whilst in considerable debt. The post-production work on the film was an exercise in holding off Todd's creditors long enough to produce a saleable movie, and the footage was worked upon under the supervision of Todd's creditors and returned to a secure vault each night, to be held, as it were in escrow. The film's release and subsequent success vindicated Todd's considerable abilities.
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Release
The film premiered on October 17, 1956 at the Rivoli Theater in New York City.[7] By the time of Todd's accidental death 18 months later, it had grossed $33 million.[2] In Spanish and Latin American posters and programs of the movie, Cantinflas is featured over the other players since he was very popular there.[4] There were two souvenir programs sold in theaters. For Roadshow screenings Todd-AO is mentioned, though for general release those pages are not contained in the book. The program was created by Todd's publicist, Art Cohn, who died in the plane crash with him. His biography, "The Nine Lives of Michael Todd" was published after their deaths which put a macabre spin on the title.
Reception
Bosley Crowther called the film a "sprawling conglomeration of refined English comedy, giant-screen travel panoramics and slam-bang Keystone burlesque" and said Todd and the film's crew "commandeered the giant screen and stereophonic sound as though they were Olsen and Johnson (remember them?) turned loose in a cosmic cutting-room, with a pipe organ in one corner and all the movies ever made to toss around."[7] Time magazine called it "brassy, extravagant, long-winded and funny" and the "Polyphemus of productions," saying "as a travelogue, Around the World is at least as spectacular as anything Cinerama has slapped together." Time highlighted the performance of "the famous Mexican comic, Cantinflas [who in] his first U.S. movie...gives delightful evidence that he may well be, as Charles Chaplin once said he was, "the world's greatest clown."[1]
Awards and other recognition

Todd claimed that the film got 70 to 80 awards, including five Academy awards.
Academy Awards
The movie was nominated for eight Oscars,[8] of which it was awarded five, beating out critically and publicly praised films Friendly Persuasion, The Ten Commandments, Giant, and The King and I: Won: Best Picture - Michael Todd, producer Won: Best Cinematography, Color - Lionel Lindon Won: Best Film Editing - Gene Ruggiero and Paul Weatherwax Won: Best Music, Scoring of a Dramatic or Comedy Picture - Victor Young Won: Best Writing, Best Screenplay, Adapted - John Farrow, S. J. Perelman, and James Poe Nominee: Best Art Direction-Set Decoration, Color - Ken Adam, Ross Dowd, and James W. Sullivan Nominee: Best Costume Design, Color - Miles White Nominee: Best Director - Michael Anderson
Although not nominated for best original song, the film's theme song "Around the World" (music by Victor Young, words by Harold Adamson), became very popular. It was a hit for Bing Crosby in 1957, and was a staple of the easy-listening genre for many years: "Around the world I searched for you / I traveled on when hope was gone to keep a rendezvous ... No more will I go all around the world / For I have found my world in you."
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Golden Globes
The movie was also nominated for three Golden Globes, of which it was awarded two: Won: Best Dramatic Motion Picture - Michael Todd, producer Won: Best Motion Actor in a Comedy/Musical Film - Cantinflas Nominee: Best Director - Michael Anderson
Other awards
The film received the New York Film Critics Circle Award for Best Picture and Best Screenplay award for S. J. Perelman. The film won the Writers Guild of America Best Written American Comedy award for James Poe, John Farrow and S. J. Perelman. The film was screened at the 1957 Cannes Film Festival, but was not entered into the main competition.[9]
Anniversary celebration
On the first anniversary of the film's release, Todd threw a party at the Madison Square Garden attended by 18,000 people; Time magazine called the party a "spectacular flop" though Todd shrugged off the remark, saying "you can't say it was a little bust."[2]
Distribution and ownership

The film was originally distributed by United Artists in two Todd-AO 70mm versions, one for Todd-AO 70mm release at 30 frames per second, and an alternate 70mm version at 24 frames per second reduced to 35mm for general release. The original Todd-AO 70mm running time without the extra music was 179 minutes. However, after the Chicago showing Todd cut four minutes out of the Western sequence where Cantinflas is pursued by Indians. The 70mm print shown at The Rivoli theater in NYC was 175 minutes. However, the original 35mm Technicolor/anamorphic magnetic stereo and mono optical prints ran the complete 179 minutes with the chase scene intact. Although the leaders on the optical sound prints were labeled for Perspecta directional encoding, the prints do not contain the signal and were standard mono. In 1968, additional cuts were made including removing most of the prologue with the changing aspect ratios. Only a brief few shots with Edward R. Murrow remained and the entire "Trip to the Moon" clips were cut. Since the opening shot of Murrow was 1.33 window boxed in the wide frame, they had to crop and blow up that shot for the 2.35 ratio which made it very grainy. The intermission was also cut for the 1968 re-release which included the freeze frame of the ship and fade in to the second half. The reels just jump cut with an awkward sound gap between the first and second half. The chase scene was missing from this version too which reduced the running time to 167 minutes. However, some uncut 179 minute 35mm Technicolor prints were struck too which meant at least some theaters played the Roadshow version even though the vast majority showed the shorter cut. 35mm IB/Scope copies of both versions exist from 1968. The 24 frames per second 70mm prints were also the 167 minute version in that year too. As a publicity stunt, Todd Jr. called the press when he removed a 70mm copy from a bank vault claiming it had been stored there since 1956 for safe keeping and was being shown at a theater again. It was absurd since an original 70mm would've faded to pink by 1968 and the copy they exhibited was the cut re-issue 167 minute version. Around 1976, after its last network television broadcast on CBS, UA lost control of the film to Elizabeth Taylor, the widow of producer Michael Todd and who had inherited a portion of Todd's estate. In 1983, Warner Bros. acquired the rights to the film from Taylor, and reissued the film theatrically in a re-edited 143-minute version (this version would subsequently air only once on Turner Classic Movies, this was before any restoration on the movie was announced). In the years that followed, a pan-and-scan transfer of the alternate 24 frame/s version (presented at its
1956 Around the World in 80 Days full 183-minute length) was shown on cable television. In 2004, WB issued a digitally restored version of the 24 frame/s incarnation on DVD, also at its full 183-minute length, but also including the original intermission, Entr'acte, and exit music segments that were a part of the original 1956 theatrical release, and for the first time on home video at its original 2.2:1 aspect widescreen ratio. This restored version was reconstructed from the best available elements of the 24 frame/s edition WB could find, and was subsequently shown on Turner Classic Movies. The original elements from the 30 frame/s/70mm Todd-AO version (as well as the original prints derived from these elements) still exist, albeit in faded condition due to the passage of time, but remain to be formally restored by WB. There is some missing footage in the India train ride where the image artificially fades in and out to compensate for the missing shots. Warner's retained Andy Pratt Film Labs who in conjunction with Eastman Kodak developed a method to remove the cracked and fading to brown, clear lacquer from the original 65mm Technicolor negative. Warners did nothing further to restore the negative. Due to costs of making a 70mm release print even without magnetic striping, using DTS disk for audio, there are no immediate plans for any new prints. The 65mm roadshow print negative was used for the DVD release. Had any 35mm Anamorphic elements been used the aspect ratio would have been 2.35:1. Mike Todd had limited 35mm anamorphic prints made with a non-standard compression ratio to provide a 2.21:1 viewing experience. These special 35mm prints are called Cinestage, the same name of Mike Todd's showcase theatre in Chicago. Best available prints of the 30 frame/s/70mm version have recently been exhibited in revival movie houses worldwide. As of the present time, WB remains the film's rights holder.
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Soundtrack and DVD releases

The DVDs for Around the World... include four hours of supplemental material, in addition to the (apparently restored) three-hour wide-screen color film. Also included on one of the disks is a documentary film, about 50 minutes long, about Mike Todd. The soundtrack to the film was released in vinyl and audio tape for home use. There have been two CD versions were released as well. A digital copy of the basic album on MCA in the 1980s and an expanded version with extra tracks on the Hit Parade Records label in Canada in 2007. There was also a model kit of the balloon, a board game, and Dell comic book adaptation sold as merchandise. A Cantinflas puppet was also released as merchandise and, while unrelated directly to the movie, the puppet was dressed in a similar outfit so it could be considered as another movie tie-in.
References
[1] "Cinema: The New Pictures" (http:/ / www. time. com/ time/ printout/ 0,8816,867209,00. html). Time. October 29, 1956. . Retrieved 2010-10-01. [2] "Cinema: The Showman" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,937582,00. html). Time. March 31, 1958. . Retrieved 2010-10-01. [3] Dirks, Tim. "A Trip to The Moon" (http:/ / www. filmsite. org/ voya. html). Filmsite.org. Archived (http:/ / web. archive. org/ web/ 20070117090347/ http:/ / www. filmsite. org/ voya. html) from the original on 17 January 2007. . Retrieved 2007-01-08. [4] Page in Spanish about movies filmed in Chinchn, with photos (http:/ / manolo-eleremita. blogspot. com/ 2008/ 11/ chinchn-plat-cinematogrfico. html) Accessed 2010 Dec 12 [5] Michael Todd's Around the World in 80 Days Almanac, Edited by Art Cohn, Random House, 1956 [6] "Movie Magic and Illusions Take You - Around The World IN 80 Days." (http:/ / books. google. com/ books?id=TOEDAAAAMBAJ& pg=PA65& dq=true#v=onepage& q=true& f=true) Popular Mechanics, August 1956, pp. 65-69/226. [7] Crowther, Bosley (October 18, 1956). "Mammoth Show" (http:/ / movies. nytimes. com/ movie/ review?res=950DEFDD123EE23BBC4052DFB667838D649EDE). The New York Times. . Retrieved 2010-10-01. [8] New York Times (http:/ / movies. nytimes. com/ movie/ 2884/ Around-the-World-in-80-Days/ awards), Academy Awards. [9] "Festival de Cannes: Around the World in 80 Days" (http:/ / www. festival-cannes. com/ en/ archives/ ficheFilm/ id/ 3532/ year/ 1957. html). festival-cannes.com. . Retrieved 2009-02-09.
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External links
Around the World in Eighty Days (http://www.imdb.com/title/tt0048960/) at the Internet Movie Database Around the World in Eighty Days (http://www.rottentomatoes.com/m/ 1001193-around_the_world_in_80_days/) at Rotten Tomatoes Around the World in 80 Days (http://www.allrovi.com/movies/movie/v2884) at AllRovi Around the World in 80 Days (http://tcmdb.com/title/title.jsp?stid=67646) at the TCM Movie Database Alternate prologue (http://www.in70mm.com/news/2002/80_days/index.htm) from in70mm.com Streaming audio Around the World in 80 Days (http://ia700301.us.archive.org/8/items/ OrsonWelles-MercuryTheater-1938Recordings/MercuryTheater38-10-23AroundTheWorldIn80Days.mp3) on The Mercury Theatre on the Air: October 23, 1938 Around the World in 80 Days (http://ia700508.us.archive.org/7/items/ThisIsMyBest/ TIMB_44-11-21_ep12-Around_The_World_In_80_Days.mp3) on This Is My Best: November 21, 1944 Around the World in 80 Days (http://ia600307.us.archive.org/31/items/HallmarkPlayhouse/ 500119_070_Around_the_World_in_80_Days.mp3) on Hallmark Playhouse: January 19, 1950
1957 The Bridge on the River Kwai
228

The Bridge on the River Kwai
Original release poster
Directed by Produced by Screenplay by Based on David Lean Sam Spiegel Michael Wilson Carl Foreman The Bridge over the River Kwaiby Pierre Boulle William Holden Jack Hawkins Alec Guinness Sessue Hayakawa James Donald Geoffrey Horne Malcolm Arnold
Starring
Music by
Cinematography Jack Hildyard Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Peter Taylor Horizon Pictures Columbia Pictures
2 October 1957
161 minutes United Kingdom English $3 million (estimated) $33.3 million (in U.S.)
The Bridge on the River Kwai is a 1957 British World War II film by David Lean based on The Bridge over the River Kwai by French writer Pierre Boulle. The film is a work of fiction but borrows the construction of the Burma Railway in 194243 for its historical setting. It stars William Holden, Jack Hawkins, Alec Guinness and Sessue Hayakawa. The film was filmed in Ceylon (now Sri Lanka). The bridge in the film was located near Kitulgala. The film achieved near universal critical acclaim, winning seven Academy Awards (including Best Picture) at the 30th Academy Awards, and in 1997, this film was deemed "culturally, historically, or aesthetically significant" and selected for preservation in the United States Library of Congress National Film Registry.
229
Plot
After the surrender of Singapore in World War II, a unit of British soldiers is marched to a Japanese prison camp in western Thailand. They are paraded before the camp commandant, Colonel Saito (Sessue Hayakawa), who informs them of his rules; all prisoners, regardless of rank, are to work on the construction of a bridge over the River Kwai to carry a new railway line to invade Burma. Their commander, Lt. Colonel Nicholson (Alec Guinness), reminds Saito that the Geneva Conventions exempt officers from manual labour. At the following mornings parade, Nicholson orders his officers to remain behind when the enlisted men head off to work. Saito slaps him hard across the face with his copy of the conventions and threatens to have them shot, but Nicholson refuses to back down. When Major Clipton (James Donald), the British medical officer, intervenes, Saito leaves the officers standing all day in the intense tropical heat. That evening, the officers are placed in a punishment hut, while Nicholson is locked in the oven, an iron box, without food or water. Clipton attempts to secure Nicholson's release, but Nicholson refuses to compromise. Meanwhile, the prisoners are working as little as possible and sabotaging whatever they can. Saito is concerned because, should he fail to meet his deadline, he would be obliged to commit seppuku (ritual suicide). Using the anniversary of Japan's great victory in the 1905 Russo-Japanese War as an excuse to save face, he gives in, and Nicholson and his officers are released. Nicholson conducts an inspection and is shocked by what he finds. Against the protests of some of his officers, he orders Captain Reeves (Peter Williams) and Major Hughes (John Boxer) to design and build a proper bridge, despite its military value to the Japanese, for the sake of his men's morale. The Japanese engineers had chosen a poor site, so the original construction is abandoned and a new bridge is begun 400 yards downstream. Meanwhile, three prisoners attempt to escape. Two are shot dead, but United States Navy Commander Shears (William Holden), gets away, although badly wounded. After many days, Shears eventually stumbles into a village, whose people help him to escape by a boat. Shears is enjoying his recovery at the Mount Lavinia Hospital at Ceylon (with a British nurse), when Major Warden (Jack Hawkins) asks him to volunteer for a commando mission to destroy the bridge. Shears is horrified at the idea and reveals that he is not an officer at all. He was an enlisted man on the cruiser USS Houston. He switched uniforms with the dead Commander Shears after the sinking of their ship to get better treatment. Warden already knows this and has had "Shears" reassigned to British duty. Faced with the prospect of being charged with impersonating an officer, Shears has no choice but to volunteer; Warden gives him the "simulated rank of major". Meanwhile, Nicholson drives his men, even volunteering to have them work harder to complete the bridge on time. For Nicholson, its completion will exemplify the ingenuity and hard work of the British Army for generations. When he asks that their Japanese counterparts join in as well, a resigned Saito replies that he has already given the order. The commandos parachute in, although one is killed in a bad landing. The other threeWarden, Shears, and Canadian Lieutenant Joyce (Geoffrey Horne)reach the river with the assistance of Siamese women porters and their village chief, Khun Yai. Warden is wounded in an encounter with a Japanese patrol, and has to be carried on a litter. The trio reach the bridge in time and plant explosives underwater under cover of darkness. A train carrying soldiers and important dignitaries is scheduled to be the first to use the bridge the following afternoon, so Warden plans to destroy both at the same time. However, by dawn the water level has dropped, exposing the wire connecting the explosives to the detonator. Making a final inspection, Nicholson spots the wire and brings it to Saito's attention to the consternation of the commando team. As the train is heard approaching, Nicholson, with Saito in tow, hurries down to the riverbank to investigate. Joyce, hiding with the detonator, breaks cover and stabs Saito to death; Nicholson yells for help, while attempting to stop Joyce from reaching the detonator. Shears and Warden yell for Joyce to kill Nicholson, but Joyce is shot by Japanese fire. Shears then swims across the river to fulfill the mission, but is shot just before he reaches Nicholson. Recognising the dying Shears, Nicholson exclaims: "What have I done?" Warden fires his mortar, mortally wounding Nicholson. The dazed colonel stumbles towards the detonator and falls on it as he dies, just in time to
1957 The Bridge on the River Kwai blow up the bridge and send the train hurtling into the river below. As he witnesses the carnage, Clipton shakes his head uttering: "Madness!... Madness!"
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Cast
William Holden as US Navy Commander/Seaman Shears Alec Guinness as Lieutenant Colonel Nicholson Jack Hawkins as Major Warden Sessue Hayakawa as Colonel Saito James Donald as Major Clipton Geoffrey Horne as Lieutenant Joyce Andr Morell as Colonel Hornsby Peter Williams as Captain Reeves John Boxer as Major Hughes Percy Herbert as Private Grogan Harold Goodwin as Private Baker Ann Sears as nurse
Historical parallels
The largely fictional film plot is loosely based on the building in 1943 of one of the railway bridges over the Mae Klongrenamed Khwae Yai in the 1960sat a place called Tha Ma Kham, five kilometres from the Thai town of Kanchanaburi. According to the Commonwealth War Graves Commission: "The notorious Burma-Siam railway, built by Commonwealth, Dutch and American prisoners of war, was a Japanese project driven by the The bridge over the River Kwai in June 2004. The round truss spans are the need for improved originals; the angular replacements were supplied by the Japanese as war communications to support the reparations. large Japanese army in Burma. During its construction, approximately 13,000 prisoners of war died and were buried along the railway. An estimated 80,000 to 100,000 civilians also died in the course of the project, chiefly forced labour brought from Malaya and the Dutch East Indies, or conscripted in Siam (Thailand) and Burma. Two labour forces, one based in Siam and the other in Burma worked from opposite ends of the line towards the centre."[1] The incidents portrayed in the film are mostly fictional, and though it depicts bad conditions and suffering caused by the building of the Burma Railway and its bridges, historically the conditions were much worse than depicted.[2] The real senior Allied officer at the bridge was British Lieutenant Colonel Philip Toosey. Some consider the film to be an insulting parody of Toosey.[3] On a BBC Timewatch programme, a former prisoner at the camp states that it is unlikely that a man like the fictional Nicholson could have risen to the rank of lieutenant colonel; and if he had, due
1957 The Bridge on the River Kwai to his collaboration he would have been "quietly eliminated" by the other prisoners. Julie Summers, in her book The Colonel of Tamarkan, writes that Pierre Boulle, who had been a prisoner of war in Thailand, created the fictional Nicholson character as an amalgam of his memories of collaborating French officers.[3] He strongly denied the claim that the book was anti-British, though many involved in the film itself (including Alec Guinness) felt otherwise.[4] Toosey was very different from Nicholson and was certainly not a collaborator who felt obliged to work with the Japanese. Toosey in fact did as much to delay the building of the bridge as possible. Whereas Nicholson disapproves of acts of sabotage and other deliberate attempts to delay progress, Toosey encouraged this: termites were collected in large numbers to eat the wooden structures, and the concrete was badly mixed.[3][5] Some of the characters in the film have the names of real people who were involved in the Burma Railway. Their roles and characters, however, are fictionalised. For example, a Sergeant-Major Risaburo Saito was in real life second in command at the camp. In the film, a Colonel Saito is camp commandant. In reality, Risaburo Saito was respected by his prisoners for being comparatively merciful and fair towards them; Toosey later defended him in his war crimes trial after the war, and the two became friends. The destruction of the bridge as depicted in the film is entirely fictional. In fact, two bridges were built: a temporary wooden bridge and a permanent steel/concrete bridge a few months later. Both bridges were used for two years, until they were destroyed by Allied aerial bombing. The steel bridge was repaired and is still in use today.
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Production
Screenplay
The screenwriters, Carl Foreman and Michael Wilson, were on the Hollywood blacklist and could only work on the film in secret. The two did not collaborate on the script; Wilson took over after Lean was dissatisfied with Foreman's work. The official credit was given to Pierre Boulle (who did not speak English), and the resulting Oscar for Best Screenplay (Adaptation) was awarded to him. Only in 1984 did the Academy rectify the situation by retroactively awarding the Oscar to Foreman and Wilson, posthumously in both cases. Subsequent releases of the film finally gave them proper screen credit. The film was relatively faithful to the novel, with two major exceptions. Shears, who is a British commando officer like Warden in the novel, became an American sailor who escapes from the POW camp. Also, in the novel, the bridge is not destroyed: the train plummets into the river from a secondary charge placed by Warden, but Nicholson (never realizing "what have I done?") does not fall onto the plunger, and the bridge suffers only minor damage. Boulle nonetheless enjoyed the film version though he disagreed with its climax.
Filming
Many directors were considered for the project, among them John Ford, William Wyler, Howard Hawks, Fred Zinnemann and Orson Welles. The film was an international co-production between companies in Britain and the United States. It is set in Thailand, but was filmed mostly near Kitulgala, Ceylon (now Sri Lanka), with a few scenes shot in England. Lean clashed with his cast members on multiple occasions, particularly Alec Guinness and James Donald, who thought the novel was anti-British. Lean had a lengthy row with Guinness over how to play
A photo of Kitulgala in Sri Lanka (photo taken 2004), where the bridge was made for the film.
1957 The Bridge on the River Kwai the role of Nicholson; Guinness wanted to play the part with a sense of humour and sympathy, while Lean thought Nicholson should be "a bore." On another occasion, Lean and Guinness argued over the scene where Nicholson reflects on his career in the army. Lean filmed the scene from behind Guinness, and exploded in anger when Guinness asked him why he was doing this. After Guinness was done with the scene, Lean said "Now you can all fuck off and go home, you English actors. Thank God that I'm starting work tomorrow with an American actor (William Holden)."[6] Alec Guinness later said that he subconsciously based his walk while emerging from "the Oven" on that of his son Matthew when he was recovering from polio. He called his walk from the Oven to Saito's hut while being saluted by his men the "finest work I'd ever done." Lean nearly drowned when he was swept away by a river current during a break from filming; Geoffrey Horne saved his life. The filming of the bridge explosion was to be done on 10 March 1957, in the presence of S.W.R.D. Bandaranaike, then Prime Minister of Ceylon, and a team of government dignitaries. However, cameraman Freddy Ford was unable to get out of the way of the explosion in time, and Lean had to stop filming. The train crashed into a generator on the other side of the bridge and was wrecked. It was repaired in time to be blown up the next morning, with Bandaranaike and his entourage present. According to the supplemental material in the Blu-ray digipak, a thousand tons of explosives were used to blow up the bridge. This is highly unlikely, as the film shows roughly 50 kg of plastique being used simply to knock down the bridge's supports. According to Turner Classic Movies, the producers nearly suffered a catastrophe following the filming of the bridge explosion. To ensure they captured the one-time event, multiple cameras from several angles were used. Ordinarily, the film would have been taken by boat to London, but due to the Suez crisis this was impossible; therefore the film was taken by air freight. When the shipment failed to arrive in London, a worldwide search was undertaken. To the producers' horror the film containers were found a week later on an airport tarmac in Cairo, sitting in the hot Egyptian sun. Though it was not exposed to sunlight, the heat-sensitive colour film stock should have been hopelessly ruined; however, when processed the shots were perfect and appeared in the film.
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Music
A memorable feature of the film is the tune that is whistled by the POWsthe first strain of the march "Colonel Bogey"when they enter the camp.[7] The march was originally written in 1914 by Kenneth J. Alford, a pseudonym of British Bandmaster Frederick J. Ricketts. The Colonel Bogey strain was accompanied by a counter-melody using the same chord progressions, then continued with film composer Malcolm Arnold's own composition "The River Kwai March," played by the off-screen orchestra taking over from the whistlers, though Arnold's march was not heard in completion on the soundtrack. Mitch Miller had a hit with a recording of both marches. Besides serving as an example of British fortitude and dignity in the face of privation, the "Colonel Bogey March" suggested a specific symbol of defiance to British film-goers, as its melody was used for the song "Hitler Has Only Got One Ball." Lean wanted to introduce Nicholson and his soldiers into the camp singing this song, but Sam Spiegel thought it too vulgar, and so whistling was substituted. However, the lyrics were, and continue to be, so well known to the British public that they didn't need to be laboured. The soundtrack of the film is largely diegetic; background music is not widely used. In many tense, dramatic scenes, only the sounds of nature are used. An example of this is when commandos Warden and Joyce hunt a fleeing Japanese soldier through the jungle, desperate to prevent him from alerting other troops. Arnold won an Academy Award for the film's score. Lean later used another Allford march, "The Voice of the Guns," in Lawrence of Arabia.
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Box office performance

Variety reported that this film was the #1 moneymaker of 1958, with a US take of $18,000,000.[8] The second highest moneymaker of 1958 was Peyton Place at $12,000,000; in third place was Sayonara at $10,500,000.[8]
Awards
Academy Awards
The Bridge on the River Kwai won seven Oscars: Best Picture Sam Spiegel Best Director David Lean Best Actor Alec Guinness Best Writing, Screenplay Based on Material from Another Medium Michael Wilson, Carl Foreman, Pierre Boulle Best Music, Scoring of a Dramatic or Comedy Film Malcolm Arnold Best Film Editing Peter Taylor Best Cinematography Jack Hildyard It was nominated for Best Actor in a Supporting Role Sessue Hayakawa
BAFTA Awards
Winner of 3 BAFTA Awards Best British Film David Lean, Sam Spiegel Best Film from any Source David Lean, Sam Spiegel Best British Actor Alec Guinness
Golden Globe Awards

Winner of 3 Golden Globes Best Motion Picture Drama David Lean, Sam Spiegel Best Director David Lean Golden Globe Award for Best Actor - Motion Picture Drama Alec Guinness Recipient of one nomination Best Supporting Actor Sessue Hayakawa
Other awards
New York Film Critics Circle Awards for Best Film Directors Guild of America Award for Outstanding Directorial Achievement in Motion Pictures (David Lean, Assistants: Gus Agosti & Ted Sturgis) New York Film Critics Circle Awards for Best Director (David Lean) New York Film Critics Circle Awards for Best Actor (Alec Guinness)
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Other nominations
Grammy Award for Best Soundtrack Album, Dramatic Picture Score or Original Cast (Malcolm Arnold)
Recognition
The film has been selected for preservation in the United States National Film Registry. British TV channel Channel 4 held a poll to find the 100 Greatest War Movies in 2005. The Bridge on the River Kwai came in at #10, behind Black Hawk Down and in front of The Dam Busters. The British Film Institute placed The Bridge on the River Kwai as the eleventh greatest British film. American Film Institute recognition 1998 AFI's 100 Years... 100 Movies #13 2001 AFI's 100 Years... 100 Thrills #58 2005 AFI's 100 Years... 100 Movie Quotes "Madness. Madness" Nominated 2006 AFI's 100 Years... 100 Cheers #14 2007 AFI's 100 Years... 100 Movies (10th Anniversary Edition) #36
First telecast
The film was first telecast, uncut, by ABC-TV in color on the evening of September 25, 1966, as a three hours-plus special on The ABC Sunday Night Movie. The telecast of the film lasted more than three hours because of the commercial breaks. It was still highly unusual at that time for a television network to show such a long film in one evening; most films of that length were still generally split into two parts and shown over two evenings. But the unusual move paid off for ABCthe telecast drew huge ratings.[9] On the evenings of January 28 and 29, 1973, ABC telecast another David Lean color spectacular, Lawrence of Arabia, but that telecast was split into two parts over two evenings.[10]
Restorations
The film was restored in 1985 by Sony Pictures Entertainment. The separate dialogue, music and effects were located and remixed with newly recorded "atmospheric" sound effects.[11] The image was restored by OCS, Freeze Frame, and Pixel Magic with George Hively editing.[12] On November 2, 2010 Columbia Pictures released a newly restored The Bridge on the River Kwai for the first time on Blu-ray. According to Columbia Pictures, they followed an all-new 4K digital restoration from the original negative with newly restored 5.1 audio.[13] The Original Negative for the feature was scanned at 4k (roughly four times the amount of resolution in High Definition), and the color correction and digital restoration were also completed at 4k. The negative itself manifested many of the kinds of issues one would expect from a film of this vintage: torn frames, imbedded emulsion dirt, scratches through every reel, color fading. Unique to this film, in some ways, were other issues related to poorly made optical dissolves, the original camera lens and a malfunctioning camera. These problems resulted in a number of anomalies that were very difficult to correct, like a ghosting effect in many scenes that resembles color mis-registration, and a tick-like effect with the image jumping or jerking side-to-side. These issues, running throughout the film, were addressed to a lesser extent on various previous DVD releases of the film and might not have been so obvious in standard definition.[14]
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In popular culture
Balu Mahendra, famous Tamil film director saw the shooting of this film at Kitulgala, Sri Lanka during his school trip and got inspired to become a film director.[15] One of the main characters in the movie Dr. Strangelove, Captain Mandrake, portrayed by Peter Sellers makes a brief reference to the events of The Bridge on the River Kwai, as if he were present. When General D. Ripper asks him if he was ever in captivity, he tells that he was captured by the Japanese and forced to build a bridge in Thailand, while he was regularly beaten and tortured for no reason. Actor Tom Selleck has a continuing association with Kwai, first in several episodes of Magnum, P.I. in which the character Higgens was a POW who worked on the bridge in WWII, and then two decades later when Tom (as Jesse Stone) watches the end of the film on TV in Innocents Lost, (which Selleck co-wrote). In the video game Call of Duty: World at War, the multiplayer map Banzai features a bridge that has astonisihing similarities to the bridge that appears in this film. In addition, the console codename for the map is "mp_kwai".
[16]
Parodies
In 1962 Spike Milligan and Peter Sellers, with Peter Cook and Jonathan Miller, released the LP record Bridge On The River Wye (Parlophone LP PMC 1190,PCS 3036 (November 1962)). This spoof of the film was based on the script for the 1957 Goon Show episode "An African Incident". Shortly before its release, for legal reasons, producer George Martin edited out the 'K' every time the word 'Kwai' was spoken.[17] The comedy team of Wayne and Shuster performed a sketch titled "Kwai Me a River" on their March 27, 1967 TV show, in which an officer in the British Dental Corps is captured by the Japanese and forced to build the commander of the POW camp a (dental) 'bridge on the river Kwai'.[18] Episode 23 of Monty Python's Flying Circus features "Bridge Over the River Trent". The 1985 film Volunteers, featuring Tom Hanks and John Candy, was a spoof of this film.
References
[1] Commonwealth War Graves Commission: Kanchanaburi War Cemetery (http:/ / www. cwgc. org/ search/ cemetery_details. aspx?cemetery=2017100& mode=1) [2] links for research, Allied POWs under the Japanese (http:/ / www. mansell. com/ pow_resources/ links. html) [3] Summer, Julie (2005). The Colonel of Tamarkan. Simon & Schuster Ltd. ISBN0-7432-6350-2. [4] Brownlow, Kevin (1996). David Lean: A Biography. New York: St. Martin's Press. ISBN 0-312-14578-0. pp. 391 and 766n [5] Davies, Peter N. (1991). The Man Behind the Bridge. Continuum International Publishing Group. ISBN0-485-11402-X. [6] (Piers Paul Read, Alec Guinness, 293) [7] The Colonel Bogey March MIDI file (http:/ / www. ulujain. org/ media/ colonelbogeymarch. mid) [8] Steinberg, Cobbett (1980). Film Facts. New York: Facts on File, Inc.. p.23. ISBN0-87196-313-2. When a film is released late in a calendar year (October to December), its income is reported in the following year's compendium, unless the film made a particularly fast impact. Figures are domestic earnings (United States and Canada) as reported each year in Variety (p. 17). [9] http:/ / www. imdb. com/ title/ tt0050212/ trivia [10] http:/ / www. tvobscurities. com/ 2010/ 05/ nielsen-top-ten-january-29th-february-4th-1973/ [11] "The Bridge on the River Kwai" (http:/ / www. davidlean. com/ Filmography/ Credits/ kwai_credits. html). DavidLean.com. . [12] "The Bridge on the River Kwai Credits" (http:/ / ftvdb. bfi. org. uk/ sift/ title/ 27691?view=credit). BFI Film and TV Database. . [13] http:/ / bridgeontheriverkwaibd. com/ [14] http:/ / www. sonypictures. com/ homevideo/ columbiaclassics/ in-production/ [15] http:/ / en. 600024. com/ director/ balu-mahendra-biography/ [16] http:/ / callofduty. wikia. com/ wiki/ Banzai_(map) [17] http:/ / www. thegoonshow. net/ facts. asp [18] "Wayne and Shuster Show, The Episode Guide (1954-1990) (series)" (http:/ / www. tvarchive. ca/ database/ 18984/ wayne_and_shuster_show,_the/ episode_guide/ ). tvarchive.ca. . Retrieved 2007-11-03.
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External links
The Bridge on the River Kwai (http://www.imdb.com/title/tt0050212/) at the Internet Movie Database The Bridge on the River Kwai (http://www.screenonline.org.uk/film/id/450937/) at the British Film Institute's Screenonline The Bridge on the River Kwai (http://www.allrovi.com/movies/movie/v7112) at AllRovi The Bridge on the River Kwai (http://www.boxofficemojo.com/movies/?id=bridgeontheriverkwai.htm) at Box Office Mojo The Bridge on the River Kwai (http://tcmdb.com/title/title.jsp?stid=69690) at the TCM Movie Database The Bridge on the River Kwai (http://www.rottentomatoes.com/m/bridge_on_the_river_kwai/) at Rotten Tomatoes Account of bombing crew (http://www.mekongexpress.com/thailand/photoalbum/photoalb_thai.htm) The Prisoner List. Short online film about prisoners of the Japanese during World War II. Depicts life on the Burma Railway. (http://www.theprisonerlist.com/the-film.html)
1958 Gigi
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1958 Gigi
Gigi
Original poster
Directed by Produced by Screenplay by Based on Starring Vincente Minnelli Arthur Freed Alan Jay Lerner Gigiby Colette Leslie Caron Louis Jourdan Maurice Chevalier Hermione Gingold Frederick Loewe
Music by
Cinematography Joseph Ruttenberg Editing by Distributed by Release date(s) Running time Country Language Budget Box office Adrienne Fazan Metro-Goldwyn-Mayer May 15, 1958 119 minutes United States English $3.3 million $13,000,000
Gigi is a 1958 musical film directed by Vincente Minnelli. The screenplay by Alan Jay Lerner is based on the 1944 novella of the same name by Colette. The film features songs with lyrics by Lerner; music by Frederick Loewe, arranged and conducted by Andr Previn. In 1991, Gigi was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." The American Film Institute ranked it #35 in AFI's 100 Years...100 Passions. The film is considered the last great MGM musical and the final great achievement of the Freed Unit, headed by producer Arthur Freed, although he would go on to produce several more films, including the musical Bells Are Ringing in 1960. The film was the basis for an unsuccessful stage musical produced on Broadway in 1973.
Plot
Set in turn-of-the-20th century Paris, the film opens with Honor Lachaille (Maurice Chevalier) among high society in the Bois de Boulogne. A charming old rou, he cynically remarks that "Like everywhere else, most people in Paris get married, but not all. There are some who will not marry, and some who do not marry. But in Paris, those who will not marry are usually men, and those who do not marry are usually women." So marriage is not the only option for wealthy young bon vivants like his nephew Gaston (Louis Jourdan), who is bored with life. The one thing Gaston truly enjoys is spending time with Madame Alvarez (Hermione Gingold), whom he calls Mamita, and especially her granddaughter, the precocious, carefree Gilberte, aka Gigi (Leslie Caron). Following the family tradition, Madame
1958 Gigi Alvarez sends Gigi to her sister, Great Aunt Alicia to be groomed as a courtesan and learn etiquette and charm. To Alicia, love is an art, and a necessary accomplishment for Gigi's social and economic future. The young girl initially is a very poor student who fails to understand the reasons behind her education. She enjoys spending time with Gaston, whom she regards as an elder brother. After Gaston publicly embarrasses his cheating mistress and tries to rebuild his reputation with endless parties, he decides to take a vacation by the sea. Gigi proposes if she beats him at a game of cards he must take her and Mamita along. He accepts, and she happily wins. During their holiday, Gigi and Gaston spend many hours together, and the two learn Honor and Mamita once were romantically involved before becoming comfortable friends. Alicia insists Gigi's education must increase dramatically if she is to catch a prize such as Gaston. Gigi is miserable with her lessons, but endures them as a necessary evil, though she still seems awkward and bumbling to her perfectionist great-aunt. When Gaston sees Gigi in an alluring white gown, he tells her she looks ridiculous and storms out, but later returns and apologizes, offering to take her to tea to make amends. Mamita refuses, telling him a young girl seen in his company might be labeled in such a way as could damage her future. Enraged yet again, Gaston storms out and wanders the streets of Paris in a fury. Realizing he has fallen in love with Gigi, who no longer is the child he thought her to be, Gaston returns to Mamita and proposes he take Gigi as his mistress, promising to provide the girl with luxury and kindness. The young girl declines the offer, telling him she wants more for herself than to be passed between men, desired only until they tire of her and she moves on to another. Gaston is horrified at this portrayal of the life he wishes to give her, and leaves stunned. Gigi later decides she would rather be miserable with him than without him. Prepared to accept her fate as Gaston's mistress, Gigi emerges from her room looking like a woman. Gaston is enchanted and takes her to dinner at Maxim's, where she seems perfectly at ease. The stares of other patrons make Gaston extremely uncomfortable as he realizes Gigi's interpretation of things may have been accurate after all, and discovers his love for her makes the idea of her as his mistress an unbearable one. He leaves the party with Gigi in tow and takes her home without explanation. After wandering the streets throughout the night, he returns to Mamita's home and humbly asks for Gigi's hand in marriage. The final sequence reverts to Honor Lachaille, proudly pointing out Gaston and Gigi riding in their carriage in the Bois de Boulogne, which is filled with high society. The couple are elegant, beautiful, and happily married. Honor has been a framing device for the film, which can be seen as a romantic victory of love over cynicism.
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Cast
Leslie Caron as Gigi Louis Jourdan as Gaston Lachaille Maurice Chevalier as Honor Lachaille Hermione Gingold as Madame Alvarez Isabel Jeans as Aunt Alicia Eva Gabor as Liane d'Exelmans Jacques Bergerac as Sandomir
1958 Gigi
239
Musical numbers
1. Overture Orchestra 2. "Honor's Soliloquy" Honor 3. "Thank Heaven for Little Girls" Honor 4. "It's a Bore" Gaston, Honor 5. "The Parisians" Gigi 6. "The Gossips" Honor, Chorus 7. "She Is Not Thinking of Me" Gaston 8. "The Night They Invented Champagne" Gigi, Gaston, Madame Alvarez 9. "I Remember It Well" Madame Alvarez, Honor 10. "About Gigi" Aunt Alicia, Madame Alvarez, Gigi 11. "Gaston's Soliloquy" Gaston 12. "Gigi" Gaston 13. "I'm Glad I'm Not Young Anymore" Honor 14. "Say a Prayer for Me Tonight" Gigi 15. "Thank Heaven for Little Girls (Reprise)" Honor, Chorus (Note: The album sleeve of the Gigi soundtrack makes a curious cameo appearance on certain versions of the Pink Floyd Ummagumma album cover.)
Production
Hollywood producer Arthur Freed first proposed a musicalization of the Colette novella to Alan Jay Lerner during the Philadelphia tryout of My Fair Lady in 1954. When Lerner arrived in Hollywood two years later, Freed was battling the Hays Code in order to bring his tale of a courtesan-in-training to the screen. Another roadblock to the project was the fact Colette's widower had sold the rights to her novella to Gilbert Miller, who planned to produce a film version of the 1954 stage adaptation by Anita Loos. It cost Freed more than $87,000 to purchase the rights from Miller and Loos.[1] Lerner's songwriting partner Frederick Loewe had expressed no interest in working in Hollywood, so Lerner agreed to write the screenplay only. He and Freed discussed casting; Lerner favored Audrey Hepburn, who had starred in the Broadway production written by Loos, but Freed preferred Leslie Caron, who had co-starred in An American in Paris for him. Both agreed Maurice Chevalier would be ideal for aging boulevardier Honor Lachaille, and Lerner proposed Dirk Bogarde for Gaston. Lerner agreed to write the lyrics if Freed could convince Bogarde and designer Cecil Beaton to join the project. He decided to approach Loewe once again, and when he suggested they compose the score in Paris, Loewe agreed.[2] In March 1957, the duo began working in Paris. When Chevalier, who already had agreed to appear in the film, first heard "Thank Heaven for Little Girls," he was delighted. When he discussed his waning interest in wine and women in favor of performing for an audience in cabarets, Chevalier inadvertently inspired the creation of another tune for his character, "I'm Glad I'm Not Young Anymore." The lyrics for another of his songs, the duet "I Remember It Well" performed with Hermione Gingold as his former love Madame Alvarez, were adapted from words Lerner had written for Love Life, a 1948 collaboration with Kurt Weill.[3] "Say a Prayer for Me Tonight," a solo performed by Gigi, had been written for Eliza Doolittle in My Fair Lady but was removed during the pre-Broadway run. Lerner disliked the melody, but Loewe, Freed, and Minnelli voted to include it in the film.[4] Having second thoughts about Audrey Hepburn, Freed asked Lerner to meet with her in Paris, but she declined the role. The producer then asked him to fly to London to speak to Leslie Caron, who was living there with her husband Peter Hall. Lerner was surprised to discover the star had become Anglicized to the point of losing her French accent. She had recently starred in an unsuccessful stage production of Gigi, but when she heard Lerner's interpretation of
1958 Gigi the story greatly differed from that of the play, she accepted his offer. Her singing voice was dubbed by Betty Wand, though Caron filmed mainly to her own tracks (a brief clip of Caron's voice is heard in the DVD extras.) Dirk Bogarde expressed interest as well, but ultimately was unable to free himself from his contract with J. Arthur Rank. Recalling Louis Jourdan from his performance in Three Coins in the Fountain, Freed offered him the role of Gaston.[5] In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in non-airconditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honor, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother.[6] By mid-July, the composers had completed most of the score but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi."[7] In September the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense the restaurant was recreated on a soundstage and the scene was refilmed by director Charles Walters, since Minnelli was overseas working on a new project.[8] Following completion of the film, it was previewed in Santa Barbara in January 1958. Audience reaction was overwhelmingly favorable (88% rated it either "outstanding" or "good"), but Lerner and Loewe were dissatisfied with the end result. Lerner felt it was twenty minutes too long and most of the action too slow. The changes he proposed would cost an additional $300,000, money Freed was loath to spend. The songwriting team offered to buy 10% of the film for $300,000, then offered $3 million for the print. Impressed with their belief in the film, MGM executives agreed to the changes, which included eleven days of considerable reshooting, putting the project at $400,000 over budget. At a preview in Encino, audience reaction changed from "appreciation to affection," and Lerner felt the film finally was ready for release. It premiered at the Royale Theatre, a legitimate theatrical venue in New York City, on May 15, 1958.[9]
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Critical reception
Bosley Crowther of The New York Times called it "a musical film that bears such a basic resemblance to My Fair Lady that the authors may want to sue themselves." He added, "But don't think this point of resemblance is made in criticism of the film, for Gigi is a charming entertainment that can stand on its own two legs. It is not only a charming comprehension of the spicy confection of Colette, but it is also a lovely and lyrical enlargement upon that story's flavored mood and atmosphere . . . Vincente Minnelli has marshaled a cast to give a set of performances that, for quality and harmony, are superb."[10] Abel Green of Variety called the film "100% escapist fare" and predicted it "is destined for a global boxoffice mopup." He added, "Alan Jay Lerner's libretto is tailor-made for an inspired casting job for all principals, and Fritz Loewe's tunes (to Lerner's lyrics) already vie with and suggest their memorable My Fair Lady score . . . Miss Caron is completely captivating and convincing in the title role . . . Skillful casting, performance and presentation have endowed realism to the sum total . . . Director Minnelli's good taste in keeping it in bounds and the general sound judgment of all concerned . . . distinguishes this Arthur Freed independent production. The Metrocolor rates recognition for its soft pastels under Joseph Ruttenberg's lensing; the Beaton costumes, sets and general production design are vivid physical assets at first sight. The skillful integration of words-and-music with the plot motivation makes this Gigi a very fair lady indeed as a boxoffice entry."[11]
1958 Gigi Time Out New York said, "The dominating creative contribution comes from Minnelli and Cecil Beaton . . . The combination of these two visual elitists is really too much - it's like a meal consisting of cheesecake, and one quickly longs for something solid and vulgar to weigh things down. No doubt inspired by the finicky, claustrophobic sets and bric--brac, the cast tries (with unfortunate success) to be more French than the French, especially Chevalier. The exception is Gingold, who inhabits, as always, a world of her own."[12] TV Guide rated the film 3 out of five stars, calling it "Overbaked but enjoyable, and a banquet for the eyes, thanks to the visual wonder of the Minnelli-Beaton teaming . . . Caron . . . leads the cast in a contest to see who can be the most French. The winner is Chevalier, in a performance that makes one feel as if you're gagging on pastry . . . Perhaps if the sweetness of Gigi was contrasted with elements of honest vulgarity, the picture could balance itself out . . . Ten minutes into the movie, you've resolved the plot and are left to wallow in lovely frou-frou. [The film] makes wonderful use of the usual Parisian landmarks, and benefits from extraordinary period costumes and sets."[13]
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Gigi won a record-breaking 9 Academy Awards (at the 1959 Awards ceremony); however, this record only lasted for one year, as Ben-Hur broke this record the following year with 11 Oscars. In tribute to Gigi's domination of the Oscars, the MGM switchboard answered calls the following day with "M-Gigi-M". Academy Awards Best Picture (winner) Best Director (Vincente Minnelli, winner) Best Adapted Screenplay (Alan Jay Lerner, winner) Best Art Direction (E. Preston Ames, F. Keogh Gleason, Henry Grace, and William A. Horning, winners) Best Cinematography (Joseph Ruttenberg, winner) Best Costume Design (Cecil Beaton, winner) Best Film Editing (Adrienne Fazan, winner) Best Original Score (Andr Previn, winner) Best Original Song ("Gigi" by Alan Jay Lerner and Frederick Loewe, winners)
Golden Globe Awards Best Motion Picture Musical or Comedy (winner) Best Director Motion Picture (Vincente Minnelli, winner) Best Supporting Actress Motion Picture (Hermione Gingold, winner) Best Actress Motion Picture Musical or Comedy (Leslie Caron, nominee) Best Actor Motion Picture Musical or Comedy (Maurice Chevalier, nominee) Best Actor Motion Picture Musical or Comedy (Louis Jourdan, nominee)
Other awards Writers Guild of America Award for Best Written American Musical (Alan Jay Lerner, winner) Directors Guild of America Award for Outstanding Directing Feature Film (Vincente Minnelli and assistant director George Vieira, winners) Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media (Andr Previn, winner)
1958 Gigi
242
References
[1] Jablonsky, Edward, Alan Jay Lerner. New York, New York: Henry Holt and Company 1996. ISBN 0-8050-7076-5 pp. 147-48 [2] Jablonsky, p. 149 [3] Jablonsky, pp. 151-52 [4] Jablonsky, p. 159 [5] Jablonsky, 152-55 [6] Jablonsky, p. 154 [7] Lerner, Alan Jay, The Street Where I Live. New York, New York: W.W. Norton & Company 1978. ISBN 0-393-07532-X pp. 161-62 [8] Jablonsky, pp. 161-62 [9] Jablonsky, pp. 163-66 [10] New York Times review (http:/ / movies. nytimes. com/ movie/ review?res=9E00EFDC173DE53BBC4E52DFB3668383649EDE) [11] Variety review (http:/ / www. variety. com/ index. asp?layout=Variety100& reviewid=VE1117488038& content=jump& jump=review& category=1935& cs=1& p=0) [12] Time Out New York review (http:/ / www. timeout. com/ film/ newyork/ reviews/ 70189/ Gigi. html) [13] TV Guide review (http:/ / movies. tvguide. com/ gigi/ review/ 124416)
External links
Gigi (http://www.imdb.com/title/tt0051658/) at the Internet Movie Database Gigi (http://tcmdb.com/title/title.jsp?stid=12586) at the TCM Movie Database Gigi (http://www.allrovi.com/movies/movie/v19761) at AllRovi Gigi (http://www.rottentomatoes.com/m/gigi/) at Rotten Tomatoes
1959 Ben-Hur
243
1959 Ben-Hur
Ben-Hur
Original film poster by Reynold Brown

Directed by Produced by Screenplay by William Wyler Sam Zimbalist Karl Tunberg Uncredited: Gore Vidal Christopher Fry Maxwell Anderson S. N. Behrman Ben-Hur: A Tale of the Christ by Lew Wallace Finlay Currie Charlton Heston Jack Hawkins Haya Harareet Stephen Boyd Hugh Griffith Mikls Rzsa
Based on Narrated by Starring
Music by
Cinematography Robert L. Surtees Editing by Distributed by Release date(s) Running time Country Language Budget Box office John D. Dunning Ralph E. Winters Metro-Goldwyn-Mayer
November 18, 1959
212 minutes United States English $15 million $146.9 million
1959 Ben-Hur Ben-Hur is a 1959 American epic historical drama film set in ancient Rome, directed by William Wyler and starring Charlton Heston, Stephen Boyd, Jack Hawkins, Hugh Griffith and Haya Harareet. It won a record 11 Academy Awards, including Best Picture, an accomplishment that was not equalled until Titanic in 1997 and The Lord of the Rings: The Return of the King in 2003. A remake of the 1925 silent film with the same name, Ben Hur was adapted from Lew Wallace's 1880 novel Ben-Hur: A Tale of the Christ. The screenplay is credited to Karl Tunberg but includes contributions from Maxwell Anderson, S. N. Behrman, Gore Vidal, and Christopher Fry. The motion picture was the most expensive ever made at the time, and its sets were the largest yet built for a film. The picture contains a nine-minute chariot race which has become one of the most famous sequences in cinema. The score composed by Mikls Rzsa was highly influential on cinema for more than 15 years, and is the longest ever composed for a motion picture.
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Plot
In AD 26, Judah Ben-Hur (Charlton Heston) is a wealthy prince and merchant in Jerusalem. His childhood friend, the Roman citizen Messala (Stephen Boyd), is now a tribune. After several years away from Jerusalem, Messala returns as the new commander of the Roman garrison. Messala believes in the glory of Rome and its imperial power, while Ben-Hur is devoted to his faith and the freedom of the Jewish people. Messala asks Ben-Hur for the names of Jews who criticize the Romans. Ben-Hur refuses. Ben-Hur lives with his mother, Miriam (Martha Scott), and sister, Tirzah (Cathy O'Donnell). Their loyal slave Simonides (Sam Jaffe) is preparing for an arranged marriage for his daughter, Esther (Haya Harareet). Ben-Hur gives Esther her freedom as a wedding present, and the audience is shown that Ben-Hur and Esther are in love even though her marriage to another man is imminent. During the parade for the new governor of Judea, Valerius Gratus, a tile falls from the roof of Ben-Hur's house. Gratus is thrown from his horse and nearly killed. Although Messala knows this was an accident, he condemns Ben-Hur to the galleys and imprisons Miriam and Tirzah. By punishing a known friend and prominent citizen, he hopes to intimidate the Jewish populace. Ben-Hur swears to take revenge. Dying of thirst when his slave gang arrives at Nazareth, Ben-Hur collapses. But a local carpenter (whom the audience realizes is Jesus) gives him water. After three years as a galley slave, Ben-Hur is assigned to the flagship of the Roman Consul Quintus Arrius (Jack Hawkins), who has been charged with destroying a fleet of Macedonian pirates. Arrius admires Ben-Hur's self-discipline and offers to train him as a gladiator or charioteer. Ben-Hur declines the offer, declaring that God will aid him in his quest for vengeance. The Roman fleet encounters the Macedonians. Arrius orders all the rowers except Ben-Hur to be chained to their benches. Arrius' galley is rammed and sunk, but Ben-Hur unchains the other rowers, and saves Arrius' life. Arrius believes the battle ended in defeat, but Ben-Hur prevents him from committing suicide. Ben-Hur and Arrius are rescued, and Arrius is credited with the Roman fleet's victory. The consul successfully petitions Emperor Tiberius (George Relph) to free Ben-Hur, and adopts him as his son. Several years pass off-screen. Now wealthy, Ben-Hur learns Roman ways and becomes a champion charioteer, but longs for his family and homeland. Ben-Hur returns to Judea. Along the way, he meets Balthasar (Finlay Currie) and an Arab sheik, Ilderim (Hugh Griffith). The sheik has heard of Ben-Hur's prowess as a charioteer, and asks him to drive his quadriga in a race before the new Judean governor Pontius Pilate (Frank Thring). Ben-Hur at first declines, but changes his mind when he learns that champion charioteer Messala will also compete. Ben-Hur returns to his home in Jerusalem. He meets Esther, and learns her arranged marriage did not occur and that she is still in love with him. He visits Messala and demands his mother and sister's freedom. The Romans discover that Miriam and Tirzah contracted leprosy in prison, and expel them from the city. The women beg Esther to conceal their condition from Ben-Hur, so she tells him that his mother and sister died.
1959 Ben-Hur During the chariot race, Messala drives a chariot with blades on the hubs to tear apart competing vehicles. In the violent and grueling race, Messala attempts to destroy Ben-Hur's chariot but destroys his own instead. Messala is mortally injured, while Ben-Hur wins the race. Before dying, Messala tells Ben-Hur that "the race is not over" and that he can find his family "in the Valley of the Lepers, if you can recognize them." Ben-Hur visits the nearby leper colony, where (hidden from their view) he sees his mother and sister. Esther hears Jesus preach the Sermon on the Mount, and tells Ben-Hur about the message of peace and forgiveness she heard. Blaming Roman rule for his family's fate, Ben-Hur rejects his patrimony and Roman citizenship. Learning that Tirzah is dying, Ben-Hur and Esther take her and Miriam to see Jesus, but the trial of Jesus before Pontius Pilate has begun. Jesus begins his march to Calvary and stumbles before Ben-Hur. Recognizing Jesus from their earlier meeting, Ben-Hur attempts to give him water but guards separate them. Ben-Hur witnesses the crucifixion of Jesus. Miriam and Tirzah are miraculously healed. Ben-Hur tells Esther that he heard Jesus talk of forgiveness while on the cross, and says "I felt His voice take the sword out of my hand."
245
Production
MGM originally announced a remake of Ben-Hur in December 1952, ostensibly as a way to spend its Italian assets.[1][2] Stewart Granger and Robert Taylor were reported to be in the running for the lead.[2] Nine months later, MGM announced it would make the film in CinemaScope, with shooting beginning in 1954.[3] In November 1953, MGM announced it had assigned producer Sam Zimbalist to the picture and hired screenwriter Karl Tunberg to write it.[4] Zimbalist was chosen because he had produced MGM's Best Picture-nominated Christians-and-lions epic Quo Vadis in 1951. The studio then announced in July 1954 that production would start in March 1955 with 42 speaking parts and 97 sets.[5] MGM said Sidney Franklin would direct, that the script by Tunberg was finished, that shooting would occur in Rome and in Spain, and that Marlon Brando was up for the lead.[6] But production didn't start. In fact, in September 1955, Zimbalist (who still claimed a script by Tunberg was finished) said a $7 million, six-to-seven month production would begin in April 1956 in either Israel or Egypt in MGM's new 65mm widescreen process.[7] But MGM suspended production in early 1956.[8] By the late 1950s, court decisions forcing movie studios to divest themselves of theater chains[9] and the competitive pressure of television had caused significant financial distress at MGM.[10] In a gamble to save the studio, and inspired by the success of Paramount Pictures' 1956 Biblical epic The Ten Commandments,[10] studio head Joseph Vogel announced in 1957 that MGM would again move forward on a remake of Ben-Hur.[11] Filming started in May 1958 and wrapped in January 1959, and post-production took six months.[12] Although the budget for Ben-Hur was initially $7 million,[13] it was reported to be $10 million by February 1958.[14] It reached $15 million by the time shooting beganmaking it the costliest film ever produced up to that time.[15] When adjusted for inflation, the budget of Ben Hur was approximately $120million in constant dollars.[16] One notable change in the film involved the opening titles. Concerned that a roaring Leo the Lion (the MGM mascot) would create the wrong mood for the sensitive and sacred nativity scene, Wyler received permission to replace the traditional logo with one in which Leo the Lion is quiet.[17] It was the first time in MGM history that the lion logo was not seen roaring.[17]
Development
Lew Wallace's novel ran to about 550 pages. Zimbalist hired a number of screenwriters to cut the story down and turn the novel into a script. According to Gore Vidal, more than 12 versions of the script had been written by various writers by the spring of 1958.[18] Vidal himself had been asked to write a version of the script in 1957, refused, and been placed on suspension for his decision.[18] Karl Tunberg was one of the last writers to work on the script. Zimbalist had initially chosen director Sidney Franklin to helm the picture,[13] and Tunberg consulted with Franklin about the script.[19] Tunberg cut out everything in the book after the crucifixion of Jesus, omitted the sub-plot in which Ben-Hur fakes his death and raises a Jewish army to overthrow the Romans, and altered the manner in which
1959 Ben-Hur the leperous women are healed (instead of being healed as Christ carries His cross, the women are healed after accidentally soaking in rainwater stained by the blood of Jesus after the crucifixion).[20] The silent film version had introduced Esther early in the picture, rather than midway as in the novel, and Tunberg retained this feature in his script as well.[21] But Zimbalist was unhappy with Tunberg's script, and felt it was "pedestrian"[20] and "unshootable".[22] The writing effort changed direction when Franklin fell ill and was removed from the production.[13] Zimbalist offered the project to William Wyler in early 1957.[23] At first, Wyler refused. Zimbalist asked him to read Tunberg's script. Wyler did so, but found the quality "very primitive, elementary" and no better than hack work.[24] It lacked good characterization, the dramatic structure was poor, and the leads were uninteresting (just "villains and heroes").[24] Wyler expressed interest in the spectacle, however, and especially the chariot race sequence (which was not described in the script). Zimbalist showed Wyler some preliminary storyboards for the chariot race. Wyler, who had been one of 30 Assistant Directors on the 1925 film,[25] began to express an interest in the picture. But Zimbalist told Wyler, "Forget the chariot race. That's just second-unit stuff."[26] Zimbalist said that the real challenge would be to give the picture some "body, depth, intimacy"all things only William Wyler could bring to the picture, and for which (Zimbalist said) Wyler was renowned. Zimbalist also told Wyler that MGM would spend up to $10 million on the film, and Wyler (impressed with the large budget) agreed to review the script a second time.[26] The more Wyler thought about the story, the more he became intrigued with its possibilities.[10] But, according to a report in the New York Times, Wyler refused to take the job until he was sure he had a good leading man. So MGM allowed Wyler to start casting. In April 1957, mainstream media outlets reported that Wyler was giving screen tests to Italian leading men, such as Cesare Danova.[27] By June 13, 1957, MGM was still declining to confirm that Wyler had been hired to direct.[28] Yet, production was due to start, the studio said, in March 1958.[28] In fact, despite conducting screen tests and engaging in other pre-production work for Ben-Hur, Wyler did not agree to direct the film until September 1957,[26] and MGM did not announced his hiring until January 3, 1958.[29] Even though he still lacked a leading man, Wyler took the assignment for many reasons: He was promised a base salary of $350,000 as well as 8 percent of the gross box office (or 3 percent of the net profits, whichever was greater),[30] and he wanted to work in Rome again (where he had filmed Roman Holiday).[10][13] His base salary was, at the time, the largest ever paid to a director for a single film.[10] But professional competitive reasons also played a role in his decision to direct. Wyler later admitted that he wished to "out DeMille DeMille"[13] and make a "thinking man's" Biblical epic.[31] In later years, William Wyler would joke that it took a Jew to make a good movie about Christ.[32]
246
Writing
Wyler, like Zimbalist, was also unhappy with the script. He felt Tunberg's draft was too much of a morality play overlaid with current Western political overtones, and that the dialogue was too modern-sounding.[33] Zimbalist brought in playwright S. N. Behrman and then playwright Maxwell Anderson to write drafts.[13] Behrman spent about a month working on the script, but how much he contributed to the final version is unclear.[22] Both a contemporary account in the British magazine Films and Filmmaking as well as Vidal biographer Fred Kaplan claim that Anderson was ill and unable to work on the script.[19][22] But the New York Times reported in June 1957 that Anderson was at work on the script.[28] (The newspaper would later informally retract this statement, and admit in 1959 that Anderson had been too ill to do any writing.)[34] Gore Vidal said that, by spring 1958, the script largely reflected Anderson and Behrman's work and nearly all the dialogue was in Anderson's "elevated poetic style."[18] Kaplan describes the script at this point as having only a "modest to minimal" understanding of what the ancient Roman world was like, dialogue which veered "between flat Americanisms and stilted formality", and an ill-defined relationship between Judah Ben-Hur and Messala.[35] There is confusion in published sources about the next writer to work on the script. Films and Filmmaking magazine, a source contemporary with the picture, claims that British poet and playwright Christopher Fry was brought in next.
1959 Ben-Hur Fry crafted some critical scenes, the magazine said, and then left the filmat which point Vidal was brought in to finish the script.[19] However, most sources (including Vidal himself) state that Vidal followed Anderson, and that Fry did not come aboard until Vidal was close to leaving the picture. Vidal biographer Fred Kaplan states that Fry was hired simultaneously with Vidal, and that Zimbalist knew Vidal would be able to work on the script for only a short time. Zimbalist hoped that Fry would begin work on the end of the script and that the two writers would "expeditiously meet in the middle. Somewhere about the halfway point they would sink the golden spike."[36] Vidal was hired as a screenwriter because Zimbalist liked him and was very confident in his skills.[35] Vidal said that preproduction on the film was already under way in Italy when he flew to Rome in early March 1958 to meet with Wyler.[18][37] Vidal claimed that Wyler had not read the script, and that when he did so (at Vidal's urging) on his flight from the U.S. to Italy, he was upset with the modernist dialogue.[18][38] Vidal agreed to work on the script for three months so that he would come off suspension and fulfill his contract with MGM,[13][18] although Zimbalist pushed him to stay throughout the entire production.[36] Vidal was researching a book on the fourth century Roman emperor Julian, and knew a great deal about ancient Rome.[35] Wyler, however, knew almost nothing about the period, and spent most of March having nearly every Hollywood film about ancient Rome flown to him in Italywhere he spent hours screening them.[36] Vidal's working style was to finish a scene and review it with Zimbalist. Once Vidal and Zimbalist had come to agreement, the scene would be passed to Wyler.[36] Vidal said he kept the structure of the Tunberg/Behrman/Anderson script, but rewrote nearly all the dialogue.[39] Vidal admitted to William Morris in March 1959 that Fry rewrote as much as a third of the dialogue which Vidal had added to the first half of the script. Vidal made one structural change which was not revised, however. The Tunberg script had Ben-Hur and Messala reuniting and falling out in a single scene. Vidal broke the scene in two, so that the men first reunite at the Castle Antonia and then later argue and end their friendship at Ben-Hur's home. Vidal also added small character touches to the script, such as Ben-Hur's purchase of a brooch for Tirzah and a horse for Messala.[39] Vidal claimed that he worked on the first half of the script (everything up to the chariot race), and scripted 10 versions of the scene where Ben-Hur confronts Messala and begs for his family's freedom.[32][40] Vidal's claim about a homoerotic subtext is hotly debated. Vidal first made the claim in an interview in the 1995 documentary film The Celluloid Closet, and asserted that he persuaded Wyler to direct Stephen Boyd to play the role as if he were a spurned homosexual lover.[41] Vidal said that he believed that Messala's vindictiveness could only be motivated by the feeling of rejection that a lover would feel. Vidal also said he suggested to Wyler that Stephen Boyd be told to play the role that way, and that Heston be kept in the dark about the Messala character's motivations.[32] Vidal further claimed that Wyler took his advice. Whether Vidal wrote the scene in question or had the acting conversation with Wyler, and whether Wyler shot what Vidal wrote, remain issues of debate. In 1980, Wallace biographers Robert and Katharine Morsberger said that Vidal's contribution to the script remained unclear.[20] Heston has asserted that Wyler felt Vidal did not solve the problem of motivation, that Wyler shot little of what Vidal wrote, and that Vidal made little contribution to the script.[32][42] Wyler himself says that he does not remember any conversation about this part of the script or Boyd's acting with Gore Vidal,[32] and that he discarded Vidal's draft in favor of Fry's.[13] Film critic Gary Giddins also dismisses Vidal's claims, concluding that 80 percent of the script had been written "years before" Vidal came aboard the production.[40] But Jan Herman, one of Wyler's biographers, asserts "there is no reason to doubt" Vidal's claim, and that Wyler's inability to remember the conversation was just part of the director's notorious caginess.[32] Vidal questioned Heston's own honesty and claims about Wyler,[42] and asserted that Wyler wanted Vidal and Fry to share credit for the script.[40] Vidal also wrote in March 1959 (decades before the dispute occurred) that he had been on the set and that he personally watched Wyler film everything from the reunion scene to the quarrel (pages 12 to 31 in the script).[39] There appears to be some contemporary support for Vidal's assertions. Morgan Hudgens, publicity director for the film, wrote to Vidal in late May 1958 about the crucial scene, and implied there was a homosexual context: "...the big cornpone [the crew's nickname for Heston] really threw himself into your 'first meeting' scene yesterday. You should have seen those boys embrace!"[43] Film critic F. X. Feeney, in a comparison of script drafts, concludes that Vidal made significant and
247
1959 Ben-Hur extensive contributions to the script.[44] The final writer on the film was Christopher Fry. Charlton Heston has claimed that Fry was Wyler's first choice as screenwriter, but that Zimbalist forced him to use Vidal.[32] Whether Fry worked on the script before Vidal or not, sources agree that Fry arrived in Rome in early May 1958 and spent six days a week on the set, writing and rewriting lines of dialogue as well as entire scenes, until the picture was finished.[45] In particular, Fry gave the dialogue a slightly more formal and archaic tone without making it sound stilted and medieval.[45] For example, the sentence "How was your dinner?" became "Was the food not to your liking?"[45] By early June, Fry (working backward from the ending) had finished the screenplay.[46] Film historian Daniel Eagan, however, claims that Fry did not finish the screenplay. Rather, as time went on, Wyler stopped seeking improvements to the script in order to finish the picture.[13] The final script ran 230 pages.[47] The screenplay differed more from the original novel than did the 1925 silent film version. Some changes made the film's storyline more dramatic. Others inserted an admiration for Jewish people (who had founded the state of Israel by this time) and the more pluralistic society of 1950s America rather than the "Christian superiority" view of Wallace's novel.[48] Dispute over the screenplay credits Wyler said that he tried to get Tunberg and Fry co-credit for writing the screenplay. Tunberg initially agreed, Wyler said, but then changed his mind when the Screen Writers' Guild routinely investigated the claim.[49] But according to Gore Vidal and film historian Gary Giddins, Wyler tried to get Fry an unshared credit for the screenplay.[49][50] The dispute over who would receive screen credit quickly became a public one. According to the New York Times, Vidal challenged the initial determination by the Screen Writers' Guild regarding who would receive writing credit for the film.[34] The Screen Writers' Guild arbitrated the credit under its screenwriting credit system, and unanimously awarded full and sole credit for the script to Tunberg (who, coincidentally, was a former president of the Guild).[34][49][51] Both director William Wyler and Sol C. Siegel, head of production at MGM, appealed the Guild's ruling.[34] Tunberg agreed to share credit, but the Guild refused to change its ruling.[34] Wyler publicly campaigned to get Fry screenwriting credit, feeling that insider politics had led the Guild to give Tunberg sole credit. In retaliation, the Guild took out advertisements in trade newspapers accusing Wyler of trying to undermine the integrity of the credit and arbitration system. When Ben-Hur won Academy Awards in a wide range of categories except best screenplay, the Guild then accused Wyler of interfering with Tunberg's nomination. Later, when Charlton Heston accepted his Oscar for Best Leading Actor, he thanked Christopher Fry in his acceptance speech. The Guild sent him a letter which accused Heston of deliberately impugning the Guild and Tunberg's reputation.[49]
248
Casting
Many other actors were offered the role of Judah Ben-Hur before it was accepted by Charlton Heston. Burt Lancaster claimed he turned down the role because he found the script boring[52] and belittling to Christianity.[53] Paul Newman turned it down because he said he didn't have the legs to wear a tunic.[54] Marlon Brando,[54] Rock Hudson,[55] Geoffrey Horne,[56] and Leslie Nielsen[57] were also offered the role, as were a number of muscular, handsome Italian actors (many of Charlton Heston was cast in the lead in Ben-Hur. whom did not speak English).[58] Kirk Douglas was interested in the role, but was turned down in favor of Heston. (This inspired Douglas to make Spartacus a year later.)[59] Heston was formally cast on January 22, 1958.[60] His salary was $250,000 for 30 weeks, a prorated salary for any time over 30 weeks, and travel expenses for his family.[38] Stephen Boyd was cast as the antagonist, Messala, on April 13, 1958.[61] William Wyler originally wanted Heston for the role, but sought another actor after he moved Heston into the role of Judah Ben-Hur.[62] Wyler tried to
1959 Ben-Hur interest Kirk Douglas in the role of Massala, but Douglas turned him down.[63] Boyd was a contract player at 20th Century Fox when Wyler cast him.[13] Because Heston had blue eyes, Wyler had Boyd outfitted with brown contact lenses as a way of contrasting the two men.[64] Largely speaking, Wyler cast the Romans with British actors and the Jews with American actors to help underscore the divide between the two groups.[15][65] The Romans were the aristocrats in the film, and Wyler believed that American audiences would interpret British accents as patrician.[66] Marie Ney was originally cast as Miriam, but was fired after two days of work because she could not cry on cue.[66][67] Heston says that he was the one who suggested that Wyler cast Martha Scott (who had played the mother of Heston's Moses in The Ten Commandments, and with whom he'd worked on Broadway) as Miriam.[68] Scott was hired on July 17, 1958.[69] Cathy O'Donnell was Wyler's sister-in-law, and although her career was in decline (Ben-Hur would be her last screen performance) Wyler cast her as Tirzah.[70] More than 30 actresses were considered for the role of Esther.[71] The exotically beautiful Israeli actress Haya Harareet, a relative newcomer to film, was cast as Esther on May 16, 1958,[71] after providing a 30-second silent screen test.[72] Wyler had met her at the Cannes Film Festival, where she impressed him with her conversational skills and force of personality.[73] Both Zimbalist and Wyler were excited about her looks and acting.[33] Sam Jaffe was cast as Simonides on April 3, 1958,[74] primarily because he had become famous for his roles as a wise old patriarch in a number of films.[75] Finlay Currie was cast as Balthasar the same day as Jaffe.[74] Wyler had to persuade Jack Hawkins to appear in the film, because Hawkins was unwilling to act in another epic motion picture so soon after The Bridge on the River Kwai.[33] Wyler's efforts at persuasion were successful, and Hawkins was cast on March 18, 1958.[76] Hugh Griffith, who gained acclaim in the post-World War II era in Ealing Studios comedies, was cast as the comical Sheik Ilderim.[77] Finlay Currie had worked with Zimbalist before on Quo Vadis, playing St. Peter, was cast as Balthasar.[78] Out of respect for the divinity of Christ, and consistent with Lew Wallace's stated preference,[79] Wyler decided before the production began that the face of Jesus would not be shown.[80] The role of Jesus was played by Claude Heater. Heater was an American opera singer performing with the Vienna State Opera in Rome when he was asked to do a screen test for the film.[81] He received no credit for his role. In casting, Wyler placed heavy emphasis on characterization rather than looks or acting history.[70] For example, he cast a British actor for the role of the centurion who denies Judah Ben-Hur water at Nazareth. But when the actor held out for more money, the first assistant director selected a different actor. Wyler, who believed the centurion's reaction to his confrontation with Jesus Christ was critical, shut down the production at a cost of $15,000 while the original actor was retrieved from Rome.[82] MGM opened a casting office in Rome in mid-1957 to select the 50,000 individuals who would act in minor roles and as extras in the film.[83] The studio announced that casting for leads in the film was complete on September 12, 1958, when Kamala Devi was cast as Iris, Sheik Ilderim's daughter.[84] However, neither the character nor the actress appeared in the film. A total of 365 actors had speaking parts in the film, although only 45 of them were considered "principal" performers.[85] According to the New York Times, only four of the actors (Heston, O'Donnell, Jaffe, and Scott) had worked in Hollywood.[85]
249
Cinematography
Robert Surtees, who had filmed many of the most successful epics of the 1950s and who had worked with Sam Zimbalist on Quo Vadis in 1951, was hired as cinematographer for the film.[86] Early on in the film's production, Zimbalist and other MGM executives made the decision to film the picture in a widescreen format. Wyler strongly disliked the widescreen format, commenting that "Nothing is out of the picture, and you can't fill it. You either have a lot of empty space, or you have two people talking and a flock of others surrounding them who have nothing to do with the scene. Your eye just wanders out of curiosity."[87] The cameras were also quite large, heavy, and difficult and time-consuming to move.[87] To overcome these difficulties, Surtees and Wyler collaborated on using the widescreen lenses, film stocks, and projection technologies to create highly detailed images for the film. For
1959 Ben-Hur establishing shots, they planned to show vast lines of marching Roman troops and sailing ships, immense architectural structures lined with thousands of extras, expansive landscapes, and action which moved across the screen.[88] Wyler was best known for composition in depth, a visual technique in which people, props, and architecture are not merely composed horizontally but in depth of field as well. He also had a strong preference for long takes, during which his actors could move within this highly detailed space. But widescreen cinematic technology limited depth of field. Surtees and Wyler worked to overcome this by creating scenes in which one half of the screen is filled with a foreground object while the other half is filled with a background area, and then rack-focusing between the two as the action shifts from foreground to background.[88] Notable instances of this occur when the injured Messala waits for Judah Ben-Hur to appear in the racecourse surgery, when Judah Ben-Hur hides behind a rock to avoid being seen by his mother and sister in the Valley of the Lepers, and during the Sermon on the Mount.[89] The movie was filmed in a process known as "MGM Camera 65". 1957's Raintree County and Ben-Hur were the first MGM films to use the process.[90] The MGM Camera 65 used special 65mm Eastmancolor film stock with a 2.76:1 aspect ratio.[91] 70mm anamorphic camera lenses developed by the Mitchell Camera Company were manufactured to specifications submitted by MGM.[92] These lenses squeezed the image down 1.25 times to fit on the image area of the film stock.[93] The 65mm images were then printed on 70mm film stock.[94] The extra 5mm of space on the film stock allowed the studio to use the new six-track stereo sound, which audiences rarely heard at the time.[95] To make a 35mm print (the type of film stock most smaller theaters could project), a 35mm print with black borders along the top and bottom of each frame was used.[91] When projected, the 2.76:1 aspect ratio was retained.[91] Because the film could be adapted to the requirements of individual theaters, movie houses did not need to install special, expensive 70mm projection equipment.[96] This allowed more theaters to show the film. Six of the 70mm lenses, each worth $100,000, were shipped to Rome for use by the production.[78][97][98]
250
Principal photography
Wyler left the United States for Italy in April 1958, five months before post-production on Wyler's The Big Country was finished. Wyler authorized his long-time editor, Robert Swink, to edit The Big Country as he saw fitincluding the shooting of a new finale, which Swink did.[99] Wyler asked not to be contacted by United Artists over the changes to The Big Country because Ben-Hur would take all his attention, time, and energy. Swink sent him a final cut of the picture in May 1958, which Wyler endorsed.[100]
I spent sleepless nights trying to find a way to deal with the figure of Christ. It was a frightening thing when all the great painters of twenty centuries have painted events you have to deal with, events in the life of the best-known man who ever lived. Everyone already has his own concept of him. I wanted to be reverent, and yet realistic. Crucifixion is a bloody, awful, horrible thing, and a man does not go through it with a benign expression on his face. I had to deal with that. It is a very challenging thing to do that and get no complaints from anybody. Wyler on the difficulty of shooting the crucifixion scene.
[101]
Principal photography began on May 18, 1958.[51] The script was still unfinished when cinematography began, so that Wyler had only read the first 10 to 12 pages of it.[102] Shooting lasted for 12 to 14 hours a day, six days a week. On Sundays, Wyler would meet with Fry and Zimbalist for story conferences. The pace of the film was so grueling that a doctor was brought onto the set to give a vitamin B complex injection to anyone who requested it (shots which Wyler and his family later suspected may have contained amphetamines).[103] Wyler was unhappy with Heston's performances, feeling they did not make Judah Ben-Hur a plausible character. Wyler shot 16 takes of Heston saying, "I'm a Jew!"[104] By November 1958, the production was becoming bogged down. In part, this was due to the extras. More than 85 percent of the extras had no telephone and no permanent address, so contacting them required using word-of-mouth. It could take several days before all the extras were informed they would be needed. An experienced extra was put in charge of about 30 inexperienced extras, moving them in and out of make-up and wardrobe. On
1959 Ben-Hur days when there were thousands of extras, individuals would begin getting into costume at 5 A.M., while the last extras would get out of costume around 10 P.M.[83] To speed things up, Wyler often kept principal actors on stand-by, in full costume and make-up, so that he could shoot pick-up scenes if the first unit slowed down. Actresses Martha Scott and Cathy O'Donnell spent almost the entire month of November 1958 in full leprosy make-up and costumes so that Wyler could shoot "leper scenes" when other shots didn't go well.[105] Shooting took nine months, which included three months for the chariot race scene alone.[106] Principal photography ended on January 7, 1959, with filming of the crucifixion scene.[12][107] The sequence took four days to film. Heston said that the final day's shoot was such a "flurry of grab shots" that the conclusion of principal photography was hardly remarked.[101]
251
Production design
Italy was MGM's top choice for hosting the production. But a number of countriesincluding France, Mexico, Spain, and the United Kingdomwere also considered.[108] Cinecitt Studios, a very large motion picture production facility constructed in 1937 on the outskirts of Rome, was identified early on as the primary shooting location.[14] Zimbalist hired Wyler's long-term production supervisor, Henry Henigson, to oversee the film. Henigson arrived in Italy in the spring of 1956.[38] Art directors William A. Horning and Edward Carfagno Entrance to Cinecitt Studios, where Ben-Hur created the overall look of the film, relying on the more than five years was filmed. of research which had already been completed for the production.[109] A skeleton crew of studio technicians arrived in the summer of 1956 to begin preparing the Cinecitt soundstages and back lot, and to oversee the construction of additional buildings which would be needed to house the production team.[108] The largest Cinecitt soundstage was not used for filming at all, but rather converted into a vast costume warehouse. Another soundstage housed a dry cleaning facility, a traditional laundry, a sculptors' workshop, and a shoe repair facility.[109] Pre-production began at Cinecitt around October 1957.[14] The MGM Art Department produced more than 15,000 sketches and drawings of costumes, sets, props, and other items needed for the film (8,000 alone for the costumes); photostatted each item; and cross-referenced and catalogued them for use by the production design team and fabricators.[110] More than a million props were ultimately manufactured.[111] MGM location scouts arrived in Rome ("yet again", according to the New York Times) to identify shooting locations in August 1957.[112] Location shooting in Africa was actively under consideration.[113] In mid-January 1958, MGM said that filming in North Africa (later revealed to be Libya) would begin on March 1, 1958, and that 200 camels and 2,500 horses had already been procured for the studio's use there.[114] The production was then scheduled to move to Rome on April 1, where Andrew Marton had been hired as second unit director and 72 horses were being trained for the chariot race sequence.[114] However, the Libyan government canceled the production's film permit for religious reasons on March 11, 1958, just a week before filming was to have begun.[115] The Ben-Hur production utilized 300 sets scattered over 148 acres (unknown operator: u'strong'ha) and nine sound stages.[116] It was filmed largely at Cinecitt Studios. Several sets still standing from Quo Vadis in 1951 were refurbished and used for Ben-Hur.[116] By the end of the production more than 1000000 pounds (unknown operator: u'strong' kg) of plaster and 40000 cubic feet (unknown operator: u'strong'm3) of lumber were used.[85][117] The budget called for more than 100,000 costumes and 1,000 suits of armor to be made, for the hiring of 10,000 extras, and the procurement of hundreds of camels, donkeys, horses, and sheep.[15][47] Costume designer Elizabeth Haffenden oversaw a staff of 100 wardrobe fabricators who began manufacturing the wardrobe a year before the cameras rolled. Special silk was imported from Thailand, the armor manufactured in West Germany, and the woolens made and embroidered in the United Kingdom and various countries of South America. Many leather goods were hand-tooled in the United Kingdom as well, while Italian shoemakers manufactured the boots and shoes.
1959 Ben-Hur The lace for costumes came from France, while costume jewelry was purchased in Switzerland.[118] More than 400 pounds (unknown operator: u'strong'kg) of hair were donated by women in the Piedmont region of Italy to make wigs and beards for the production,[119] and 1000 feet (unknown operator: u'strong'm) of track laid down for the camera dollies.[85] A workshop employing 200 artists and workmen provided the hundreds of friezes and statues needed.[47] A cafeteria capable of serving more than 5,000 extras in 20 minutes was also built.[83] The mountain village of Arcinazzo Romano,[119] 40 miles (unknown operator: u'strong'km) from Rome, served as a stand-in for the town of Nazareth.[45] Beaches near Anzio were also used,[111] and caves just south of the city served as the leper colony.[105] Some additional desert panoramas were shot in Arizona, and some close-up inserts taken at the MGM studios, with the final images photographed on February 3, 1958.[51] The film was intended to be historically accurate. Hugh Gray, a noted historian and motion picture studio researcher, was hired by Zimbalist as the film's historical advisor. A veteran of the Hollywood historical epic, it was the last film he worked on.[90] Even the smallest details were historically correct. For example, Wyler asked a professor at the University of Jerusalem to copy a portion of the Dead Sea Scrolls for a scene that called for parchment with Hebrew writing on it.[119] The sea battle was filmed using miniatures in a huge tank on the back lot at the MGM studios in Culver City, California.[116] More than 40 miniature ships were built for the sequence.[111] Shot in November and December 1957,[60] it was one of the first sequences created for the film.[120] The script contained no description of or dialogue for the sea battle, and none had been written by the time the production schedule got around to filming the live-action sequences. According to editor John Dunning, screenwriter Christopher Fry looked at the miniature footage which Dunning had edited into a rough cut, and then wrote the interior and above-deck scenes.[121] Two 175-foot (unknown operator: u'strong'm) long Roman galleys, each of them seaworthy, One of the miniature Roman triremes used in were built for the live-action segment.[47] The ships were constructed Ben-Hur in 1959. based on plans found in Italian museums for actual ancient Roman [109] galleys. An artificial lake with equipment capable of generating sea-sized waves was built at the Cinecitt studios to accommodate the galleys.[85] A massive backdrop, 200 feet (unknown operator: u'strong'm) wide by 50 feet (unknown operator: u'strong'm) high, was painted and erected to hide the city and hills in the background.[85] Third unit director Richard Thorpe was hired on July 17, 1958, at the request of William Wyler to film the above-decks sequences,[67] but a directing commitment back in the United States required him to leave the production with filming still incomplete.[120] Dunning says he then directed most of the below-decks scenes, including the sequence in which Quintus Arrius' flagship is rammed.[120] To make the scene bloodier, Dunning says he sought out Italian extras who had missing limbs, then had the makeup crews rig them with fake bone and blood to make it appear as if they had lost a hand or leg during the battle.[120] When Dunning edited his own footage later, he made sure that these men were not on screen for long so that audiences would not be upset.[120] (There was so much footage of the sea battle left over that Charlton Heston used it in his 1972 film Antony and Cleopatra.)[122] The above-decks footage was integrated with the miniature work using process shots and traveling mattes.[123] Dunning says that he directed most of the critical scene in which Quintus Arrius first confronts Judah Ben-Hur on the galley, as well as the following segment in which Arrius forces the slaves to row at high speed.[120] Some of the dialogue in the scene, he says, was shot by Wyler, but most of the rest (including the high-speed rowing) was shot by Dunning himself.[120] Dunning has stated that he spent several days on the high-speed rowing segment, shooting the sequence over and over from different angles to ensure that there was plenty of coverage. He then edited the immense amount of footage down to obtain a rough cut that matched the script, and then re-edited the footage to be more cinematic and work emotionally on screen.[120] The galley sequence is one of the few scenes in the film which
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1959 Ben-Hur is not historically accurate, as the Roman navy (in contrast to its early modern counterparts) did not employ convicts as galley slaves.[124] One of the most sumptuous sets was the villa of Quintus Arrius, which included 45 working fountains and 8.9 miles (unknown operator: u'strong'km) of pipes.[109] Wealthy citizens of Rome, who wanted to portray their ancient selves, acted as extras in the villa scenes.[116] Among them were Baroness Lillian de Balzo (Hungary), Princess Carmen de Hohenlohe (Spain), Prince Cristian Hohenlohe (Spain), Countess Nona Medici (Italy), Count Marigliano del Monte (Italy), Count Santiago Oneto (Spain), Count Mario Rivoltella (Italy), Prince Emanuele Ruspoli (Italy), Prince Raimondo Ruspoli (Italy), and Princess Irina Wassilchikoff (Russia).[83] To recreate the ancient city streets of Jerusalem, a vast set covering 0.5-square-mile (unknown operator: u'strong'km2) was built,[10] which included a 75-foot (unknown operator: u'strong'm) high Joppa Gate.[116] The sets were so vast and visually exciting that they became a tourist attraction.[10] Tour buses visited the site hourly, and entertainers such as Harry Belafonte, Kirk Douglas, Susan Hayward, Audrey Hepburn, and Jack Palance traveled to Italy to see the production.[125] The huge sets could be seen from the outskirts of Rome, and MGM estimated that more than 5,000 people were given tours of the sets.[85] Another 25,000 tourists stopped by the studios to see the production in progress.[119] The New York Times reported that thousands more viewed the sets without entering the grounds.[85] Dismantling the sets cost $125,000.[85] Almost all the filmmaking equipment was turned over to the Italian government, which sold and exported it.[85] MGM turned title to the artificial lake over to Cinecitt.[85] MGM retained control over the costumes and the artificial lake background, which went back to the United States.[85] The chariots were also returned to the U.S., where they were used as promotional props.[85] The life-size galleys and pirate ships were dismantled to prevent them from being used by competing studios.[85] Some of the horses were adopted by the men who trained them, while others were sold.[85] Many of the camels, donkeys, and other exotic animals were sold to circuses and zoos in Europe.[85]
253
Editing
All told, there were 1100000 feet (unknown operator: u'strong' m) of film shot.[51] According to editor John D. Dunning, the first cut of the film was four and one-half hours long[120] (although a mass media report in March 1959 indicated the running time was closer to five hours).[126] William Wyler said his goal was to bring the running time down to three and a half hours.[126] Editors Dunning and Winters saw their job as condensing the picture without losing any information or emotional impact.[120] Dunning later said that he felt some of the leper colony sequence could have been cut.[120] The most difficult editing decisions, he also said, came during scenes which involved Jesus Christ, as these contained almost no dialogue and most of the footage was purely reaction shots by actors.[127] Editing was also complicated by the 70mm footage being printed. Because no editing equipment (such as the Moviola) existed which could handle the 70mm print, the 70mm footage would be reduced to 35mm and then cut. This caused much of the image to be lost, and according to Dunning "you didn't even know what you had until you cut the negative. We'd print up the 70 now and then, and project it to see what we were getting against what we were seeing in the 35. We really did it blind."[128] When the film was edited into its final form, it ran 213 minutes and included just 19000 feet (unknown operator: u'strong'm) of film.[51] It was the third-longest motion picture ever made at the time, behind Gone With The Wind and The Ten Commandments.[51] The editors had little do with inserting music into the film. Composer Mikls Rzsa viewed a near-final cut of the film, and then made scoring notes. Afterward, Rzsa consulted with the editors, who made suggestions, and then wrote his score and had music inserted where he wished.[129]
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Musical score
The film score was composed and conducted by Mikls Rzsa, who scored most of MGM's epics. The composer was hired by executive producer Sam Zimbalist.[130] Rzsa conducted research into Greek and Roman music of the period to give his score an archaic sound while still being modern. Rzsa himself directed the 100-piece MGM Symphony Orchestra during the 12 recording sessions (which stretched over 72 hours). The soundtrack was recorded in six-channel stereo.[118] More than three hours of music were composed for the film, [131], and two-and-a-half hours of it were finally used, making it (as of 2001) the longest score ever composed for a motion picture.[132] Unlike previous efforts for films set in the distant past, Rzsa quoted no ancient Greek or Roman musical themes in his score.[132] But he did re-use music he had composed for Quo Vadis in his Ben-Hur score.[132] The score contains no leitmotifs for the main characters. While not a leitmotif, the score does transition from full orchestra to pipe organ whenever Jesus Christ appears.[118] Rzsa won his third Academy Award for his score. As of 2001, it was the only musical score in the ancient and medieval epic genre of film to win an Oscar.[132] Like most film musical soundtracks, it was issued as an album for the public to enjoy as a distinct piece of music. But the score was so lengthy, it had to be released in 1959 on three LP records. To provide a more "listenable" album, Rzsa arranged his score into a "Ben-Hur Suite", which was released on Lion Records (an MGM subsidiary which issued low-priced records) in 1959.[131][133] This made the Ben-Hur film musical score the first to be released not only in its entirety but also as a separate album.[132] The Ben-Hur score is considered to be the best of Rzsa's career.[134] The musical soundtrack to Ben-Hur remained deeply influential into the mid 1970s, when film music composed by John Williams for films such as Jaws, Star Wars, and Raiders of the Lost Ark became more popular among composers and film-goers.[135] Rzsa's score has since seen several notable re-releases. In 1967, Rzsa himself arranged and recorded another four-movement suite of music from the film with the Nuremberg Symphony Orchestra. It was released by Capitol Records. In 1977, Decca Records recorded a highlights from the score featuring the United Kingdom's National Philharmonic Orchestra and Chorus. Sony Music reissued the first two of the three-LP 1959 recording (along with selections from the film's actual soundtrack) as a two-CD set in 1991.[136] Rhino Records issued a two-CD release in 1996 which featured remastered original recordings, outtakes from the original film soundtrack, alternate and recording outtakes, and extended versions of some musical sequences.[132][136] In 2012, Film Score Monthly and WaterTower Music issued a limited edition five-CD set of music from the film. It included a remastered film score (as heard on screen) on two discs; two discs of alternate versions, additional alternate versons, and unused tracks (presented in film order); and the contents of the three-LP MGM and one-LP Lion Records albums on a single disc.[136]
Chariot race sequence

Film critic Kevin Brownlow has called the chariot race sequence as creative and influential a piece of cinema as the famous Odessa Steps sequence in Sergei Eisenstein's The Battleship Potemkin, which introduced modern concepts of film editing and montage to cinema.[137] The chariot race in Ben-Hur was directed by Andrew Marton and Yakima Canutt,[138] filmmakers who often acted as second unit directors on other people's films. Each man had an assistant director, who shot additional footage.[139] Among these were Sergio Leone,[140] who was senior assistant director in the second unit and responsible for retakes.[141] William Wyler shot the "pageantry" sequence that occurs before the race, scenes of the jubilant crowd, and the victory scenes after the race concludes.[142] The "pageantry" sequence before the race begins is a shot-by-shot remake of the same sequence from the 1925 silent film version.[137] Wyler added the parade around the track because he knew that the chariot race would be primarily composed of close-up and medium shots. To impress the audience with the grandeur of the arena, Wyler added the parade in formation (even though it was not historically accurate).[66]
1959 Ben-Hur The original screenwriter, Karl Tunberg, had written just three words ("the chariot race") to describe the now-famous sequence, and no other writer had enlarged on his description.[80] Marton and Canutt wrote 38 pages of script which outlined every aspect of the race, including action, stunts, and camera shots and angles.[80] According to editor John Dunning, producer Sam Zimbalist was deeply involved in the planning and shooting of the chariot sequence, and the construction of the arena.[139]
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Set design
The chariot arena was modeled on a historic circus in Jerusalem.[116] Covering 18 acres (unknown operator: u'strong'ha), it was the largest film set ever built at that time.[143] Constructed at a cost of $1 million, it took a thousand workmen more than a year to carve the oval out of a rock quarry.[109][116] The racetrack featured 1500-foot (unknown operator: u'strong'm) long straightaways and five-story-high grandstands.[116] Over 250 miles (unknown operator: u'strong'km) of metal tubing were used to erect the grandstands.[85] Matte paintings created the illusion of upper stories of the grandstands and the background mountains.[144] The production crew researched ancient Roman racetracks, but were unable to determine what a historic track surface was like. The crew decided to create their own racecourse surface, one that would be hard enough to support the steel-rimmed chariot wheels but soft enough to not harm the horses after hundreds of laps. The construction crew laid down a bed of crushed rock topped by a layer of ground lava and finely ground yellow rock.[80] More than 40000 short tons (unknown operator: u'strong' t) of sand were brought in from beaches on the Mediterranean to cover the track.[145] Other elements of the circus were also historically accurate. Imperial Roman racecourses featured a raised 10 feet (unknown operator: u'strong'm) high spina (the center section), metae (columnar goalposts at each end of the spina), dolphin-shaped lap counters, and carceres (the columned building in the rear which housed the cells where horses waited prior to the race).[144][146] The four statues atop the spina were 30 feet (unknown operator: u'strong'm) high.[47] A chariot track identical in size was constructed next to the set and used to train the horses and lay out camera shots.[146]
Preparation
Planning for the chariot race took nearly a year to complete.[116] Seventy-eight horses were bought and imported from Yugoslavia and Sicily in November 1957, exercised into peak physical condition, and trained by Hollywood animal handler Glenn Randall to pull the quadriga (a Roman Empire chariot drawn by four horses abreast).[111][116] Andalusian horses played Ben-Hur's Arabians, while the others in the chariot race were primarily Lipizzans.[147] A veterinarian, a harness maker, and 20 stable boys were employed to care for the horses and ensure they were outfitted for racing each day.[111] When a blacksmith for making horseshoes could not be found, an 18-year-old Italian boy was trained in the art of blacksmithing in order to do so.[119] The firm of Danesi Brothers[148] Lippizan horses, like this one in Spain, were used built 18 chariots,[149] each weighing 900 pounds (unknown operator: for chariot teams in Ben-Hur. u'strong'kg).[15] Nine were practice chariots.[148] Principal cast members, stand-ins, and stunt people made 100 practice laps of the arena in preparation for shooting.[106] Because the chariot race was considered so dangerous, a 20-bed infirmary staffed by two doctors and two nurses was built next to the set to care for anyone injured during shooting.[119][150] Heston and Boyd both had to learn how to drive a chariot. Heston, an experienced horseman, took daily three-hour lessons in chariot driving after he arrived in Rome and picked up the skill quickly.[45][151] (He also learned swordfighting, how to throw a javelin, camel riding, and rowing.)[152] Heston was outfitted with special contact
1959 Ben-Hur lenses to prevent the grit kicked up during the race from injuring his eyes.[151] Boyd, however, needed four weeks of training to feel comfortable (but not expert) at driving the quadriga.[45] For the other charioteers, six actors with extensive experience with horses were flown in from Hollywood. Local actors also portrayed charioteers. Among them were Giuseppe Tosi, who had once been a bodyguard for Victor Emmanuel III of Italy.[83] The production schedule originally called for the chariot race to be shot in the spring, when weather was cooler for the horses and when Wyler would not be placing heavy demands on Heston and Boyd's time. But the arena surface was not ready, the arena set was not finished, and the horses had not finished their training.[45] Shooting of the chariot sequence began on the same day as principal photography. But again filming was delayed. The racecourse surface proved so soft that it slowed the horses down and a day of shooting was lost as the yellow rock and all but 3.5 inches (unknown operator: u'strong'cm) of crushed lava were removed.[153]
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Filming
Marton and Canutt filmed the entire chariot sequence with stunt doubles in long shot, edited the footage together, and showed the footage to Zimbalist, Wyler, and Heston to show them what the race should look like and to indicate where close-up shots with Heston and Boyd should go.[80] Seven thousand extras were hired to cheer in the stands.[10][143][154] Economic conditions in Italy were poor at the time, and as shooting for the chariot scene wound down only 1,500 extras were needed on any given day. On June 6, more than 3,000 people seeking work were turned away. The crowd rioted, throwing stones and assaulting the set's gates until police arrived and dispersed them.[155] Dynamite charges were used to show the chariot wheels and axles splintering from the effects of Messala's barbed-wheel attacks.[144] Three lifelike dummies were placed at key points in the race to give the appearance of men being run over by chariots.[150] The cameras used during the chariot race also presented problems. The 70mm lenses had a minimum focal length of 50 feet (unknown operator: u'strong'm), and the camera was mounted on a small Italian-made car so the camera crew could keep in front of the chariots. But the horses accelerated down the 1500-foot (unknown operator: u'strong'm) straightaway much faster than the car could, and the long focal length left Martin and Canutt with too little time to get their shots. The production company purchased a more powerful American car, but the horses still proved too fast. Even with a head start, the larger American car could give the filmmakers only a few more seconds of shot time. Since the horses had to be running at top speed for the best visual impact, Marton chose to film the chariot race with a smaller lens with a much shorter minimum focal length. He also decided that the car should stay only a few feet ahead of the horses.[87] This was highly dangerous, for if the car did not make its turns or slowed down, a deadly crash with the horses could occur. The changes, however, solved the problems the camera crew was encountering. As filming progressed, vast amounts of footage were shot for this sequence. The ratio of footage shot to footage used was 263:1, one of the highest ratios ever for a film.[150] John Dunning and Ralph E. Winters edited the footage of the chariot sequence. According to Dunning, Winters edited most of the chariot race but the two men discussed it at length with some input from Wyler.[156] The two editors decided that, once the race was under way, one of the charioteers should be killed immediately to demonstrate to the audience that the race was a deadly one. Inserts of the barbs on the hub of Messala's chariot were inserted repeatedly throughout the sequence to make it obvious that his chariot was highly dangerous. As footage was shot, it was roughly edited by Ralph Winters. If the footage was poor, the stunts didn't come off on camera well, or coverage was lacking, then more footage would be shot. At the end of three months, Dunning says, Winters had so much footage on hand that he asked Dunning to come to Rome to help him edit together the final sequence.[139] One of the most notable moments in the race came from a near-fatal accident. Joe Canutt, Yakima Canutt's son, did Heston's more dangerous stunts during the sequence.[116] When Judah Ben-Hur's chariot jumps over the wreckage of a chariot in its path, Ben-Hur is almost thrown out of his chariot. He hangs on and climbs back aboard to continue the race. While the jump was planned (the horses were trained to leap over the wreckage, and a telephone pole had been half-buried in the earth to force the chariot to jump into the air),[157] stunt man Joe Canutt was tossed into the
1959 Ben-Hur air by accident; he incurred a minor chin injury.[158] Marton wanted to keep the shot, but Zimbalist felt the footage was unusable. Marton conceived the idea of showing that Ben-Hur was able to land on and cling to the front of his chariot, then scramble back into the quadriga while the horses kept going.[157] The long shot of Canutt's accident was cut together with a close-up of Heston climbing back aboard constitutes one of the race's most memorable moments.[159] Boyd did all but two of his own stunts.[12] For the sequence where Messala is dragged beneath a chariot's horses and trampled to death, Boyd wore steel armor under his costume and acted out the close-up shot and the shot of him on his back, attempting to climb up into the horses' harness to escape injury. A dummy was used to obtain the trampling shot in this sequence.[158] In all, the chariot scene took five weeks (spread over three months) to film at a total cost of $1 million[80] and required more than 200 miles (unknown operator: u'strong'km) of racing to complete.[143] Two of the $100,000 70mm lenses were destroyed during the filming of the close-up shots.[78] Once the "pageantry" and victory parade sequences of the race were finished, Wyler did not visit the chariot race set again. Marton asked the editors to put together a rough cut of the film, with temporary sound effects, and then asked Zimbalist to screen it for Wyler to get Wyler's approval for the sequence. Zimbalist said no. Wyler was tired, and might not fully appreciate the rough cut and demand that the whole race be refilmed. But Zimbalist changed his mind and showed the rough cut to Wyler several days later. According to Zimbalist, Wyler said "it's one of the greatest cinematic achievements" he'd ever seen.[157] Wyler did not see the final cut of the chariot race until the press screening of Ben-Hur.[157]
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Myths
Several urban legends exist regarding the chariot sequence. One claims that a stuntman died during filming. Stuntman Nosher Powell claims in his autobiography, "We had a stunt man killed in the third week, and it happened right in front of me. You saw it, too, because the cameras kept turning and it's in the movie."[160] But movie historian Monica Silveira Cyrino discounted this claim in 2005, and said there there were no published accounts of any serious injuries or deaths during filming of the chariot race.[116] Indeed, the only recorded death to occur during the filming was that of producer Sam Zimbalist, who died of a heart attack at the age of 57 on November 4, 1958, while on the set.[161] MGM executives asked Wyler to take over the executive producer's job, with an extra salary of $100,000. Wyler agreed, although he had assistance from experienced MGM executives as well.[162] Production supervisor Henry Henigson was so overcome by stress-related heart problems during the shoot that doctors feared for his life and ordered him off the set.[10] But Henigson returned to the production shortly thereafter, and did not die. Nor were any horses injured during the shoot; in fact, the number of hours the horses could be used each day was actually shortened to keep them out of the summer heat.[163] Another urban legend states that a red Ferrari can be seen during the chariot race. The book Movie Mistakes claims this is a myth.[164] Heston, in a DVD commentary track for the film, mentions that a third urban legend says he wore a wristwatch during the chariot race. Heston points out that he wore leather bracers up to the elbow.[165]
Release
A massive $3 million marketing effort helped promote Ben-Hur.[130] MGM established a special "Ben-Hur Research Department" which surveyed more than 2,000 high schools in 47 American cities to gauge teenage interest in the film.[166] A high school study guide was also created and distributed.[166] Sindlinger and Company was hired to conduct a nationwide survey to gauge the impact of the marketing campaign.[167] In 1959 and 1960, more than $20 million in candy; children's tricycles in the shape of chariots; gowns; hair barrettes; items of jewelry; men's ties; bottles of perfume; "Ben-Her" and "Ben-His" towels; toy armor, helmets, and swords; umbrellas; and hardback and paperback versions of the novel (tied to the film with cover art) were sold.[106][130] Ben-Hur premiered at Loew's State Theatre in New York City on November 18, 1959. Present at the premiere were William Wyler, Charlton Heston, Stephen Boyd, Haya Harareet, Martha Scott, Ramon Novarro (who played Judah Ben-Hur in the 1925 silent film version), Spyros Skouras (president of the 20th Century Fox), Barney Balaban
1959 Ben-Hur (president of Paramount Pictures), Jack Warner (president of Warner Bros.), Leonard Goldenson (president of the American Broadcasting Company), Moss Hart (playwright), Robert Kintner (an ABC Television executive), Sidney Kingsley (playwright), and Adolph Zukor (founder of Paramount Pictures).[168] Ben-Hur had box office receipts of $74.7 million domestically and $72.2 million internationally during its initial release.[169] It was the fastest-grossing film[10] as well as the highest grossing film of 1959,[170] in the process becoming the second-highest grossing film of all-time behind Gone with the Wind.[171] It saved MGM from financial disaster,[172] making a profit of $19.5 million on its initial release, and another $10.1 million in profits when re-released in 1969.[10] It ranked ninth on the list of all-time money-making films until 1975.[106]
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Critical reception
Ben-Hur received overwhelmingly positive reviews upon its release.[173] The film received a 89% approval rating from critics on aggregate site Rotten Tomatoes, with its summary stating: "Uneven, but in terms of epic scope and grand spectacle, Ben-Hur still ranks among Hollywood's finest examples of pure entertainment."[174] Bosley Crowther, writing for the New York Times, called Ben-Hur "a remarkably intelligent and engrossing human drama".[175] While praising the acting and William Wyler's "close-to" direction, he also had high praise for the chariot race: "There has seldom been anything in movies to compare with this picture's chariot race. It is a stunning complex of mighty setting, thrilling action by horses and men, panoramic observation and overwhelming use of dramatic sound."[175] Jack Gaver, writing for United Press International, also had praise for the acting, calling it full of "genuine warmth and fervor and finely acted intimate scenes".[176] Philip K. Scheuer of the Los Angeles Times called it "magnificent, inspiring, awesome, enthralling, and all the other adjectives you have been reading about it."[177] He also called the editing "generally expert" although at times abrupt.[177] Ronald Holloway, writing for Variety, called Ben-Hur "a majestic achievement, representing a superb blending of the motion picture arts by master craftsmen," and concluded that "Gone With the Wind, Metro's own champion all-time top grosser, will eventually have to take a back seat."[178] The chariot race "will probably be preserved in film archives as the finest example of the use of the motion picture camera to record an action sequence. The race, directed by Andrew Marton and Yakima Canutt, represents some 40 minutes of the most hair-raising excitement that film audiences have ever witnessed."[178] There was some criticism, however. Crowther felt the film was too long.[175] Scheuer, whilst mostly praising the film, felt the its biggest fault was "overstatement", and that it hammered home at points long after they had been made. He singled out the galley rowing sequence, Jesus' journey to the place of crucifixion, nearly all the sequences involving the lepers. He also lightly criticized Charlton Heston for being more physically than emotionally compelling.[177] John McCarten of The New Yorker was more critical of Heston, writing that he "speaks English as if he'd learned it from records."[179] Even William Wyler later privately admitted he was disappointed with Heston's acting.[12] Film critic Dwight Macdonald also was largely negative.[173] He found the film so uninvolving and lengthy that he said, "I felt like a motorist trapped at a railroad crossing while a long freight train slowly trundles by."[180] British film critic John Pym, writing for Time Out, was equally dismissive, calling the film a "four-hour Sunday school lesson".[181] Many French and American film critics who believed in the auteur theory of filmmaking saw the film as confirmation of their belief that William Wyler was "merely a commercial craftsman" rather than a serious artist.[24]
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Accolades
Ben-Hur was nominated for 12 Academy Awards and won an unprecedented 11. As of 2011, only Titanic in 1998 and The Lord of the Rings: The Return of the King in 2004 have matched the film's wins.[182][183] The lone category where Ben-Hur did not win was for Best Adapted Screenplay, and most observers attributed this to the controversy over the writing credit.[49][12] Ben-Hur won the following Oscars: Best Picture Best Director for William Wyler Best Actor in a Leading Role for Charlton Heston Best Actor in a Supporting Role for Hugh Griffith Best Art Direction, Color for Edward C. Carfagno, William A. Horning, and Hugh Hunt Best Cinematography, Color Best Costume Design, Color Best Special Effects Best Film Editing for John D. Dunning and Ralph E. Winters Best Scoring of a Dramatic or Comedy Picture Best Sound for Franklin Milton
MGM and Panavision shared a special technical Oscar in March 1960 for developing the Camera 65 photographic process.[184] Ben-Hur also won three Golden Globe Awards Best Motion Picture, Drama, Best Motion Picture Director, Best Supporting Actor in a Motion Picture for Stephen Boyd and received a Special Achievement Award (which went to Andrew Marton for directing the chariot race sequence).[185] Heston was nominated for a Golden Globe in the Best Performance by an Actor in a Motion Picture - Drama category, but did not win. The picture also won the BAFTA Award for Best Film,[186] the New York Film Critics Circle Award for Best Film,[187] and the Directors Guild of America Award for Outstanding Directorial Achievement in a Motion Picture.[188] Ben-Hur also appears on several "best of" lists generated by the American Film Institute, an independent non-profit organization created by the National Endowment for the Arts in 1967. The "AFI 100 Years... series" were created by juries consisting of over 1,500 artists, scholars, critics, and historians, with movies selected based on the film's popularity over time, historical significance, and cultural impact. Ben-Hur appeared on the following lists: AFI's 100 Years... 100 Movies #72 AFI's 100 Years... 100 Thrills #49 AFI's 100 Years of Film Scores #21 AFI's 100 Years... 100 Cheers #56 AFI's 100 Years... 100 Movies (10th Anniversary Edition) #100 AFI's 10 Top 10 #2 Epic film
In 2004, the National Film Preservation Board selected Ben-Hur for preservation by the National Film Registry for being a "culturally, historically, or aesthetically significant" motion picture.[189]
1959 Ben-Hur
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Broadcast and home video releases

The film's first telecast took place on Sunday, February 14, 1971.[190] Broadcast over five hours during a single evening,[191] it was watched by 85.82 million people for a 37.1 average rating.[192] It was the second-highest rated movie ever screened on television at the time (behind the broadcast premiere of Bridge on the River Kwai).[193] Ben-Hur has been released on home video on several occasions. Recent releases have all been on DVD and Blu-ray Disc. A two-sided single disc widescreen release occurred in the United States on March 13, 2001.[165] This release included several featurettes, including a commentary by Charlton Heston, a making-of documentary (made for a laserdisc release in 1993), screen tests, and a photo gallery.[165] This edition was released soon thereafter as a two-disc set in other countries. The film saw another DVD release on September 13, 2005.[194] This four-disc edition included remastered images and audio, an additional commentary, two additional featurettes, and a complete version of the 1925 silent version of Ben-Hur.[194] A boxed "Deluxe Edition", issued in the U.S. in 2002, included postcard-sized reprints of lobby cards, postcard-sized black-and-white stills with machine-reproduced autographs of cast members, a matte-framed color image from the film with a 35mm film frame mounted below it, and a 27-by-40-inch (unknown operator: u'strong' by unknown operator: u'strong' cm) reproduction movie poster.[195] In 2011, Warner Home Video released a 50th anniversary edition on Blu-ray Disc in the U.S.[196] The film image and soundtrack were again remastered, and a new musical soundtrack-only option and six new featurettes (one of which was an hour long) were included.
References
[1] MGM had extensive amounts of income in Italian lira. But in the wake of World War II, the Italian government banned the movement of lira out of Italy as a means of stabilizing the inflation-plagued Italian economy. Finding a way to spend this money in Italy would free up resources elsewhere for the studio. [2] Pryor, Thomas M. "Ben-Hur to Ride for Metro Again." New York Times. December 8, 1952. [3] Pryor, Thomas M. "Metro to Produce 18 Films in '53-'54." New York Times. October 8, 1953. [4] Pryor, Thomas M. "Bank of America Wins Movie Suit." New York Times. November 4, 1953. [5] "Kidd Will Repeat Dances for Movie." New York Times. July 29, 1954. [6] Pryor, Thomas M. "Hollywood Dossier: New Market Analysis Is Set Up." New York Times. December 5, 1954. [7] "Six Books Bought for Fox Films." New York Times. September 10, 1955. [8] Pryor, Thomas M. "Sidney Franklin Resigns at M-G-M." New York Times. June 17, 1958. [9] United States v. Paramount Pictures, Inc., 334 US 131 (1948) [10] Block and Wilson, p. 411. [11] Eagan, p. 558-559. [12] Eagan, p. 560. [13] Eagan, p. 559. [14] Hawkins, Robert F. "Viewed on the Bustling Italian Film Scene." New York Times. February 16, 1958. [15] Solomon, p. 207. [16] Staff. Consumer Price Index (estimate) 18002012 (http:/ / www. minneapolisfed. org/ community_education/ teacher/ calc/ hist1800. cfm). Federal Reserve Bank of Minneapolis. Retrieved February 22, 2012. [17] Schumach, Murray. "Metro Stills Leo for the First Time." New York Times. November 26, 1959. [18] Vidal, p. 73. [19] Cole, p. 379. [20] Morsberger and Morsberger, p. 482. [21] Morsberger and Morsberger, p. 489. [22] Kaplan, p. 440. [23] "Wyler Weighs Offer." New York Times. February 5, 1957. [24] Herman, p. 394. [25] The Story of the Making of 'Ben-Hur'..., p. 24. [26] Herman, p. 395. [27] Makiewicz, Don. "Tour Around the Lot." New York Times. April 7, 1957. [28] Pryor, Thomas M. "British Plan Film on 'Silent Enemy'." New York Times. June 13, 1957. [29] Pryor, Thomas M. "Debbie Reynolds Is Cast By M-G-M." New York Times. January 4, 1958. [30] Herman, p. 393.
1959 Ben-Hur
[31] Eldridge, p. 15. [32] Herman, p. 400. [33] Madsen, p. 342. [34] "'Ben-Hur' Credit Is Urged for Fry." New York Times. October 29, 1959. [35] Kaplan, p. 441. [36] Kaplan, p. 442. [37] Vidal says he worked on the script for three months. Fry did not arrive in Rome until May 1958 and Vidal says he did not leave Rome until mid or late June, so Vidal's arrival in Rome can be deduced with some accuracy. See: Vidal, p. 73; Herman, p. 400-401. [38] Herman, p. 396. [39] Kaplan, p. 445. [40] Giddins, p. 247. [41] Joshel, Malamud, and McGuire, p. 37-38. [42] "Chuck Roast." The Advocate. June 25, 1996, p. 82. (http:/ / books. google. com/ books?id=hWMEAAAAMBAJ& lpg=PT67& dq="Gore Vidal" "Ben-Hur" homosexual subtext& pg=PT67#v=onepage& q="Gore Vidal" "Ben-Hur" homosexual subtext& f=false) Accessed December 25, 2011. [43] Quoted in Kaplan, p. 444. [44] Feeney, p. 66-73. [45] Herman, p. 401. [46] Kaplan, p. 444-445. [47] Hudgins, Morgan. "'Ben-Hur' Rides Again." New York Times. August 10, 1958. [48] Hezser, p. 136-138. [49] Herman, p. 412. [50] Giddins, p. 248. [51] "'Ben-Hur to Race for 213 Minutes." New York Times. October 7, 1959. [52] Alexander, p. 84-85. (http:/ / books. google. com/ books?id=blIEAAAAMBAJ& lpg=PA80& dq="Burt Lancaster" "Ben-Hur" violence& pg=PA85#v=onepage& q="Burt Lancaster" "Ben-Hur" violence& f=false) Accessed December 25, 2011. [53] Buford, p. 189. Buford also says MGM offered Lancaster $1 million to star in the picture, and to pay off $2.5 million in debts owed by Lancaster's production company. Still Lancaster refused. See: Buford, p. 190. [54] Thomas, May 2006. (http:/ / www. brightlightsfilm. com/ 52/ benhur. php) Accessed December 25, 2011. [55] Hudson's agent, Henry Willson, refused to allow Hudson to take the role, believing that historical costume epics were not right for his client. See: Bret, p. 95; Gates and Thomas, p. 125. [56] Industry columnist Louella Parsons claimed that Horne was all but cast in the film, due to his performance in The Bridge on the River Kwai. See: Hofler, p. 320. [57] Giddins, p. 247-248. [58] Herman, p. 395-396. [59] Rode, p. 132. [60] Pryor, Thomas M. "Heston Will Star in M-G-M 'Ben-Hur'." New York Times. January 23, 1958. [61] Pryor, Thomas M. "Goetz to Produce 3 Columbia Films." New York Times. April 14, 1958. [62] McAlister, p. 324, n. 59. [63] Kinn and Piazza, p. 135. [64] "An Actor to Watch," Coronet, January 1, 1959, p. 22. [65] Magill, p. 150. [66] Herman, p. 402. [67] Pryor, Thomas M. "Frenke Signs Pact With Seven Arts." New York Times. August 4, 1958. [68] Heston, p. 196. [69] Pryor, Thomas M. "Seven Arts Unit Joins Paramount." New York Times. July 18, 1958. [70] Parish, Mank, and Picchiarini, p. 27. [71] Pryor, Thomas M. "Israeli Actress Cast in 'Ben-Hur'." New York Times. May 17, 1958. [72] Pratt, p. 135. [73] "An Actor to Watch," Coronet, January 1, 1959, p. 71. [74] Pryor, Thomas M. "Seven Arts Group Teaming With U.A." New York Times. April 4, 1958. [75] Morsberger and Morsberger, p. 481. [76] Pryor, Thomas M. "TV Suit Is Settled By United Artists." New York Times. March 19, 1958. [77] Monush, p. 296. [78] Cyrino, p. 74. [79] The novel had been adapted to the theater during Wallace's lifetime. Wallace refused to allow any theatrical production which depicted Christ to go forward, so a beam of light was used to represent the presence of Jesus. See: Lennox, p. 169. [80] Herman, p. 405. [81] Heater, dust jacket back matter.
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[82] Herman, p. 404-405. [83] The Story of the Making of 'Ben-Hur'..., p. 25. [84] Godbout, Oscar. "'Lolita' Bought By Screen Team." New York Times. September 13, 1958. [85] Hawkins, Robert F. "Answer to a Question: Quo Vadis, 'Ben-Hur'?" New York Times. January 11, 1959. [86] Sultanik, p. 299. [87] Herman, p. 406. [88] Hall and Neale, p. 145. [89] Hall and Neale, p. 145-146. [90] Eldridge, p. 57. [91] Haines, p. 114. [92] Eyman, p. 351. [93] Block and Wilson, p. 333. [94] Belton, p. 332. [95] Altman, p. 158. [96] Hall and Neale, p. 153. [97] The Story of the Making of 'Ben-Hur'..., p. 31. [98] Most sources agree that the lenses were worth $100,000 each. But at least one source puts the value of each lens at $250,000. See: Herman, p. 406. [99] Herman, p. 391. [100] Herman, p. 392. [101] Herman, p. 410. [102] Kaplan, p. 444. [103] Herman, p. 403. [104] Herman, p. 404. [105] Herman, p. 409. [106] Solomon, p. 213. [107] Pryor, Thomas M. "Mirisch to Film New Uris Novel." New York Times. January 8, 1959. [108] The Story of the Making of 'Ben-Hur'... p. 26. [109] The Story of the Making of 'Ben-Hur'..., p. 29. [110] The Story of the Making of 'Ben-Hur'... p. 26, 30. [111] The Story of the Making of 'Ben-Hur'... p. 27. [112] Hawkins, Robert F. "Observations on the Italian Screen Scene." New York Times. August 4, 1957. [113] Pryor, Thomas M. "Two Stars Named for Wald's Movie." New York Times. August 10, 1957. [114] Pryor, Thomas M. "Hollywood's Varied Vistas." New York Times. January 12, 1958. [115] Pryor, Thomas M. "Libya Cancels U.S. Film Permit." New York Times. March 12, 1958. [116] Cyrino, p. 73. [117] Eagan, p. 559-560. [118] The Story of the Making of 'Ben-Hur'..., p. 30. [119] The Story of the Making of 'Ben-Hur'... p. 7. [120] Dunning, p. 253. [121] Dunning, p. 252-253. [122] Rothwell, p. 156. [123] Brosnan, p. 28. [124] Casson, p. 325326. [125] Raymond, p. 31. [126] Pryor, Thomas M. "Extras Negotiate for Pay Increases." New York Times. March 15, 1959. [127] Dunning, p. 253-254. [128] Dunning, p. 255. [129] Dunning, p. 254. [130] Herman, p. 411. [131] "On the Sound Track." Billboard. July 20, 1959, p. 19. (http:/ / books. google. com/ books?id=TggEAAAAMBAJ& lpg=PA19& dq="Ben-hur" score "Miklos Rosza"& pg=PA19#v=onepage& q="Ben-hur" score "Miklos Rosza"& f=false) Accessed December 27, 2011. [132] Winkler, p. 329. [133] "Discourse." Billboard. November 23, 1959, p. 24. (http:/ / books. google. com/ books?id=RAoEAAAAMBAJ& lpg=PA24& dq="Ben-Hur" "Lion Records"& pg=PA24#v=onepage& q="Ben-Hur" "Lion Records"& f=false) Accessed 2012-04-21. [134] MacDonald, p. 1966. [135] Winkler, p. 329-330. [136] DeWald, Frank K. "Ben-Hur." Online Liner Notes. Film Score Monthly. 2012. (http:/ / filmscoremonthly. com/ notes/ ben_hur. html) Accessed 2012-04-21.
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[137] Brownlow, p. 413. [138] Wyler, p. 216. [139] Dunning, p. 252. [140] Solomon, p. 15. [141] Frayling, p. 97. [142] Dunning, p. 251. [143] Coughlan, p. 119. (http:/ / books. google. com/ books?id=RVUEAAAAMBAJ& lpg=PA119& dq="Ben-Hur" chariot race "18 acres"& pg=PA119#v=onepage& q="Ben-Hur" chariot race "18 acres"& f=false) Accessed December 25, 2011. [144] Solomon, p. 210. [145] Pomerance, p. 9. [146] Herman, p. 398. [147] Solomon, p. 207, 210. [148] The Story of the Making of 'Ben-Hur'... p. 28. [149] "Ben-Hur Rides a Chariot Again," p. 71. (http:/ / books. google. com/ books?id=Wz8EAAAAMBAJ& lpg=PA70& dq="Ben-Hur" eighteen chariots& pg=PA71#v=onepage& q="Ben-Hur" eighteen chariots& f=false) Accessed December 25, 2011. [150] Didinger and Macnow, p. 157. [151] Solomon, p. 129. [152] Raymond, p. 32-33. [153] Herman, p. 405-406. [154] There is dispute over the number of extras used in the chariot race scenes. At least one non-contemporary source puts the number at 15,000. See: Cyrino, p. 73. [155] "Romans in Mob Scene Not in 'Ben Hur' Script." United Press International. June 7, 1958. [156] Dunning, p. 251-252. [157] Herman, p. 407. [158] Raymond, p. 32. [159] Canutt and Drake, p. 16-19. [160] Powell, p.254. [161] "Sam Zimbalist, 57, Film-Maker, Dead." New York Times. November 5, 1958. [162] Herman, p. 408-409. [163] Herman, p. 408. [164] Sandys, p. 5. [165] Nichols, Peter M. "Home Video: All of 'Ben-Hur' and Its Secrets." New York Times. March 16, 2001. [166] Doherty, p. 189. [167] Dowdy, p. 6. [168] "Notables at Premiere." New York Times. November 19, 1959. [169] Block and Wilson, p. 324. [170] Stempel, p. 23. [171] Thomas, Bob (August 1, 1963). "Movie Finances Are No Longer Hidden From Scrutiny". The Robesonian: p. 10 (http:/ / news. google. com/ newspapers?id=QsBVAAAAIBAJ& sjid=iUANAAAAIBAJ& pg=7022,1836881). [172] Malone, p. 23. [173] Wreszin and Macdonald, p. 13. [174] "Ben-Hur - Rotten Tomatoes" (http:/ / www. rottentomatoes. com/ m/ benhur/ ). Rotten Tomatoes. . Retrieved July 28,2012. [175] Crowther, Bosley. "The Screen: 'Ben-Hur,' a Blockbuster." New York Times. November 19, 1959. [176] Gaver, Jack. "Ben-Hur' Grandiose, Gripping Spectacle." United Press International. November 20, 1959. [177] Scheuer, Philip K. "Magnificent 'Ben-Hur' Inspiring in Premiere." Los Angeles Times. November 25, 1959. [178] Holloway, Ronald. "Ben-Hur." Variety. November 17, 1959. [179] McCarten, John. "The Children's Hours." The New Yorker. December 5, 1959, p. 153. [180] Wreszin and Macdonald, p. 16. [181] Pym, p. 91. [182] "The 32nd Academy Awards (1960) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 32nd-winners. html). oscars.org. . Retrieved 2011-08-21. [183] Dirks, Tim. "Academy Awards Summaries" (http:/ / www. filmsite. org/ oscars2. html). Filmsite.org. AMC Networks. . Retrieved June 24, 2012. [184] Clark, p. 151. [185] "Ben-Hur." Hollywood Foreign Press Association. GoldenGlobes.org. 2010-2011. (http:/ / www. goldenglobes. org/ browse/ film/ 23698) Accessed 2011-12-31. [186] "Film Nominations 1959." British Academy of Film and Television Arts. BAFTA.org. 2010. (http:/ / www. bafta. org/ awards/ film/ nominations/ ?year=1959) Accessed 2011-12-31. [187] Weiler, A.H. "'Ben-Hur,' Stewart, Audrey Hepburn Cited by Critics." New York Times. December 29, 1959.
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[188] Sennett, p. 289. [189] Van Gelder, Lawrence. "Arts, Briefly." New York Times. December 29, 2004. [190] Cowley, p. ii. [191] The Alfred I. Du Pont-Columbia University Survey of Broadcast Journalism, p. 98; Segrave, p. 82. Victor David Hanson erroneously states it telecast over four nights. See: Cowley, p. ii. [192] "'GWTW' Knocks ABC Out of First for Week, Sets Modern Nielsen Record." Broadcasting. November 13, 1976, p. 8. [193] Kramer, p. 45. [194] Kehr, Dave. "New DVD's." New York Times. September 13, 2005. [195] Nichols, Peter. "Home Video: Old Favorites in a New Format." New York Times. January 4, 2002. [196] Taylor, Charles. "Other New Releases." New York Times. September 18, 2011.
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Alexander, Shana. "Will the Real Burt Please Stand Up?" Life. September 6, 1963. The Alfred I. Du Pont-Columbia University Survey of Broadcast Journalism. New York: Gosset & Dunlap, 1971. Altman, Rick. Sound Theory, Sound Practice. Florence, Ky.: Psychology Press, 1992. "An Actor to Watch." Coronet. January 1, 1959. Belton, John. American Cinema/American Culture. New York: McGraw-Hill, 2008. "Ben-Hur Rides a Chariot Again." Life. January 19, 1959.
Block, Alex Ben and Wilson, Lucy Autrey. George Lucas's Blockbusting: A Decade-by-Decade Survey of Timeless Movies, Including Untold Secrets of Their Financial and Cultural Success. New York: HarperCollins, 2010. Bret, David. Rock Hudson. London: Robson, 2004. Brosnan, John. Movie Magic: The Story of Special Effects in the Cinema. London: Abacus, 1977. Brownlow, Kevin. The Parade's Gone By... Berkeley, Calif.: University of California Press, 1968. Buford, Kate. Burt Lancaster: An American Life. New York: Knopf, 2000. Canutt, Yakima and Drake, Oliver. Stunt Man: The Autobiography of Yakima Canutt. Reprint ed. Norman, Okla.: University of Oklahoma Press, 1997 Casson, Lionel. Ships and Seamanship in the Ancient World. Princeton, N.J.: Princeton University Press, 1971. Clark, Al. The Film Year Book 1984. New York : Grove Press, 1983. Cole, Clayton. "Fry, Wyler, and the Row Over Ben-Hur in Hollywood." Films and Filming. March 1959. Coughlan, Robert. "Lew Wallace Got Ben-Hur Goingand He's Never Stopped." Life. November 16, 1959. Cowley, Robert. "Introduction." In What Ifs? Of American History: Eminent Historians Imagine What Might Have Been. New York: Penguin, 2004. Cyrino, Monica Silveira. Big Screen Rome. Malden, Mass.: Blackwell, 2005. Didinger, Ray and Macnow, Glen. The Ultimate Book of Sports Movies: Featuring the 100 Greatest Sports Films of All Time. Philadelphia, Pa.: Running Press, 2009. Doherty, Thomas Patrick. Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s. Philadelphia, Pa.: Temple University Press, 2002. Dowdy, Andrew. The Films of the Fifties: The American State of Mind. New York: Morrow, 1973. Dunning, John D. "'Good Stuff' Never Changes: John D. Dunning." In First Cut: Conversations With Film Editors. Gabriella Oldham, ed. Berkeley, Calif.: University of California Press, 1995. Eagan, Daniel. America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. New York: Continuum, 2010. Eldridge, David. Hollywood's History Films. London: Tauris, 2006. Eyman, Scott. The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930. New York: Simon and Schuster, 1997. Feeney, F.X. "Ben-Gore: Romancing the Word With Gore Vidal." Written By. December 1997-January 1998. Frayling, Christopher. Spaghetti Westerns: Cowboys and Europeans From Karl May to Sergio Leone. London: I.B. Tauris & Co., 2006.
1959 Ben-Hur Gates, Phyllis and Thomas, Bob. My Husband, Rock Hudson: The Real Story of Rock Hudson's Marriage to Phyllis Gates. New York: Jove Books, 1987. Giddins, Gary. Warning Shadows: Home Alone With Classic Cinema. New York: W.W. Norton & Company, 2010. Haines, Richard W. Technicolor Movies: The History of Dye Transfer Printing. Jefferson, N.C.: McFarland, 1993. Hall, Sheldon and Neale, Stephen. Epics, Spectacles, and Blockbusters: A Hollywood History. Detroit, Mich.: Wayne State University Press, 2010. Heater, Claude. Fatal Flaws of the Most Correct Book on Earth. Maitland, Fla.: Xulon Press, 2008. Herman, Jan. A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director, William Wyler. New York: Da Capo Press, 1997. Heston, Charlton. In the Arena. New York: Simon & Schuster, 1995. Hezser, Catherine. "Ben Hur and Ancient Jewish Slavery." In A Wandering Galilean: Essays in Honour of Sean Freyne. Boston: Brill Academic Publishers, 2008. Hickman, Roger. Mikls Rzsa's Ben-Hur: A Film Score Guide. Lanham, Md.: Scarecrow Press, 2011. Hofler, Robert. The Man Who Invented Rock Hudson: The Pretty Boys and Dirty Deals of Henry Willson. New York: Carroll & Graf, 2005. Joshel, Sandra R.; Malamud, Margaret; and McGuire, Donald T. Imperial Projections: Ancient Rome in Modern Popular Culture. Baltimore, Md.: Johns Hopkins University Press, 2005. Kaplan, Fred. Gore Vidal: A Biography. New York: Doubleday, 1999. Kinn, Gail and Piazza, Jim. The Academy Awards: The Complete Unofficial History. Rev. and updated ed. New York: Black Dog & Leventhal Publishers, 2005. Kramer, Peter. The New Hollywood: From 'Bonnie and Clyde' to 'Star Wars'. London: Wallflower, 2005. Lennox, Doug. Now You Know the Bible. Toronto: Dundurn Press, 2010. MacDonald, Laurence E. The Invisible Art of Film Music: A Comprehensive History. New York: Ardsley House, 1998. Madsen, Axel. William Wyler: The Authorized Biography. New York: Crowell, 1973. Magill, Frank N. Magill's Survey of Cinema. Englewood Cliffs, N.J.: Salem Press, 1980. Malone, Aubrey. Sacred Profanity: Spirituality at the Movies. Santa Barbara, Calif.: Praeger, 2010. McAlister, Melani. Epic Encounters: Culture, Media, and U.S. Interests in the Middle East Since 1945. Berkeley, Calif.: University of California Press, 2005. Monush, Barry. Screen World Presents the Encyclopedia of Hollywood Film Actors. New York: Applause Theatre and Cinema Books, 2003. Morsberger, Robert Eustis and Morsberger, Katharine M. Lew Wallace, Militant Romantic. New York: McGraw-Hill, 1980. Mustazza, Leonard. The Literary Filmography, A-L. Jefferson, N.C.: McFarland, 2006. "On the Sound Track." Billboard. July 20, 1959. Parish, James Robert; Mank, Gregory W.; and Picchiarini, Richard. The Best of MGM: The Golden Years (1928-59). Westport, Conn.: Arlington House, 1981. Pomerance, Murray. "Introduction." In American Cinema of the 1950s: Themes and Variations. New Brunswick, N.J: Berg, 2005. Powell, Nosher. Nosher. London: Blake Publishing, 2001. Pratt, Douglas. Doug Pratt's DVD: Movies, Television, Music, Art, Adult, and More!, Volume 1. New York: UNET 2 Corporation, 2004. Pym, John. Time Out Film Guide. London: Penguin, 2002. Raymond, Emilie. From My Cold, Dead Hands: Charlton Heston and American Politics. Lexington, Ky.: University Press of Kentucky, 2006.
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1959 Ben-Hur Rode, Alan K. Charles McGraw: Biography of a Film Noir Tough Guy. Jefferson, N.C.: McFarland, 2007. Rothwell, Kenneth S. A History of Shakespeare on Screen: A Century of Film and Television. New York: Cambridge University Press, 2004. Sandys, John. Movie Mistakes Take 4. London: Virgin, 2006. Segrave, Kerry. Movies at Home: How Hollywood Came to Television. Jefferson, N.C.: McFarland, 1999. Sennett, Ted. Great Movie Directors. New York: Abrams, 1986. Solomon, Jon. The Ancient World in the Cinema. New Haven, Conn.: Yale University Press, 2001. Steinberg, Cobbett. Film Facts. New York: Facts on File, 1980. Stempel, Tom. American Audiences on Movies and Moviegoing. Lexington, Ky.: University Press of Kentucky, 2001. The Story of the Making of 'Ben-Hur: A Tale of the Christ'. New York: Random House, 1959. Sultanik, Aaron. Film, a Modern Art. New York: Cornwall Books, 1986. Thomas, Gordon. "Getting It Right the Second Time: Adapting Ben-Hur for the Screen." Bright Lights Film Journal. May 2006. Vidal, Gore. "How I Survived the Fifties." The New Yorker. October 2, 1995. Winkler, Martin M. Classical Myth & Culture in the Cinema. New York: Oxford University Press, 2001. Wreszin, Michael and Macdonald, Dwight. Interviews With Dwight Macdonald. Jackson, Miss.: University Press of Mississippi, 2003. Wyler, William. "William Wyler." In Conversations with the Great Moviemakers of Hollywood's Golden Age at the American Film Institute. George Stevens, Jr., ed. New York: Random House, 2007.
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External links
Ben-Hur (http://www.imdb.com/title/tt0052618/) at the Internet Movie Database
1960 The Apartment
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1960 The Apartment

The Apartment
original film poster
Directed by Produced by Written by Starring Billy Wilder Billy Wilder

Billy Wilder I.A.L. Diamond Jack Lemmon Shirley MacLaine Fred MacMurray
Music by
Adolph Deutsch
Cinematography Joseph LaShelle Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Daniel Mandell The Mirisch Company United Artists
June 15, 1960
125 minutes United States English $3 million $24,600,000

[1]
The Apartment is a 1960 American comedy-drama film produced and directed by Billy Wilder, which stars Jack Lemmon, Shirley MacLaine, and Fred MacMurray. It was Wilder's follow-up to Some Like It Hot and, like its predecessor, was a commercial and critical hit, grossing $25 million at the box office. The film was nominated for ten Academy Awards, and won five, including Best Picture. The film was the basis of the 1968 Broadway musical Promises, Promises, featuring book by Neil Simon, music by Burt Bacharach, and lyrics by Hal David.
Plot
C. C. Baxter (Jack Lemmon) is a lonely office drone for an insurance company in New York City. In order to climb the corporate ladder, Baxter allows four company managers to use his Upper West Side apartment for their various extramarital liaisons. Unhappy with means, but hungry for promotion, Baxter juggles the conflicting demands for his apartment by the bosses, while hoping to catch the eye of fetching elevator operator Fran Kubelik (Shirley MacLaine). Meanwhile Baxter's neighbors assume he is a "good time Charlie" and ladies man, who brings home a different drunken woman every night. Baxter accepts their criticism rather than reveal the truth, that his ambition in seeking promotion, knows no bounds. The four managers write glowing reports about Baxterso glowing that personnel director Mr. J.D. Sheldrake (Fred MacMurray) suspects something "worthwhile" exists behind the praise. Thus Sheldrake summons Baxter to his office, promoting him to his staff, as an assistant in the personnel department. Of course Sheldrake exhanges the keys to Baxter's new private office and the Executives' lounge; for the exclusive use of that apartment key which had heretofore been "circulating" between the four lower level managers; and of course, starting the same night of his promotion.
1960 The Apartment Later, Sheldrake gives Baxter two company sponsored tickets to the then hit (and always sold-out) Broadway musical The Music Man. It is both a measure of his appreciation of the bright young junior executive he's promoted; and a compensation to him, for kicking him out of his apartment that very night, on such a short notice. Sheldrake (the real lady-killer) has talked his married way back into the life (and bed) of the young elevator operator, Ms. Kubelik. Hot for her (after his talking her into their getting back together), Sheldrake needs a quick place to take her that same night, after their usual pre-theater dinner, and before the last commuter train to his suburban home. Later in the day, after the exchange of the theater tickets and the apartment key; Baxter, playing the clueless young naiff, asks this very same Ms. Kubelik out for an evening of the hit musical and a late supper afterwords. The shy Baxter hopes that the theater tickets alone (to a popular show that is sold-out weeks in advance), will at least get him the date. Fran, acting older than her years, tries not to hurt young Baxter's feelings. She has seen his gentlemanly manner on the elevator, and she likes the fact that his is not the usual over-age male "bottom-pincher". But the charm, position, and power of Jeff Sheldrake, has closed off the avenue of reason. She knows Sheldrake is happily married. And she can't truly believe that J.D. Sheldrake would leave his wife and two children for an "elevator-girl". But she's not going to turn her "Jeff" down. So she merely tells Baxter that she's keeping her pre-theater dinner date; and if she coming, she will meet Baxter at the box office window at show time. The film dwells on Baxter's lonley vigil outside the box office, and we never see him entering the theater. At a Christmas Eve office party, Baxter inadvertently discovers the relationship between Sheldrake and Miss Kubelik, though he conceals this realization. For her part, Miss Kubelik learns from Sheldrake's secretary (Edie Adams) that she is merely the latest female employee to be his mistress, the secretary herself having filled that role several years earlier. At the apartment, Miss Kubelik confronts Sheldrake with this information, and while he maintains that he genuinely loves her, he leaves to return to his family. Meanwhile, a depressed Baxter picks up a woman in a local bar and, upon returning to the apartment, is shocked to find Miss Kubelik in his bed, fully clothed and overdosed on
268
Jack Lemmon as C.C. Baxter and Shirley MacLaine as Fran Kubelik
Baxter's sleeping pills. Baxter sends his bar pickup home and enlists the help of his neighbour, Dr. Dreyfus, in reviving Miss Kubelik without notifying the authorities. The doctor makes various assumptions about Miss Kubelik and Baxter, which Baxter concedes without revealing Sheldrake's involvement. Baxter later telephones Sheldrake at his home on Christmas morning and informs him of the situation; while Sheldrake professes gratitude for Baxter's quiet handling of the matter, he avoids any further involvement. Miss Kubelik recuperates in Baxter's apartment under his care for two days, during which he tries to entertain and distract her from any further suicidal thoughts, talking her into playing numerous hands of gin rummy, though she is largely uninterested. Baxter and Miss Kubelik's absence from work is noted and commented on, with Baxter's former "customers" assuming that Baxter and Miss Kubelik were having an affair. Miss Kubelik's taxi-driver brother-in-law comes looking for her and two of the customers cheerfully direct him to Baxter's apartment, partly out of spite, since he has been denying them access since his arrangement with Sheldrake. The brother-in-law also assumes the worst of Baxter and punches him twice after confronting the pair in Baxter's apartment. When Miss Kubelik comes to Baxter's aid, he realizes he loves her. Sheldrake, angered at his secretary for sharing the truth with Miss Kubelik, fires her. She retaliates by telling his wife about his infidelities, leading to the breakup of the marriage. Sheldrake moves into a room at his athletic club and continues to string Miss Kubelik along while he enjoys his newfound bachelorhood. Baxter finally takes a stand to become a man of integrity when Sheldrake demands the apartment for another liaison with Miss Kubelik on New Year's Eve, which results in Baxter quitting the firm and giving up the huge promotion Mr. Sheldrake gave him for taking care of Miss Kubelik. When Miss Kubelik hears of this from Sheldrake, she realizes that Baxter is the man
1960 The Apartment who truly loves her and runs to his apartment. When she arrives, she hears what sounds like a gunshot from Baxter's apartment, but it turns out it's just Baxter popping a champagne bottle to celebrate the New Year. Baxter is bewildered by her appearance and her insistence on resuming their earlier game of gin rummy. When he declares his love for her, her reply is the now-famous final line of the film: "Shut up and deal".
269
Cast
Jack Lemmon as C.C. "Buddy Boy" Baxter Shirley MacLaine as Fran Kubelik Fred MacMurray as Jeff D. Sheldrake Ray Walston as Joe Dobisch Jack Kruschen as Dr. Dreyfuss David Lewis as Al Kirkeby Hope Holiday as Mrs. Margie MacDougall Joan Shawlee as Sylvia Naomi Stevens as Mrs. Mildred Dreyfuss Johnny Seven as Karl Matuschka Joyce Jameson as the blonde in the bar
Willard Waterman as Mr. Vanderhoff David White as Mr. Eichelberger Edie Adams as Miss Olsen
Production
Immediately following the success of Some Like It Hot, Billy Wilder and I.A.L. Diamond wished to make another film with Jack Lemmon. Wilder had originally planned to cast Paul Douglas as Jeff Sheldrake; however, after he died unexpectedly, Fred MacMurray was cast. The initial concept for the film came from Brief Encounter by Nol Coward, in which Celia Johnson has an affair with Trevor Howard in his friend's apartment. However, due to the Hays Production Code, Wilder was unable to make a film about adultery in the 1940s. Wilder and Diamond also based the film partially on a Hollywood scandal in which high-powered agent Jennings Lang was shot by producer Walter Wanger for having an affair with Wanger's wife, actress Joan Bennett. During the affair, Lang used a low-level employee's apartment.[2] Another element of the plot was based on the experience of one of Diamond's friends who returned home after breaking up with his girlfriend to find that she had committed suicide in his bed. Although Wilder generally required his actors to adhere exactly to the script, he allowed Jack Lemmon to improvise in two scenes: in one scene he squirted a bottle of nose drops across the room and in another he sang while making a meal of spaghetti. In another scene where Lemmon was supposed to mime being punched, he failed to move correctly and was accidentally knocked down. Wilder chose to use the shot of the genuine punch in the film. He also caught a cold when one scene on a park bench was filmed in sub-zero weather. Art director Alexandre Trauner used forced perspective to create the set of a large insurance company office. The set appeared to be a long room full of desks and workers; however, successively smaller people and desks were placed to the back of the room ending up with children. He designed the set of Baxter's apartment to appear smaller and shabbier than the spacious apartments that usually appeared in films of the day. He used items from thrift stores and even some of Wilder's own furniture for the set.[3] The "Theme from the Apartment" was written by Charles Williams and was originally titled "Jealous Lover", which was first heard in the 1949 film The Romantic Age.[4][5][6]
1960 The Apartment
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Reception
At the time of release, the film was a critical and commercial success, making $25 million at the box office and receiving a range of positive reviews. The New York Times film critic Bosley Crowther enjoyed the film, calling it, "A gleeful, tender, and even sentimental film." Chicago Sun-Times film critic Roger Ebert and ReelViews film critic James Berardinelli both praised the film, giving it four stars out of four, with Ebert adding it to his "Great Movies" list. The film has a 93% fresh rating on Rotten Tomatoes, based on 54 reviews. However, there was some criticism. Due to its themes of infidelity and adultery, the film was controversial for its time. It initially received some negative reviews for its content. Film critic Hollis Alpert of the Saturday Review called it "a dirty fairy tale".[7] According to Fred MacMurray, after the film's release he was accosted by a strange woman in the street who berated him for making a "dirty filthy movie" and hit him with her purse.[3]
33rd Academy Awards (Oscars) 1960

The Apartment received 10 Academy Award nominations and won 5 Academy Awards.[8][9]
Award Best Motion Picture Best Director Best Actor Best Actress Best Writing, Story and Screenplay Written Directly for the Screen Best Supporting Actor Best Art Direction-Set Decoration (Black and White) Best Cinematography (Black and White) Best Film Editing Best Sound Result Won Won Billy Wilder Billy Wilder Nominee
Nominated Jack Lemmon Nominated Shirley MacLaine Won I. A. L. Diamond and Billy Wilder
Nominated Jack Kruschen Won Edward G. Boyle and Alexandre Trauner
Nominated Joseph LaShelle Won Daniel Mandell
Nominated Gordon E. Sawyer
Although Jack Lemmon did not win, at the 2000 Awards, Kevin Spacey dedicated his Oscar for American Beauty to Lemmon's performance. According to the behind-the-scenes feature on the American Beauty DVD, the film's director, Sam Mendes, had watched The Apartment (among other classic American films) as inspiration in preparation for shooting his film. The Apartment was the last film shot entirely in black-and-white to win the Academy Award for Best Picture until The Artist in 2011. (Schindler's List, the 1993 winner, contained some color sequences.)
Other awards and honors

The Apartment also won the BAFTA Award for Best Film from any Source and Lemmon and MacLaine both won a BAFTA and a Golden Globe each for their performances. The film appears at #93 on the influential American Film Institute list of Top 100 Films, as well as at #20 on their list of 100 Laughs and at #62 on their 100 Passions list. In 2007, the film rose on the AFI's Top 100 list to #80. In 1994, The Apartment was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. In 2002, a poll of film directors conducted by Sight and Sound magazine listed the film as the 14th greatest film of all time (tied with La Dolce Vita).[10] In 2006, Premiere voted this film as one of "The 50 Greatest Comedies Of All Time".
1960 The Apartment
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References
[1] Box Office Information for The Apartment. (http:/ / www. the-numbers. com/ movies/ 1960/ 0APAR. php) The Numbers. Retrieved April 13, 2012. [2] Billy Wilder Interviews: Conversations with Filmmakers Series [3] Chandler, Charlotte. Nobody's perfect: Billy Wilder : a personal biography. [4] 5107 Charles Williams & The Queen's Hall Light Orchestra at GuildMusic.com (http:/ / web. archive. org/ web/ 20080224234735/ http:/ / www. guildmusic. com/ light/ catalogue/ 5107. htm). Archived from Charles Williams at GuildMusic.com (http:/ / www. guildmusic. com/ light/ catalogue/ 5135. htm) [5] Eldridge, Jeff. FSM: The Apartment (http:/ / www. filmscoremonthly. com/ notes/ apartment. html) FilmScoreMonthly.com [6] Adoph Deutsch's "The Apartment" w/ Andre Previn's "The Fortune Cookie" (http:/ / www. kritzerland. com/ apt. htm) Kritzerland.com [7] Fuller, Graham. An Undervalued American Classic (http:/ / www. nytimes. com/ 2000/ 06/ 18/ movies/ film-an-undervalued-american-classic. html?pagewanted=1). The New York Times. 2000-06-18. [8] "The 33rd Academy Awards (1960) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 33rd-winners. html). oscars.org. . Retrieved 2011-08-22. [9] "NY Times: The Apartment" (http:/ / movies. nytimes. com/ movie/ 2667/ The-Apartment/ awards). NY Times. . Retrieved 2008-12-23. [10] BFI | Sight & Sound | Top Ten Poll 2002 - The rest of the directors' list (https:/ / www. bfi. org. uk/ sightandsound/ topten/ poll/ directors-long. html)
External links
The Apartment (http://www.imdb.com/title/tt0053604/) at the Internet Movie Database The Apartment (http://tcmdb.com/title/title.jsp?stid=16634) at the TCM Movie Database
272

West Side Story
Theatrical release poster by Saul Bass
Directed by Produced by Screenplay by Based on Robert Wise Jerome Robbins Robert Wise Ernest Lehman West Side Storyby Jerome Robbins Arthur Laurents Natalie Wood Richard Beymer Russ Tamblyn Rita Moreno George Chakiris Leonard Bernstein (Music) Stephen Sondheim (Lyrics)
Starring
Music by
Cinematography Daniel L. Fapp, ASC Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Thomas Stanford Mirisch Pictures United Artists
October 18, 1961
152 minutes United States English Spanish $6 million $43,700,000
West Side Story is a 1961 musical film directed by Robert Wise and Jerome Robbins. The film is an adaptation of the 1957 Broadway musical of the same name, which in turn was adapted from William Shakespeare's play Romeo and Juliet. It stars Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno and George Chakiris and it was photographed by Daniel L. Fapp, A.S.C., in Panavision 70. The film's opening sequence was shot on the streets of New York City, mainly in the area where the Lincoln Center for the Performing Arts campus of Fordham University now stands. Veteran director Robert Wise was chosen as the director and producer because of his familiarity with urban New York dramas, such as Odds Against Tomorrow. Wise had never directed a musical before and when it was suggested that Jerome Robbins, who had directed the stage version, be brought in to handle all the music and dance sequences in the film, Wise agreed. After about one-third of the movie had been shot, the Mirisch Company, which had become increasingly concerned that the production was over-budget, fired Robbins, who, according to Saul Chaplin in his autobiography, nearly suffered a nervous breakdown during the time he worked on the film. The remaining dance numbers were handled by Robbins' assistants. However, because of his great creative contribution to the film, Wise agreed Robbins be given co-directing credit, even though Wise directed the majority of the film himself. The ending title sequence was created by Saul Bass, who is also credited as "visual consultant" on the film.
1961 West Side Story The film was released on October 18, 1961, through United Artists. It received praise from critics and the public, and became the second highest grossing film of the year in the United States. The film won ten Academy Awards in its eleven nominated categories, including Best Picture, as well as a special award for Robbins. West Side Story holds the distinction of having won more Academy Awards than any other musical film (unless one counts the Honorary Award given to Maurice Chevalier in 1959, the year that Gigi won its nine Oscars). The soundtrack album sold more copies than any soundtrack album before it, and more than the original cast album did.
273
Plot
Although the plot summary here is divided into two acts, and the film was originally intended to have two acts, it was finally decided that it would work better without an intermission, in order to increase the tension in the plot.
Act I
The film opens in the streets of Manhattan in the late summer of 1957. There is a mounting tension set to music ("Prologue") between a white American gang, the Jets, led by Riff Lorton (Russ Tamblyn), and a rival gang of Puerto Rican immigrants, the Sharks, led by Bernardo Nunez (George Chakiris). The Jets harass the Sharks and vice versa, culminating in a free-for-all throughout the streets. Eventually, the Sharks catch the youngest member of the Jets, Baby John (Eliot Feld) on the playground. As they begin to "bloody" him, all the other Jets and Sharks rush in and start brawling. Soon, Lieutenant Schrank (Simon Oakland) and Officer Krupke (William Bramley[1]) arrive and break up the melee. Schrank orders the Sharks off the playground and the Jets "to make nice with them Puerto Ricans" or there'll be a price to pay. Once Schrank and Krupke are gone, the Jets discuss challenging the Sharks to an all out rumble that will decide who gets control of the streets. They decide to deliver the challenge to the Sharks at a dance later that night, because it is neutral territory. Riff also explains to the Jets that they have seen other gangs (the Emeralds and the Hawks) come and go, but the Jet members state that the Sharks are different compared to the other gangs. However Riff eases the statement, that no matter the odds or the situation the Jets will always pull through. Riff decides that his best friend Tony Wycek (Richard Beymer), a co-founder of the Jets who has left the gang to work at a local candy/drug store, would be the best member to present the challenge to the Sharks because he has always come through for the Jets ("Jet Song"). Riff visits Tony at the store and asks him to come to the dance, but Tony is not interested. He tells Riff that he senses something very important is about to happen to him. After a little cajoling from Riff, Tony changes his mind and agrees to meet him and the Jets at the dance, in case it is there that he will discover that "something" ("Something's Coming"). Bernardo, along with his friend, Chino, arrives to take his sister Maria (Natalie Wood) and his girlfriend Anita (Rita Moreno) to the dance. At the dance, which is held at the gym, the Jets, Sharks, and girls are greatly enjoying themselves ("Dance at the Gym"). The host of the dance, social worker Glad Hand (John Astin), tries to get the members of the rival gangs to dance together. Even so, the rival gang members and their girlfriends remain apart. During a mambo, Tony and Maria see each other, become infatuated, going into a trance-like state, and begin to dance, oblivious to the rivalry between their ethnic groups. They eventually kiss, but Bernardo angrily interrupts them. He orders Maria home and tells Tony to stay away from his sister. It's at this point that Riff proposes a "war council" with Bernardo, who agrees to meet at Doc's drug store after the dance. Tony leaves in a happy daze, singing of his newfound love ("Maria"). Maria is sent home, and Anita argues with Bernardo that they are in America, not Puerto Rico. At the Sharks' apartment building, Anita and other girls from Puerto Rico engage in a spirited argument with Bernardo in defense of Maria's right to dance with whomever she pleases. They debate the advantages and disadvantages of their country ("America"). Eventually the women and the men disperse as Bernardo and his gang go to the war council. Tony discreetly visits Maria outside the fire escape at her home and they confirm their love ("Tonight"). They arrange to meet the next day at the bridal shop where Maria works. Meanwhile, the Jets gather outside of Doc's store
1961 West Side Story to wait for the Sharks. They are visited by Officer Krupke, who warns them not to cause trouble on his beat. After he leaves, they lampoon him and the various theories of how to deal with juvenile delinquency ("Gee, Officer Krupke!"). Doc (Ned Glass) is about to close the store, but the Jets convince him to stay open. The Sharks finally arrive and the war council begins. In the middle of this, Tony arrives and calls them chickens for having to fight with weapons. He demands that they have a fair one-on-one fist fight instead of an all-out rumble. The gang leaders agree, with Bernardo representing the Sharks and Ice (Tucker Smith) representing the Jets (much to Bernardo's disappointment, as he was hoping to face Tony). They are soon alerted of Lieutenant Schrank's arrival, so the gangs quickly intermix together and feign happiness and fun. Schrank pretends that it is a good thing that they are getting along and remarks he might even get a promotion, but he knows what they are up to. Schrank stamping orders the Puerto Ricans out (while they whistle "My Country, 'Tis of Thee"), then asks the Jets where the rumble is taking place,in the process angering several members with sarcastic and insulting coments including A-Rab's father (and especially Action)who Schrank implies his mother is a prostitute, which angers Action who almost attacks Schrank, but is restrained by the other Jets much to the lieutenant's pleasure. Soon, the Jets disperse and Schrank leaves as well, leaving Tony and Doc alone in the store to clean up. Tony, who is in a good mood, surprises Doc and tells him about his love for Maria. The day comes to an end as a distressed Doc closes the store and Tony leaves.
274
Act II
The next day at Madam Lucia's bridal shop, Maria sings to her co-workers about how happy and excited she is ("I Feel Pretty"). After everyone except Maria and Anita leaves, Anita tells Maria about the impending rumble accidentally. Anita tells Maria to go home, but Maria insists that she wants to close the store by herself because she has work to do. Suddenly, Tony arrives to see Maria, leaving Anita in shock. Tony tells Anita of his and Maria's love, and Anita mocks Maria. Although Anita is initially shocked to see that Maria and Tony are having a romance, she shows some tolerance but worries about the consequences if Bernardo were to find out. Anita, who is also Maria's roommate, leaves to prepare for a planned date with Bernardo after the rumble. Maria pleads with Tony to prevent the rumble altogether, even if it is only a fist fight, and Tony promises to do so. Then Tony and Maria, using clothes in the bridal shop, fantasize about their wedding ("One Hand, One Heart"). They use the headless mannequins as their parents, best man (Riff) and Maid of Honor (Anita). They exchange wedding vows and kiss. A musical montage ("Quintet") intertwines the feelings of the Jets and Sharks in anticipation of the rumble, Tony and Maria's anticipation of meeting each other, and Anita preparing for her date with Bernardo. The Jets and Sharks arrive at their agreed location for the rumble, a fenced dead-end under a stretch of New York highway. As the "fair fight" begins between Bernardo and Ice, Tony arrives and tries to stop it, but is met with ridicule and mockery from Bernardo and the Sharks. Unable to stand by and watch his best friend be humiliated, Riff angrily lashes out and punches Bernardo ("The Rumble"). Drawing their knives, Riff and Bernardo fight each other. Riff gets the upper hand attempting to stab Bernardo but Tony stops him. Riff breaks away and runs back into the fight, only to be fatally stabbed by Bernardo. Riff collapses while handing the knife to Tony and Bernardo looks shocked at what he has done. Enraged, Tony kills Bernardo with Riff's knife, resulting in a full-fledged melee. Suddenly, police sirens blare out and the gang members flee, leaving behind the bodies of Riff and Bernardo. Blissfully unaware of what has happened, Maria is waiting for Tony on the roof of her apartment building. One of the Sharks, Chino (Jose DeVega), whom Maria has been promised to, arrives and angrily tells her that Tony killed her brother. Tony arrives, and initially Maria lashes out at him in anger, but Tony explains what happened and asks for her forgiveness before he plans to turn himself in to the police. Maria decides that she still loves Tony and begs him to stay with her. They reaffirm their love ("Somewhere"), kiss, and make love for the first time (offscreen). Meanwhile, the Jets (with Ice now in command and joined by the Jet girls) have reassembled outside a garage. Action demands revenge for Riff's death, but Baby John as well as A-Rab, opposes it. Action yells at Baby John and for being scared, A-Rab protects Baby-John and lashes out against Action, then tensions flare amongst several Jets. When a man in an upper apartment window throws a glass piece that breaks on the ground to scare off the jets as
1961 West Side Story well as with his yelling, Action attempts to throw a rock at the man, however, he is subdued by Ice, who pulls all of the jets into the garage and tells them they will have their revenge on the Sharks, but must do it carefully at ease, or get caught and to pay the consequences for their actions. ("Cool"). When all of the Jets have cooled down, they each quietly file out of the garage and make their way back to Doc's Candy Store when Anybodys (Susan Oakes), a tomboy who is desperate to join the Jets, arrives after infiltrating the Sharks' turf and warns them that Chino is now after Tony with a gun. Ice sends the Jets to various locations to find Tony and warn him. Anybodys' persistence finally pays off as Ice asks her to search in and out of the shadows and commends her for her deed. In Maria's bedroom, she and Tony have just finished making love. The couple hear Anita arriving home, and Maria and Tony make quick, whispered arrangements to meet at Doc's drug store and run away together to marry. Anita hears through the door and knows that something is going on. Tony escapes through the bedroom window and flees, but Anita sees him running away. Anita chides Maria for the relationship ("A Boy Like That"). Anita says that a man who kills is bad, but she soon softens as Maria sings back. Maria's heartfelt love ("I Have a Love") wins over Anita, and despite her grief over Bernardo's death, Anita agrees to cooperate with a plan to help Maria and Tony run away and marry, because she is her friend. Anita quickly tells Maria that Chino is searching for Tony with a gun. Lieutenant Schrank arrives and questions Maria about the events leading up to the rumble, but Maria is protective of Tony and lies to cover for him. To deceive the policeman, Maria sends Anita to Doc's drugstore on the pretense that she is fetching medicine for her headache. She asks Anita to say she has been detained, explaining she would have gone herself otherwise. Anita's real purpose is to tell Tony (who is found by Anybodys outside Maria's apartment and takes refuge in the cellar of Doc's drugstore) that Maria is detained from meeting him. But when Anita enters the drugstore and asks for Tony, the Jets mock, harass, and mock rape her until Doc stops them. Infuriated by the attack, Anita gives the Jets a different message for Tony: Maria is dead, shot by Chino for loving Tony. Doc reproaches the Jets, then delivers the message to Tony. In shock and despair, Tony runs to find Chino, shouting "Come and get me, too!", and not knowing that Chino is actually secretly waiting for him. Now on the playground next to Doc's store, Tony suddenly sees Maria and they begin to run toward each other with joy. Suddenly, Chino appears and shoots Tony. As the Jets and Sharks arrive, Maria and a fatally wounded Tony reaffirm their love ("Somewhere"), but Tony dies in her arms. Maria takes the gun from Chino and blames the rival gang members for the deaths of Tony, Bernardo, and Riff with their hate, threatening to kill as many of them as she can, while still leaving one bullet for herself. However, she can't do it and drops the gun before sinking to the ground, crying. Three of the Jets start lifting his body and two Sharks join them to help carry him off. Maria and several Jets and Sharks walk behind them in a funeral procession and Chino is arrested and led away by Schrank and Krupke for killing Tony.
275
Cast
Natalie Wood (Marni Nixon, singing) as Maria Nunez, Bernardo's younger sister, Chino's fiance, in love with Tony Wyzek Richard Beymer (Jimmy Bryant, singing) as Tony Wyzek, inactive co-founder of the Jets with best friend Riff, works at Doc's drug store who is in love with Maria Nunez Russ Tamblyn as Riff Lorton, leader of the Jets, best friend of Tony Rita Moreno (Betty Wand, singing "A Boy Like That" only) as Anita del Carmen, Bernardo's girl George Chakiris as Bernardo Nunez, leader of the Sharks, older brother of Maria Simon Oakland as Lieutenant Schrank, neighborhood police Lieutenant Ned Glass as Doc, drugstore owner William Bramley [2] as Officer Krupke, neighborhood cop, Schrank's right-hand man John Astin as Glad Hand, social worker Penny Santon as Madam Lucia, owner of neighborhood bridal shop
276
Jets
Tucker Smith as Ice/Diesel, Riff's lieutenant, is called "Ice" because of the color of his eyes Tony Mordente as Action, a Jet who is easily provoked and often in an angry state Eliot Feld as Baby John, the youngest, and good member of the Jets, David Winters as A-Rab, Baby John's best friend Bert Michaels as Snowboy, the comedic member of the Jets David Bean as Tiger Robert Banas as Joyboy Anthony 'Scooter' Teague as Big Deal Harvey Hohnecker as Mouthpiece Tommy Abbott as Gee-Tar
Sharks
Jose DeVega as Chino Martin, Bernardo's best friend Jay Norman as Pepe, Bernardo's lieutenant Gus Trikonis as Indio, Pepe's best friend Eddie Verso as Juano Jamie Rogers as Loco Larry Roquemore as Rocco Robert E. Thompsonas as Luis Nick Covacevich as Toro Rudy Del Campo as Del Campo Andre Tayir as Chile
Jet Girls
Susan Oakes as Anybodys, a tomboy who keeps pestering Riff to be in the Jets Gina Trikonis as Graziella, Riff's girl. Carole D'Andrea as Velma, Ice's girl Rita Hyde d'Amico as Clarice, Big Deal's girl Pat Tribble as Minnie, Baby John's girl Francesca Bellini as "Cool" dancer Elaine Joyce as a dancer
Shark Girls
Yvonne Othon as Consuela, Pepe's girl Suzie Kaye as Rosalia, Indio's girl Joanne Miya as Francisca, Jauno's girl Maria Henley as Teresita, Loco's girl
Musical numbers
Act I 1. 2. 3. 4. 5. 6. 7. 8. 9. "Overture" Orchestra "Prologue" Orchestra "Jet Song" Riff, Jets "Something's Coming" Tony "Mambo" Orchestra "Maria" Tony "America" Anita, Bernardo, Sharks and Girls "Tonight" Tony, Maria "Gee, Officer Krupke" Riff, Jets Act II 1. 2. 3. 4. 5. 6. 7. 8. 9. "I Feel Pretty" Maria, Consuela, Rosalia, Francisca "One Hand, One Heart" Tony, Maria "Quintet" Maria, Tony, Anita, Riff, Bernardo, Jets, Sharks "The Rumble" Orchestra "Somewhere" Tony, Maria "Cool" Ice, Jets "A Boy Like That/I Have a Love" Anita, Maria "Somewhere (Reprise)" Maria "Finale" Orchestra
Differences from the stage show

In the stage show, it is A-Rab who gets beaten up by the Sharks at the beginning, before the free-for-all breaks out between the two gangs. In the film, it is Baby John who gets chased and beaten up after being caught changing some wall graffiti from "SHARKS" to "SHARKS STINK". It is interesting, that as David Winters played Baby John in the stage show and A-rab in the film he avoided being chased and beaten-up both timesif his roles were reversed he would have been chased and beaten up both in the stage show and in the film. One of the lyrics of the "Jet song" was changed in the movie. Instead of second being "When you're a Jet let them do what they can" in the play It is ".....when you're a Jet if the spit hits the fan." In the stage show, "Jet Song" ends, "...on the whole ever mother-lovin' street." In the film, it ends, "...on the whole buggin' ever-lovin' street." In the stage show, Tony and Riff's friendship combination is "Womb to tomb. Sperm to worm." In the film, it is "Womb to tomb. Birth to earth." The order of "Tonight" (Duet) and "America" is reversed.
1961 West Side Story In the stage show, Anita and Rosalia sing the beginning of "America", not Anita and Bernardo; the boys are not in the number at all. Show business legend has it that the men were omitted from the number in the stage version because of an error in scheduling. Robbins, typically, blamed the male dancers, and this was his way of punishing them. The lyrics of "America" are different in the filmm as is some of the dialog leading up to it. In the stage show, at Doc's drug store, it is the song "Cool" that is sung and in the garage it is "Gee, Officer Krupke", but they were switched in the film at the request of lyricist Stephen Sondheim as the songs were changed in order related more to the situations at those points in the film. On stage, it is Riff who sings "Cool" and Action who sings "Gee, Officer Krupke." In one part of "Gee, Officer Krupke", the lyrics were changed. The line "My daddy beats my mommy, my mommy clobbers me" appears in the film but in the stage musical it was "My father is a bastard, my mom's an S.O.B.". "One Hand, One Heart" is sung only once in the film, without the instrumental section and the repeat of the second half of the song, in order to avoid repetition. On stage, during the Quintet, Riff sings to Tony, not Ice. (Ice was actually a character created for the film and was not present in the original Broadway production.) On stage, during the Quintet, Anita sings about Bernardo, "He'll come home hot and tired, so what? No matter if he's tired, as long as he's hot." In the film, the lyrics were changed to, "He'll come home hot and tired, poor dear. No matter if he's tired, as long as he's here." "I Feel Pretty" appears at the beginning of Act II after the rumble in the stage musical. "Somewhere" in the stage show is sung by A Shark girl and Tony, as part of the "Somewhere" Ballet, The Ballet portions were omitted from the film, because it slowed down the pace of the film It is sung by Tony and Maria. Action takes over as leader of the Jets in the stage show, not Ice. "A Boy Like That"/"I Have a Love" avoids the repetition in the film version, omitting the duet where Anita repeats two of the stanzas, that she just sang, while Maria continues to resist Anita's complaints, which was slowing the pace of the film. Maria resumes, without the duet with Anita, to the transition to the song "I Have a Love" with the words, "You should Know Better". The character of Ice [Tucker Smith], who was written for the movie, was named Diesel in the stage show. The stage show features 11 Jets (including Tony) and 10 Sharks. The film features 12 Jets and 11 Sharks with the additions of Joyboy and Chile, respectively. The stage show Sharks named Anxious, Nibbles and Moose are renamed Rocco, Del Campo and Loco in the film.
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Production
Casting
Larry Kert, who originated the role of Tony on Broadway, was 30 around the time of the production and the producers wanted actors who looked believable as teenagers. Carol Lawrence, who originated the role of Maria on stage, was then 29 and considered too old for Maria. This caused some controversy and dissatisfaction when some prospective audience members learned that she had been passed over in favor of a new actress. Tony Mordente (A-Rab on stage, Action in the film) and George Chakiris (Riff on stage in the London production, Bernardo in the film) were invited to act in the film version, as was Tucker Smith, who joined the Broadway production several months after its 1957 debut. Smith went on to play Ice, a role created specifically for the film. David Winters, who originated Baby John, played A-Rab,[3] Eliot Feld (an ensemble member and understudy for Baby John on Broadway) played Baby John, Carole D'Andrea reprised her role as Velma, Tommy Abott reprised his role as Gee-Tar, Jay Norman (Juano on stage) appeared as Pepe, and William Bramley reprised his role as Officer Krupke.
1961 West Side Story Elvis Presley was originally approached for Tony. However, his manager, Colonel Tom Parker, strongly believed the role to be wrong for Elvis and made him decline in favour of other movie musicals. According to legend, the Colonel didn't want Elvis associated with gang warfare and knife crime, although three years earlier, Elvis' character Danny Fisher stabbed and killed the small-time gangster 'shark' Vic Marrow in the movie King Creole. Elvis had had an off screen romance with Natalie Wood before his army stint in 1958. The history between them may have contributed to the Elvis camp turning the role down, but on the other hand, could have resulted in one of the best screen romances of Elvis' and Wood's careers. When the movie became a hit and earned 10 Oscars, Elvis later regretted having given up the part. He was only one of many young stars that were in consideration for the role of Tony. Several Hollywood men auditioned for the part, including Warren Beatty, Tab Hunter, Anthony Perkins, Russ Tamblyn, Burt Reynolds, Troy Donahue, Bobby Darin, Richard Chamberlain, Dennis Hopper, and Gary Lockwood. Bobby Darin made a strong impression on the producers at his audition and was, at one point, in talks for the role. However, he turned it down due to his concert and recording commitments. Tab Hunter, then 30, and Burt Reynolds, nearly 26, were also considered, due to their Broadway and singing credits, but they were dismissed as being too old. Richard Chamberlain was also thought too old at age 26, and chose to renew his contract for Dr. Kildare that same year. When Elvis declined the role of Tony, and other actors either dropped out or didn't make it, the producers settled on their so-called "final five": Warren Beatty, Anthony Perkins, Russ Tamblyn, Troy Donahue, and Richard Beymer. Although he was 28 before filming began, Perkins' boyish looks and Broadway resume seemed to make him a contender for the role, and he was trying to avoid getting typecast after the success of Psycho. Robert Wise originally chose Beatty for the role, figuring that youth was more important than experience. Ultimately, the former child actor Beymer (the most unlikely of the candidates) won the part of Tony. Having been invited for several callbacks, Tamblyn impressed the producers and was given the role of Riff. The producers had not originally thought of Natalie Wood for the role of Maria. She was filming Splendor in the Grass with Warren Beatty and was romantically involved with him off-screen. When Beatty went to screen test for the role of Tony, Wood read opposite him as Maria as a favor because she had been practicing with him. The producers fell in love with the idea of Wood as Maria but did not cast Beatty. Jill St. John, Audrey Hepburn, Diane Baker, Valerie Harper, Elizabeth Ashley, and Suzanne Pleshette were among the many actresses who lobbied for the role of Maria in the film adaptation. However, Hepburn later withdrew because she became pregnant. Both Wood and Beymer tried to do their own singing for the movie, but their voices were ultimately deemed insufficient and they were dubbed by Marni Nixon and Jimmy Bryant, respectively. Wood's contract stated that she would pre-record all her songs. When Wood struggled with the challenging soprano role her voice was blended with Marni Nixon's. Natalie sang the lower portions and Marni provided the higher vocals, (this is similar to Marni's work dubbing some of the vocals for Marilyn Monroe on the song Diamonds Are a Girl's Best Friend). Wood filmed to the mixed vocal recordings. During production, she was led to believe that these versions would be used (with Wood singing the majority of the vocals), although music supervisors Saul Chaplin and Johnny Green had already decided her singing voice would later be completely dubbed by Nixon. As well as acting and singing the role of Ice, Tucker Smith dubbed the singing voice of Riff in "The Jet Song", instead of Russ Tamblyn. Russ' own voice was used in "Gee, Officer Krupke" and the "Quintet". Rita Moreno was dubbed by Betty Wand in the song "A Boy Like That" because the song was in too low a register for her; she sang her own vocals in "America". Marni Nixon sang some of Moreno's parts in the "Quintet". Moreno had intended to sing this herself but couldn't due to illness; Betty Wand was also ill on the day of final recording, so Nixon stepped in to record Anita's vocal line. So, technically, the song is made a quartet and in the counterpoint section of the song, Marni Nixon is singing both Maria's and Anita's lines.
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Awards and honors

The film has been deemed "culturally significant" by the United States Library of Congress and was selected for preservation in the National Film Registry in 1997. The film holds the distinction of being the musical film with the most Academy Award wins (10 wins), including Best Picture (three other films also won 11 Oscars each, but they are not musicals). Wins[4][5] Academy Award for Best Picture Robert Wise, producer Academy Award for Best Supporting Actor George Chakiris Academy Award for Best Supporting Actress Rita Moreno Academy Award for Best Art Direction (Set Decoration, Color) Victor A. Gangelin and Boris Leven Academy Award for Best Cinematography (Color) Daniel L. Fapp Academy Award for Best Costume Design (Color) Irene Sharaff Academy Award for Best Director Robert Wise and Jerome Robbins Academy Award for Best Film Editing Thomas Stanford Academy Award for Best Original Score Saul Chaplin, Johnny Green, Irwin Kostal, and Sid Ramin Academy Award for Best Sound Fred Hynes (Todd-AO SSD), and Gordon E. Sawyer (Samuel Goldwyn SSD)
Nominations Academy Award for Best Writing (Adapted Screenplay) Ernest Lehman
Others
Academy Award for Brilliant Achievements in the Art of Choreography on Film Jerome Robbins American Film Institute Lists AFI's 100 Years100 Movies #41 AFI's 100 Years100 Passions #3 AFI's 100 Years100 Songs: "Somewhere" #20 "America" #35 "Tonight" #59 AFI's Greatest Movie Musicals #2 AFI's 100 Years100 Movies (10th Anniversary Edition) #51 The film currently holds 92% Fresh rating on Rotten Tomatoes.[6]
Score and soundtrack

Leonard Bernstein was displeased with the orchestration of the movie, which was done by Sid Ramin and Irwin Kostal, who had orchestrated the original Broadway production. That show was orchestrated for roughly 30 musicians; for the movie, United Artists allowed them triple that, including six saxophone parts, eight trumpets, five pianos and five xylophones.[7] Bernstein found it "overbearing and lacking in texture and subtlety." [8] For the 50th anniversary of the film's 1961 release, a score closer to the Broadway version was created by Garth Edwin Sunderland of the Leonard Bernstein Office [9], to be performed live at screenings of the movie with the score removed, but the original vocals maintained. The score's New York City premiere was presented at Lincoln Center's Avery Fisher Hall, built atop the original film locations, which were razed in a late 1950s urban renewal project.[7][10][11] The film's cast appeared and was honored at the 50th Anniversary of West Side Story at the 2011 Ventura Film Festival [12].
1961 West Side Story The Stan Kenton Orchestra recorded Johnny Richards' West Side Story, an entire album of jazz orchestrations based on the Bernstein scores, in 1961. It was previewed by the producers of the motion picture, who lamented that, had they known of its existence, it would have been used as the musical foundation of the new film. The Kenton version won the 1962 Grammy Award for Best Jazz Recording by a Large Group.
280
Restoration
The film was restored in 2011 : digital cinema, aspect ratio 2.20:1, Panavision 70.
References
[1] [2] [3] [4] William Bramley (19281985) (http:/ / www. imdb. com/ name/ nm0104245/ ) at the Internet Movie Database http:/ / www. imdb. com/ name/ nm0104245/ "David Winters Tribute Site" (http:/ / www. davidwinters. net/ insideview. htm). Davidwinters.net. 2003-04-01. . Retrieved 2012-03-14. "West Side Story (1961) Awards" (http:/ / movies. nytimes. com/ movie/ 53850/ West-Side-Story/ awards). Movies. The New York Times. . Retrieved December 24, 2008. [5] "The 34th Academy Awards (1962) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 34th-winners. html). oscars.org. . Retrieved 2011-08-22. [6] West Side Story (http:/ / www. rottentomatoes. com/ m/ west_side_story/ ) at Rotten Tomatoes [7] Wakin, Daniel (09/06/2011), "Classic Score by Bernstein is Remade" (http:/ / www. nytimes. com/ 2011/ 09/ 07/ arts/ music/ west-side-story-score-to-be-played-by-philharmonic. html?pagewanted=1& _r=1& hpw), New York Times, , retrieved 09/07/2011 [8] Berson, Misha (2011). Something's Coming, Something Good: West Side Story and the American Imagination. Applause. [9] http:/ / www. leonardbernstein. com [10] Sarah Waxman, "The History of the Upper West Side" ny.com http:/ / www. ny. com/ articles/ upperwest. html [11] "About Lincoln Center", City Realty, http:/ / www. cityrealty. com/ nyc/ lincoln-center/ profile [12] http:/ / venturafilmfestival. org
External links
Official website (http://www.mgm.com/view/movie/2130/West-Side-Story/) West Side Story (http://www.imdb.com/title/tt0055614/) at the Internet Movie Database West Side Story (http://tcmdb.com/title/title.jsp?stid=23623) at the TCM Movie Database West Side Story (http://www.allrovi.com/movies/movie/v53850) at AllRovi West Side Story (http://www.rottentomatoes.com/m/west_side_story/) at Rotten Tomatoes Official West Side Story site for all incarnations (http://www.westsidestory.com/register_film.php)
1962 Lawrence of Arabia
281

Lawrence of Arabia
Directed by Produced by Screenplay by Starring David Lean Sam Spiegel Robert Bolt Michael Wilson Peter O'Toole Alec Guinness Anthony Quinn Jack Hawkins Omar Sharif Maurice Jarre
Music by
Cinematography F.A. Young Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Anne V. Coates Horizon Pictures Columbia Pictures
10 December 1962
216 minutes United Kingdom United States English $15 million $70 million
Lawrence of Arabia is a 1962 British epic film based on the life of T. E. Lawrence. It was directed by David Lean and produced by Sam Spiegel through his British company, Horizon Pictures, with the screenplay by Robert Bolt and Michael Wilson. The film stars Peter O'Toole in the title role. It is widely considered one of the greatest and most influential films in the history of cinema. The dramatic score by Maurice Jarre and the Super Panavision 70 cinematography by Freddie Young are also highly acclaimed. The film depicts Lawrence's experiences in Arabia during World War I, in particular his attacks on Aqaba and Damascus and his involvement in the Arab National Council. Its themes include Lawrence's emotional struggles with the personal violence inherent in war, his personal identity, and his divided allegiance between his native Britain and its army and his newfound comrades within the Arabian desert tribes.
282
Plot summary
The film is presented in two parts, separated by an intermission.
Part I
In 1935, T. E. Lawrence (Peter O'Toole) is killed in a motorcycle accident. At his memorial service at St Paul's Cathedral, reporters try to gain insights into this remarkable, enigmatic man from those who knew him, with little success. During the First World War, Lawrence is a misfit British Army lieutenant stationed in Cairo, notable only for his insolence and knowledge of the Bedouin. Over the objections of General Murray (Donald Wolfit), he is sent by Mr. Dryden (Claude Rains) of the Arab Bureau to assess the prospects of Prince Faisal (Alec Guinness) in his revolt against the Turks. On the journey, his Bedouin guide is killed by Sherif Ali (Omar Sharif) for drinking from a well without permission. Lawrence later meets Colonel Brighton (Anthony Quayle), who orders him to keep quiet, make his assessment of Faisal's camp, and leave. Lawrence promptly ignores Brighton's commands when he meets Faisal. His knowledge and outspokenness pique the prince's interest. Brighton advises Faisal to retreat after a major defeat, but Lawrence proposes a daring surprise attack on Aqaba which, if successful, would provide a port from which the British could offload much-needed supplies. While strongly fortified against a naval assault, the town is lightly defended on the landward side. He convinces Faisal to provide fifty men, led by a sceptical Sherif Ali. Two teenage orphans, Daud (John Dimech) and Farraj (Michel Ray), attach themselves to Lawrence as his servants. They cross the Nefud Desert, considered impassable even by the Bedouins, travelling day and night on the last stage to reach water. Gasim (I. S. Johar) succumbs to fatigue and falls off his camel unnoticed during the night. The rest make it to an oasis, but Lawrence turns back for the lost man, risking his own life and winning over Sherif Ali after saving Gasim. Lawrence persuades Auda abu Tayi (Anthony Quinn), the leader of the powerful local Howeitat tribe, to turn against the Turks. Lawrence's plan is almost derailed when one of Ali's men kills one of Auda's because of a blood feud. Since Howeitat retaliation would shatter the fragile alliance, Lawrence declares that he will execute the murderer himself. Stunned to discover that the culprit is Gasim, he shoots him anyway. The next morning, the intact alliance overruns the Turkish garrison. Lawrence heads to Cairo to inform Dryden and the new commander, General Allenby (Jack Hawkins), of his victory. During the crossing of the Sinai Desert, Daud dies when he stumbles into quicksand. Lawrence is promoted to major and given arms and money to support the Arabs. He is deeply disturbed, confessing that he enjoyed executing Gasim, but Allenby brushes aside his qualms. He asks Allenby whether there is any basis for the Arabs' suspicions that the British have designs on Arabia. Pressed, the general states they have no such designs.
Part II
Lawrence launches a guerrilla war, blowing up trains and harassing the Turks at every turn. American war correspondent Jackson Bentley (Arthur Kennedy) publicises his exploits, making him world famous. On one raid, Farraj is badly injured. Unwilling to leave him to be tortured, Lawrence is forced to shoot him before fleeing. When Lawrence scouts the enemy-held city of Daraa with Ali, he is taken, along with several Arab residents, to the Turkish Bey (Jos Ferrer). Lawrence is stripped, ogled and prodded. For striking out at the Bey, he is severely flogged, then thrown out into the street. In Jerusalem, Allenby urges him to support his "big push" on Damascus, but Lawrence is a changed, tormented man, unwilling to return. Finally, he relents.
1962 Lawrence of Arabia He recruits an army, mainly killers and cutthroats motivated by money, rather than the Arab cause. They sight a column of retreating Turkish soldiers who have just slaughtered the people of Tafas. One of Lawrence's men from the village demands, "No prisoners!" When Lawrence hesitates, the man charges the Turks alone and is killed. Lawrence takes up the dead man's cry, resulting in a massacre in which Lawrence himself participates with relish. His men then take Damascus ahead of Allenby's forces. The Arabs set up a council to administer the city, but they are desert tribesmen, ill-suited for such a task. Unable to maintain the utilities and bickering constantly with each other, they soon abandon most of the city to the British. Promoted to colonel and immediately ordered home, his usefulness at an end to both Faisal and the British diplomats, a dejected Lawrence is driven away in a staff car.
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Cast
Peter O'Toole as Thomas Edward "T. E." Lawrence. Albert Finney, at the time a virtual unknown, was Lean's first choice to play Lawrence, but Finney was not sure the film would be a success and turned it down. Marlon Brando was also offered the part, and Anthony Perkins and Montgomery Clift were briefly considered, before O'Toole was cast.[1] Alec Guinness had previously played Lawrence in the play Ross, and was briefly considered for the part, but David Lean and Sam Spiegel thought him too old. Lean had seen O'Toole in The Day They Robbed the Bank of England and was bowled over by his screen test, proclaiming "This is Lawrence!" Spiegel disliked O'Toole, having worked with him on Suddenly, Last Summer (where O'Toole was an understudy for Montgomery Clift and considered to take over his part after Clift's alcoholism caused problems), but acceded to Lean's demands after Finney and Brando dropped out. Pictures of Lawrence suggest also that O'Toole carried some resemblance to him, in spite of their considerable height difference. O'Toole's looks prompted a different reaction from Nol Coward, who after seeing the premire of the film quipped "If you had been any prettier, the film would have been called Florence of Arabia".[2] Alec Guinness as Prince Faisal. Faisal was originally to be portrayed by Laurence Olivier; Guinness, who performed in other David Lean films, got the part when Olivier dropped out. Guinness was made up to look as much like the real Faisal as possible; he recorded in his diaries that, while shooting in Jordan, he met several people who had known Faisal who actually mistook him for the late prince. Guinness said in interviews that he developed his Arab accent from a conversation he had with Omar Sharif. Anthony Quinn as Auda abu Tayi. Quinn got very much into his role; he spent hours applying his own makeup, using a photograph of the real Auda to make himself look as much like him as he could. One anecdote has Quinn arriving on-set for the first time in full costume, whereupon Lean, mistaking him for a native, asked his assistant to ring Quinn and notify him that they were replacing him with the new arrival. Jack Hawkins as General Allenby. Sam Spiegel pushed Lean to cast Cary Grant or Laurence Olivier (who was engaged at the Chichester Festival Theatre, and declined). Lean, however, convinced him to choose Hawkins due to his work for them on The Bridge on the River Kwai. Hawkins shaved his head for the role and reportedly clashed with David Lean several times during filming. Alec Guinness recounted that Hawkins was reprimanded by Lean for celebrating the end of a day's filming with an impromptu dance. Hawkins became close friends with O'Toole during filming, and the two often improvised dialogue during takes, much to Lean's dismay. Omar Sharif as Sherif Ali ibn el Kharish. The role was offered to many actors before Omar Sharif was cast. Horst Buchholz was the first choice, but had already signed on for the film One, Two, Three. Alain Delon had a successful screen test, but ultimately declined due to the brown contact lenses he would have had to wear. Maurice Ronet and Dilip Kumar were also considered.[3] Sharif, who was already a major star in the Middle East, was originally cast as Lawrence's guide Tafas, but when the above actors proved unsuitable, Sharif was shifted to the part of Ali. Jos Ferrer as the Turkish Bey. Ferrer was initially unsatisfied with the small size of his part, and accepted the role only on the condition of being paid $25,000 (more than O'Toole and Sharif combined) plus a factory-made Porsche.[4] However, he afterwards considered this his best film performance, saying in an interview: "If I was to
1962 Lawrence of Arabia be judged by any one film performance, it would be my five minutes in Lawrence." Peter O'Toole once said that he learned more about screen acting from Ferrer than he could in any acting class. Anthony Quayle as Colonel Harry Brighton. Quayle, a veteran of military roles, was cast after Jack Hawkins, the original choice, was shifted to the part of Allenby. Quayle and Lean argued over how to portray the character, with Lean feeling Brighton to be an honourable character, while Quayle thought him an idiot. Claude Rains as Mr. Dryden. Rains had previously worked with Lean on The Passionate Friends. Lean considered Rains one of his favourite actors and was happy to work with him again. Arthur Kennedy as Jackson Bentley. In the early days of the production, when the Bentley character had a more prominent role in the film, Kirk Douglas was considered for the part; Douglas expressed interest but demanded a star salary and the highest billing after O'Toole, thus being turned down by Spiegel. Later, Edmond O'Brien was cast in the part.[5] O'Brien filmed the Jerusalem scene, and (according to Omar Sharif) Bentley's political discussion with Ali, but he became ill due to a heart attack on location and had to be replaced at the last moment by Kennedy, who was recommended to Lean by Anthony Quinn.[6] Donald Wolfit as General Murray. Wolfit was one of O'Toole's mentors.
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Michel Ray as Farraj. At the time, Ray was an up-and-coming Anglo-Brazilian actor, who had previously appeared in several films, including Irving Rapper's The Brave One and Anthony Mann's The Tin Star. This however would be one of his last roles. Ray, under the name Michel de Carvalho, later became a prominent British businessman and, through his wife, Charlene de Carvalho-Heineken, is the majority shareholder in the Heineken brewing company, worth over 8,000,000,000 sterling as of 2002. I.S. Johar as Gasim. Johar was a well-known Bollywood actor who occasionally appeared in international productions. Zia Mohyeddin as Tafas. Mohyeddin was one of Pakistan's best-known actors, and launched a successful stage career in London after this film's success. Most famously, he played Dr Aziz in the stage and TV adaptation of A Passage to India in the late 1960s. Gamil Ratib as Majid. Ratib was a veteran Egyptian actor. His English was not considered good enough, so he was dubbed by Robert Rietti in the final film. John Dimech as Daud. Dimech was a waiter from Malta. His only prior film appearance was in 1959's Killers of Kilimanjaro. Hugh Miller as the RAMC colonel. Miller worked on several of Lean's films as a dialogue coach, and was one of several members of the film crew to be given bit parts (see below). Fernando Sancho as the Turkish sergeant. A well-known Spanish actor, best remembered for his roles in many spaghetti Westerns. Stuart Saunders as the regimental sergeant major Jack Gwillim as the club secretary. A well-known English actor often playing supporting roles in British war films, Gwillim was recommended to Lean for the film by close friend Anthony Quayle. Kenneth Fortescue as Allenby's aide Harry Fowler as Corporal Potter Howard Marion-Crawford as the medical officer. Marion-Crawford was cast at the last possible minute, during the filming of the "Damascus" scenes in Seville. John Ruddock as Elder Harith. Ruddock was a noted Shakespearean actor. Norman Rossington as Corporal Jenkins Jack Hedley as a reporter Henry Oscar as Silliam, Faisal's servant. Oscar frequently played ethnic parts, including the Sudanese doctor in The Four Feathers (1939). Peter Burton as a Damascus Sheik Various members of the film's crew portrayed minor characters. First assistant director Roy Stevens played the truck driver who transports Lawrence and Farraj to the Cairo HQ at the end of Act I; the Sergeant who stops Lawrence and
1962 Lawrence of Arabia Farraj ("Where do you think you're going to, Mustapha?") is construction assistant, Fred Bennett; and screenwriter Robert Bolt has a wordless cameo as one of the officers watching Allenby and Lawrence confer in the courtyard (he is smoking a pipe). David Lean can be heard as the voice of the motorcycle driver asking Lawrence "Who are you?" at the Suez Canal. The film is unusual in that it has no women in credited speaking roles.
285
Nonfictional characters
T. E. Lawrence Prince Faisal Auda ibu Tayi General Allenby General Murray Farraj and Daud, Lawrence's servants Gasim, the man Lawrence rescues from the desert Talal, the man who charges the Turkish column at Tafas
Fictional characters
Sherif Ali A combination of numerous Arab leaders, particularly Sharif NassirFaisal's cousinwho led the Harith forces involved in the attack on Aqaba. The character was created largely because Lawrence did not serve with any one Arab leader (aside from Auda) throughout the majority of the war; most such leaders were amalgamated in Ali's character. This character was, however, almost certainly named after Sharif Ali ibn Hussein, a leader in the Harith tribe, who played a part in the Revolt and is mentioned and pictured in T.E. Lawrence's memoir Seven Pillars of Wisdom. Mr Dryden The cynical Arab Bureau official was based loosely on numerous figures, including Sir Ronald Storrs, who was head of the Arab Bureau and later the governor of Palestine. It was largely Storrs' doing that Lawrence first met Faisal and became involved with the Revolt. This character is also partially based upon Lawrence's archaeologist friend, D.G. Hogarth, as well as Mark Sykes and Henry McMahon, who historically fulfilled Dryden's role as a political liaison. He was created by the screenwriters to "represent the civilian and political wing of British interests, to balance Allenby's military objectives." Colonel Brighton In essence a composite of all of the British officers who served in the Middle East with Lawrence, most notably Lt. Col. Stewart F. Newcombe. Newcombe played much the same role as Brighton does in the film, being Lawrence's predecessor as liaison to the Arab Revolt; he and many of his men were captured by the Turks in 1916, though he later escaped. Also, like Brighton, Newcombe was not well liked by the Arabs, though he remained friends with Lawrence. (In Michael Wilson's original script, he was Colonel Newcombe; the character's name was later changed by Robert Bolt.) Brighton was apparently created to represent how ordinary British soldiers would feel about a man like Lawrence: impressed by his accomplishments but repulsed by his affected manner. (Lean argued that Brighton was "the only honourable character" in the film, whereas Anthony Quayle referred to his character as an "idiot".) Turkish Bey The Turkish Bey who captures Lawrence in Daraa wasaccording to Lawrence himselfGeneral Hajim Bey (in Turkish, Hacim Muhiddin Bey), though he is not named in the film. Though the incident was mentioned in Lawrence's autobiography Seven Pillars of Wisdom, a few historians have conjectured that this event never happened. This is not the view of Jeremy Wilson, The Authorised Biography of T. E. Lawrence (ISBN 0-689-11934-8) or the author of the Pulitzer Prize-winning biography A Prince of Our Disorder, John E. Mack, (ISBN 0-316-54232-6). Jackson Bentley Based on famed American journalist Lowell Thomas, who helped make Lawrence famous with accounts of his bravery. However, Thomas was at the time a young man who spent only a few days (or weeks at most) with Lawrence in the field unlike Bentley, who is depicted as a cynical middle-aged Chicago
1962 Lawrence of Arabia newspaperman who is present during the whole of Lawrence's later campaigns. Bentley was the narrator in Michael Wilson's original script, but Robert Bolt reduced his role significantly for the final script. Thomas did not start reporting on Lawrence until after the end of World War I, and held Lawrence in high regard, unlike Bentley, who seems to hold him in contempt. Tafas Lawrence's guide to Faisal is based on his actual guide, Sheikh Obeid el-Rashid, of the Hazimi branch of the Beni Salem, whom Lawrence referred to as Tafas several times in Seven Pillars. Tafas and Lawrence did meet Sherif Ali at a well during Lawrence's travels to Faisal, but the encounter was not fatal for either party. (Indeed, this scene would create much controversy amongst Arab viewers.) Medical officer This unnamed officer who confronts Lawrence in Damascus is based on an actual incident in Seven Pillars of Wisdom. Lawrence's meeting the officer again while in British uniform was, however, an invention of Wilson or Bolt.
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Historical accuracy
The historical accuracy of the film, and particularly its portrayal of Lawrence himself, has been called into question by numerous scholars. Most of the film's characters are either real or based on real characters to varying degrees. The events depicted in the film are largely based on accepted historical fact and Lawrence's own writing about events, though they have various degrees of romanticisation. Some scenessuch as the attack on Aqabawere heavily fictionalised, while those dealing with the Arab Council were inaccurate, inasmuch as the council remained more or less in power in Syria until France deposed Faisal in 1920. Little background on the history of the region, the First World War, and the Arab Revolt is provided, probably due to Bolt's increased focus on Lawrence (while Wilson's draft script had a broader, more politicized version of events). The theme (in the second half of the film) that Lawrence's Arab army deserted almost to a man as he moved farther north was completely fictional. The film's timeline of the Arab Revolt and World War I, and the geography of the Hejaz region, are frequently questionable. For instance, Bentley interviews Faisal in late 1917, after the fall of Aqaba, saying the United States has not yet entered the war, yet America had been in the war for several months by that point in time. Further, Lawrence's involvement in the Arab Revolt prior to the attack on Aqabasuch as his involvement in the seizures of Yenbo and Wejhis completely excised. The rescue and execution of Gasim is based on two separate incidents, which were conflated together for dramatic reasons. The film shows Lawrence representing the Allied cause in the Hejaz almost alone with only one incompetent British officer, Colonel Brighton (Anthony Quayle) there to assist him. In fact, there were numerous British officers such as Colonel Cyril Wilson, Stewart Francis Newcombe and Colonel Pierce C. Joyce, all of whom arrived before Lawrence serving in Arabia.[7] In addition, there was a French military mission led by Colonel Edouard Brmond serving in the Hejaz, of which no mention is made in the film.[8] The film shows Lawrence as the sole originator of the attacks on the Hejaz railroad. The first attacks on the Hejaz railroad began in early January 1917 led by officers such as Newcombe.[9] The first successful attack on the Hejaz railroad with a locomotive-destroying "Garland mine" was led by Major H. Garland in February 1917, a month before Lawrence's first attack on the railroad in March 1917.[10] The film shows the Hashemite forces as comprising Bedouin guerrillas, whereas in fact the core of the Hashemite forces was the Regular Arab Army recruited from Ottoman Arab POWs, who wore British-style uniforms with keffiyahs and fought in conventional battles.[11] The film makes no mention of the Sharifian Army, and leaves the viewer with the impression that the Hashemite forces were composed exclusively of Bedouin irregulars.
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Representation of Lawrence
Many complaints about the film's accuracy, however, centre on the characterisation of Lawrence himself. The perceived problems with the portrayal of Lawrence begin with the differences in his physical appearance: the 6-foot 2-inch (1.87 m) Peter O'Toole was almost nine inches (23cm) taller than the real Lawrence. His behaviour, however, has caused much more debate. The screenwriters depict Lawrence as an egotist. The degree to which Lawrence sought or shunned attention, such as his use after the war of various assumed names, is a matter of debate. Even during the war, Lowell Thomas wrote in With Lawrence in Arabia that he could take pictures of him only by tricking him, although Lawrence did later Peter O'Toole as T. E. Lawrence agree to pose for several pictures for Thomas's stage show. Thomas's famous comment that Lawrence "had a genius for backing into the limelight" referred to the fact that his extraordinary actions prevented him from being as private as he would have liked. Others disagree, pointing to Lawrence's own writings in Seven Pillars of Wisdom to support the argument that he was egotistical. Lawrence's sexual orientation remains a controversial topic amongst historians; though Bolt's primary source was ostensibly Seven Pillars, the film's portrayal seems informed by Richard Aldington's then-recent Biographical Inquiry (1955), which posited among other things that Lawrence was homosexual. The film features Lawrence's alleged sadomasochism as a major part of his character (for instance, his "match trick" in Cairo, his "enjoyment" of killing Gasim); while Lawrence almost certainly engaged in flagellation and like activities after the Deraa incident, there is no biographical evidence he was a masochist prior to that incident. The film's depiction of Lawrence as an active participant in the Tafas Massacre was disputed at the time by historians, including Lawrence's biographer Basil Liddell Hart, but most current biographers accept the film's portrayal of the massacre as reasonably accurate. Although the film does show that Lawrence could speak and read Arabic, could quote the Quran, and was reasonably knowledgeable about the region, it barely mentions his archaeological travels from 1911 to 1914 in Syria and Arabia, and ignores his espionage work, including a pre-war topographical survey of the Sinai Peninsula and his attempts to negotiate the release of British prisoners at Kut in Mesopotamia in 1916. Furthermore, in the film, Lawrence is only made aware of the SykesPicot Agreement very late in the story and is shown to be appalled by it whereas the "real" Lawrence, while fighting alongside the Arabs, knew about it much earlier.[12] Lawrence's biographers have had a mixed reaction towards the film. Authorized biographer Jeremy Wilson noted that the film has "undoubtedly influenced the perceptions of some subsequent biographers" such as the depiction of the film's Ali as the real Sherif Ali, rather than a composite character, and also the highlighting of the Deraa incident.[13] (In fairness to Lean and his writers, the Deraa connection was made by several Lawrence biographers, including Edward Robinson (Lawrence the Rebel) and Anthony Nutting (The Man and the Motive) before the film's release.) The film's historical inaccuracies are, in Wilson's view, more troublesome than what can be allowed under normal dramatic license. Contemporary biographer Basil Liddell Hart publicly criticized the film, engaging screenwriter Robert Bolt in a lengthy correspondence over the film's portrayal of Lawrence.[14]
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Representation of other characters

The film portrays General Allenby as cynical and manipulative, with a superior attitude to Lawrence, but there is much evidence that Allenby and Lawrence respected and liked each other. Lawrence once said that Allenby was "an admiration of mine"[15] and later that he was "physically large and confident and morally so great that the comprehension of our littleness came slow to him".[16] In contrast to the fictional Allenby's words at Lawrence's funeral in the film, upon Lawrence's death Allenby remarked, "I have lost a good friend and a valued comrade. Lawrence was under my command, but, after acquainting him with my strategical plan, I gave him a free hand. His co-operation was marked by the utmost loyalty, and I never had anything but praise for his work, which, indeed, was invaluable throughout the campaign."[17] Allenby also spoke highly of him on numerous other occasions, and much to Lawrence's delight, publicly endorsed the accuracy of Seven Pillars of Wisdom. Although Allenby admittedly did manipulate Lawrence during the war, their relationship lasted for years after its end, indicating that in real-life they were friendly, if not close. The Allenby family was particularly upset by the Damascus scenes, where Allenby coldly allows the town to fall into chaos as the Arab Council collapses.[18] Similarly, General Murray, though initially sceptical of the Arab Revolt's potential, thought highly of Lawrence's abilities as an intelligence officer; indeed, it was largely through Lawrence's persuasion that Murray came to support the revolt. The intense dislike shown toward Lawrence in the film is in fact the opposite of Murray's real feelings, although for his part Lawrence seemed not to hold Murray in any high regard. The depiction of Auda abu Tayi as a man interested only in loot and money is also at odds with the historical record. Although Auda did at first join the Arab Revolt for monetary reasons, he quickly became a steadfast supporter of Arab independence and abandoned the cause only after the collapse of the Arab government in Damascus. He was present with Lawrence from the beginning of the Aqaba expedition and in fact helped plan it along with Prince Faisal. Faisal, far from being the middle-aged man depicted, was in reality in his early thirties at the time of the revolt. Faisal and Lawrence respected each others' capabilities and intelligence. They worked well together.[19] A particularly telling fact of the film's inaccuracies is the reaction of those who knew Lawrence and the other characters. The most vehement critic of the film's inaccuracy was Professor A.W.(Arnold) Lawrence, T.E.'s younger brother and literary executor, who had sold the rights to Seven Pillars of Wisdom to Sam Spiegel for 25,000. Arnold went on a campaign in the United States and Britain denouncing the film, famously saying, "I should not have recognised my own brother". In one pointed talk show appearance, Arnold remarked that he had found the film pretentious and false." He went on to say that his brother was "one of the nicest, kindest and most exhilarating people Ive known. He often appeared cheerful when he was unhappy. Later, to the New York Times, Arnold extolled, [The film is] a psychological recipe. Take an ounce of narcissism, a pound of exhibitionism, a pint of sadism, a gallon of blood-lust and a sprinkle of other aberrations and stir well. Lowell Thomas was also critical of the portrayal of Lawrence and most of the film's characters, believing that the train attack scenes were the only reasonably accurate aspect of the film. The criticisms were not restricted to Lawrence. The Allenby family lodged a formal complaint against Columbia about the portrayal of their ancestor. Descendants of Auda abu Tayi and the real Sherif Ali, despite the fact that the film's Ali was fictional, went further, actively suing Columbia due to the portrayal of their ancestors. The Auda case went on for almost ten years before it was finally dropped.[20] Biographer Michael Korda, author of Hero: The Life and Legend of Lawrence of Arabia, offers a different opinion. While the film is neither "the full story of Lawrence's life or a completely accurate account of the two years he spent fighting with the Arabs," Korda argues that criticizing its inaccuracy "misses the point": "The object was to produce, not a faithful docudrama that would educate the audience, but a hit picture."[21] Stephen E. Tabachnick goes further than Korda, arguing that the film's portrayal of Lawrence is "appropriate and true to the text of Seven Pillars of Wisdom."[22] The British historian of the Arab Revolt, David Murphy wrote that though the film was flawed due to various inaccuaries and omissions, "it was a truly epic movie and is rightly seen as a classic".[23]
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Production
Pre-production
Previous films about T. E. Lawrence had been planned but had not been made. In the 1940s, Alexander Korda was interested in filming The Seven Pillars of Wisdom with Laurence Olivier as Lawrence, but had to pull out due to financial difficulties. David Lean himself had been approached to direct a 1952 version for the Rank Organisation, but the project fell through. Also, at the same time as pre-production of the film, Terence Rattigan was developing his play Ross which centred primarily on Lawrence's alleged homosexuality. Ross had begun life as a screenplay, but was re-written for the stage when the film project fell through. Sam Spiegel grew furious and unsuccessfully attempted to have the play suppressed, furore at which helped to gain publicity for the film.[24] Dirk Bogarde had accepted the role in Ross; he described the cancellation of the project as "my bitterest disappointment". Alec Guinness would play the role on stage. Lean and Sam Spiegel were coming off the huge success of The Bridge on the River Kwai, and were eager to work together again. For a time, Lean was interested in a biopic of Gandhi, with Alec Guinness to play the title role and Emeric Pressburger writing the screenplay, but Lean eventually lost interest in the project.[25] Lean then returned his attention to T.E. Lawrence. Columbia Pictures had an interest in a Lawrence project dating back to the early '50s, and when Spiegel convinced a reluctant A.W. Lawrence to sell the rights to The Seven Pillars of Wisdom for 25,000, the project got underway. When Lawrence of Arabia was first announced, Lawrence's biographer Lowell Thomas offered producer Spiegel and screenwriters Bolt and Wilson a large amount of research material he had produced on Lawrence during and after his time with him in the Arab Revolt. Spiegel rejected the offer. Michael Wilson wrote the original draft of the screenplay. However, Lean was dissatisfied with Wilson's work, primarily because his treatment had a clear focus on the historical and political aspects of the Arab Revolt. Lean hired Robert Bolt to re-write the script in order to make it a character study of Lawrence himself. While many of the characters and scenes are Wilson's invention, virtually all of the dialogue in the finished film was written by Bolt. Lean reportedly watched John Ford's film The Searchers (1956) to help him develop ideas as to how to shoot the film. Several scenes in the film directly recall Ford's film, most notably Ali's entrance at the well and the composition of many of the desert scenes and the dramatic exit from Wadi Rum. Lean biographer Kevin Brownlow even notes the physical similarity between Rumm and Ford's Monument Valley.[26] The film's plot structure also bears similarity to Orson Welles's Citizen Kane (1941), particularly the opening scenes with Lawrence's death and the reporter inquiring notables at Lawrence's funeral.
Filming
The film was made by Horizon Pictures and Columbia Pictures. Shooting began on 15 May 1961 and ended on 20 October 1962. The desert scenes were shot in Jordan and Morocco, as well as Almera and Doana in Spain. The film was originally to be filmed entirely in Jordan: the government of King Hussein was extremely helpful in providing logistical assistance, location scouting, transportation, and extras; Hussein himself visited the set several times during production and maintained cordial relationships with cast and crew. During the production of the film, in fact, Hussein met and married Toni Gardner, who was working as a switchboard operator in Aqaba. One of the film's technical advisors/horse wranglers in Jordan was a descendant of Auda abu Tayi. The only tension occurred when local Jordanian officials learned that English actor Henry Oscar, who did not speak Arabic, would be filmed reciting the Qur'an; permission was granted only on condition that an imam be present to ensure that there were no misquotations.
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In Jordan, Lean planned to film in, among other places, the real Aqaba and the archaeological site at Petra, which Lawrence had been fond of as a place of study. However, the production had to be moved to Spain, much to Lean's regret, due to cost and outbreaks of illness among the cast and crew before these scenes could be shot. The attack on Aqaba (one of the more stirring and memorable scenes in the film with a spectacular pan shot of dust rising up from behind the charging Arabs while Turkish cannons are aimed harmlessly out to sea) was reconstructed in a dried river bed in southern Spain; it consisted of over 300 buildings and was meticulously based on the town's appearance in 1917. The execution of Gasim and the train attacks were filmed in the Almera region, with the former's filming being delayed because of a flash flood. The city of Seville was also used to represent Cairo and Jerusalem, with the appearance of the Alczar of Seville and the Plaza de Espaa. All of the film's interiors were shot in Spain, including Lawrence's first meeting with Faisal and the scene in Auda's tent. The Tafas massacre was filmed in Ouarzazate, Morocco, with Moroccan army troops substituting for the Turkish army; however, Lean was unable to film as much as he wanted because the soldiers were uncooperative and impatient.[27] One of the second-unit directors for the Morocco scenes was Andr de Toth, who suggested a shot wherein bags of blood would be machine-gunned, spraying the screen with blood. Assistant director Nicolas Roeg approached Lean with this idea, but Lean found it disgusting. De Toth subsequently left the project.
The Mudjar pavilion of the Parque de Mara Luisa in Seville appeared as Jerusalem.
The Plaza de Espaa in Seville appeared as the The film's production was frequently delayed because, unusually, the officers' club in Cairo. film started shooting without a finished script. After Wilson quit early in the production, playwright Beverley Cross worked on the script in the interim before Bolt took over, although none of Cross's material made it to the final film. A further mishap occurred when Bolt was arrested for taking part in an anti-nuclear weapons demonstration, and Spiegel had to persuade Bolt to sign a recognizance of good behaviour for him to be released from jail and continue working on the script.
Camels caused several problems on set. O'Toole was not used to riding camels and found the saddle to be uncomfortable. While in Amman during a break in filming, he bought a piece of foam rubber at a market and added it to his saddle. Many of the extras copied the idea and sheets of the foam can be seen on many of the horse and camel saddles. The Bedouins nicknamed O'Toole "'Ab al-'Isfanjah" ( ,) meaning "Father of the Sponge".[28] The idea spread and to this day, many Bedouins add foam rubber to their saddles. Later, during the filming of the Aqaba scene, O'Toole was nearly killed when he fell from his camel, but fortunately, it stood over him, preventing the horses of the extras from trampling him. Coincidentally a very similar mishap befell the real Lawrence at the Battle of Abu El Lissal in 1917. In another mishap, O'Toole seriously injured his hand during filming by punching through the window of a caravan while drunk. A brace or bandage can be seen on his left thumb during the first train attack scene, presumably due to this incident. Along with many other Arab countries, Jordan would ban the film for what they felt to be a disrespectful portrayal of Arab culture. Egypt, Omar Sharif's home country, was the only Arab nation to give the film a wide release, where it
1962 Lawrence of Arabia became a success through the endorsement of President Gamal Abdel Nasser, who appreciated the film's depiction of Arab nationalism.
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Music
The score was composed by Maurice Jarre, little known at the time and selected only after both William Walton and Malcolm Arnold had proved unavailable. Jarre was given just six weeks to compose two hours of orchestral music for Lawrence.[29] The score was performed by the London Philharmonic Orchestra. Although Sir Adrian Boult is credited as the conductor of the score in the film's credits, he was unable to conduct most of the score, due in part to his failure to adapt to the intricate timings of each cue, and Jarre replaced him as the conductor. The score went on to garner Jarre his first Academy Award for Music ScoreSubstantially Original[30] and is now considered one of the greatest scores of all time, ranking number three on the American Film Institute's top twenty-five American film scores.[31] The original soundtrack recording was originally released on Colpix Records, the records division of Columbia Pictures, in 1962. A remastered edition appeared on Castle Music, a division of the Sanctuary Records Group, on 28 August 2006. Kenneth Alford's march The Voice of the Guns (1917) is prominently featured on the soundtrack. One of Alford's other pieces, the Colonel Bogey March, was the musical theme for Lean's previous film, The Bridge on the River Kwai.
Release
Theatrical run
The film premiered at the Odeon Leicester Square in London on 10 December 1962 (Royal Premiere) and was released in the United States on 16 December 1962. The original release ran for about 222minutes (plus overture, intermission, and exit music). A post-premiere memo (13 Dec. 1962) noted that the film was 24,987.5ft (70mm) and 19,990ft (35mm). With 90ft of 35mm film projected every minute, this corresponds to exactly 222.11 minutes. In an email to Robert Morris, co-author of a book on Lawrence of Arabia, Richard May, VP Film Preservation at Warner Bros., noted that Gone With the Wind, never edited after its premiere, is 19,884ft of 35mm film (without leaders, overture, intermission, entr'acte or walkout music) corresponding to 220.93 min. Thus, Lawrence of Arabia, slightly more than 1 minute longer than Gone With the Wind, is the longest movie ever to win a Best Picture Oscar. In January 1963, Lawrence was released in a version edited by 20 minutes; when it was re-released in 1971, an even shorter cut of 187minutes was presented. The first round of cuts was made at the direction and even insistence of David Lean, to assuage criticisms of the film's length and increase the number of showings per day; however, during the 1989 restoration, he would later pass blame for the cuts onto by-then-deceased producer Sam Spiegel.[32] In addition, a 1966 print, used for initial television and video releases, accidentally altered a few scenes by reversing the image.[33] The film was screened out of competition at the 1989 Cannes Film Festival.[34] and at the 2012 Karlovy Vary International Film Festival.[35]
292
Restored director's cut

The current "restored version", undertaken by Robert A. Harris and Jim Painten (under the supervision of director David Lean), was released in 1989 with a 216-minute length (plus overture, intermission, and exit music). Most of the cut scenes were dialogue sequences, particularly those involving General Allenby and his staff. Two whole scenesBrighton's briefing of Allenby in Jerusalem before the Daraa scene and the British staff meeting in the field tentwere completely excised, and the former has still not been entirely restored. Much of the missing dialogue involves Lawrence's writing of poetry and verse, alluded to by Allenby in particular, saying "the last poetry general we had was Wellington". The opening of Act II, where Faisal is interviewed by Bentley, and the later scene, in Jerusalem where Allenby convinces Lawrence not to resign, existed in only fragmented form; they were restored to the 1989 re-release. Some of the more graphic shots of the Tafas massacre scenethe lengthy panning shot of the corpses in Tafas, and Lawrence shooting a surrendering Turkish soldierwere also restored. Most of the still-missing footage is of minimal import, supplementing existing scenes. One scene is an extended version of the Daraa rape sequence, which makes Lawrence's punishment in that scene more overt. Other scripted scenes exist, including a conversation between Auda and Lawrence immediately after the fall of Aqaba, a brief scene of Turkish officers noting the extent of Lawrence's campaign, and the battle of Petra (later reworked into the first train attack), but these scenes were probably not filmed. The actors still living at the time of the re-release dubbed their own dialogue, though Jack Hawkins's dialogue had to be dubbed by Charles Gray (who had already done Hawkins' voice for several films after the former developed throat cancer in the late 1960s). A full list of cuts can be found at the Internet Movie Database.[36] Reasons for the cuts of various scenes can be found in Lean's notes to Sam Spiegel, Robert Bolt, and Anne V. Coates.[37] The film runs 216minutes in the most recent director's cut available on DVD.
Home media
Lawrence of Arabia has been released in five different DVD editions, including an initial release as a two-disc set (2001), followed by a shorter single disc edition (2002), a high resolution version of the director's cut with restored scenes (2003) issued as part of the Superbit series, as part of the Columbia Best Pictures collection (2008), and in a fully restored special edition of the director's cut (2008).[38] Martin Scorsese and Steven Spielberg helped restore a version of the film for a DVD release in 2000.[39]
New restoration, Blu-ray and theatrical re-release

An 8K scan/4K intermediate digital restoration is currently underway for a Blu-ray and theatrical re-release[40] during 2012 by Sony Pictures to celebrate the film's 50th anniversary.[41] The blu-ray edition of the film will be released to the public on November 13, 2012.[42] According to Grover Crisp, executive VP of restoration at Sony Pictures, the new 8K scan has such high resolution that when examined, showed a series of fine concentric lines in a pattern reminiscent of a fingerprint near the top of the frame. This was caused by its melting in the desert heat when handled by the film workers during production. Sony had to hire a third party to minimize or eliminate the fingerprint artifacts in the new restored version.[] A digital 4K screening of the new restored version was screened at the 2012 Cannes Film Festival.[43][44]
Reception
Upon its release, Lawrence was a huge critical and financial success and it remains popular among viewers and critics alike. The striking visuals, dramatic music, literate screenplay and superb performance by Peter O'Toole have all been common points of acclaim and the film as a whole is widely considered one of the greatest films ever made. Its visual style has influenced many directors, including George Lucas, Sam Peckinpah, Martin Scorsese and Steven Spielberg, who called the film a "miracle".[45]
1962 Lawrence of Arabia The film is regarded as a masterpiece of world cinema and is ranked highly on many lists of the best films ever made. The American Film Institute ranked the film 5th in its original and 7th in its updated list of the greatest films and first in its list of the greatest films of the "epic" genre.[46] In 1991, the film was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry. In 1999 the film placed third in a BFI poll of the best British films and in 2001 the magazine Total Film called it "as shockingly beautiful and hugely intelligent as any film ever made" and "faultless".[47] It has also ranked in the top ten films of all time in a Sight and Sound directors' poll. Additionally, O'Toole's performance has also often been considered one of the greatest of all time, topping lists made by both Entertainment Weekly and Premiere. However, some criticsnotably Bosley Crowther[48] and Andrew Sarris[49]have criticized the film for an indefinite portrayal of Lawrence and lack of depth.
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Awards and honours

Award 35th Academy Awards [50] (Academy of Motion Picture Arts and Sciences) Best Picture Best Director Best Art Direction Best Cinematography Best Substantially Original Score Best Film Editing Best Sound Best Actor Best Supporting Actor Best Adapted Screenplay 16th British Academy Film Awards (British Academy of Film and Television Arts) Best Film from any Source Best British Film Best British Actor Best British Screenplay Best Foreign Actor 20th Golden Globe Awards (Hollywood Foreign Press Association) Best Motion Picture Drama Best Director of a Motion Picture Best Supporting Actor Most Promising Newcomer Male Best Cinematography, Color Most Promising Newcomer Male Category Sam Spiegel David Lean John Box, John Stoll and Dario Simoni Frederick A. Young Maurice Jarre Ann V. Coates John Cox Peter O'Toole Omar Sharif Robert Bolt and Michael Wilson Sam Spiegel and David Lean Sam Spiegel and David Lean Peter O'Toole Robert Bolt and Michael Wilson Anthony Quinn David Lean and Sam Spiegel David Lean Omar Sharif Omar Sharif Frederick A. Young Peter O'Toole Name Outcome Won Won Won Won Won Won Won Nominated Nominated Nominated Won Won Won Won Nominated Won Won Won Won Won Nominated
Directors Guild of America Outstanding Directorial Achievement David Lean David di Donatello Awards Best Foreign Film Sam Spiegel British Society of Cinematographers
1962 Lawrence of Arabia Best Cinematography Award Freddie Young Italian National Syndicate of Film Journalists Best Director Foreign Film David Lean Kinema Junpo Awards Best Foreign Language Film David Lean National Board of Review Best Director David Lean Writers' Guild of Great Britain Best British Dramatic Screenplay Robert Bolt, Michael Wilson American Film Institute recognition 1998 AFI's 100 Years...100 Movies #5 2001 AFI's 100 Years...100 Thrills #23 2003 AFI's 100 Years...100 Heroes and Villains: T.E. Lawrence, hero #10 2005 AFI's 100 Years of Film Scores #3 2006 AFI's 100 Years...100 Cheers #30 2007 AFI's 100 Years...100 Movies (10th Anniversary Edition) #7 2008 AFI's 10 Top 10 #1 Epic film
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Legacy
The use of the locations in Almera, Spain for the train sequences and others made that region popular with international film makers. Most famously, it became the setting of virtually all of the Spaghetti Westerns of the '60s and '70s, specifically those of Sergio Leone. (The oasis set from Lawrence briefly appears in Leone's 1965 film For a Few Dollars More.) Many of the sets used or built for the film were re-used in later films, including John Milius's The Wind and the Lion (1975), which used several of the same palaces in Seville and the Aqaba set as the setting for its climactic battle, while the Plaza de Espaa appears in Star Wars Episode II: Attack of the Clones (2002), as the Theed Palace. The main musical title of the film was used in the James Bond film The Spy Who Loved Me (1977) in the scene where Roger Moore and Barbara Bach's characters have to wander through the desert after their van breaks down. This was done as a joke by one of the editors who liked to play music from the film during the daily rushes. The main musical title of the film was also used in the 1987 science fiction parody film Spaceballs, when the Winnebago crashes on the sand planet and the crew is forced to walk the desert. Film director Steven Spielberg considers this his favorite film of all time and the one that convinced him to become a filmmaker.[51] Screenwriter William Monahan, who scripted Kingdom of Heaven and The Departed, among others, is a fan of Robert Bolt and has stated on numerous occasions that viewing Lawrence is what inspired him to be a screenwriter. The scene of Lawrence showing off the 'match trick' is shown, converted into 3D, in Ridley Scott's 2012 film Prometheus. A piece of viral marketing for the film starring Guy Pearce also references the scene, and Michael Fassbender's android character in the film models his looks and voice after O'Toole's in Lawrence of Arabia.
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Sequel
In 1990, the made-for-television film A Dangerous Man: Lawrence After Arabia was produced as a sequel to the Lawrence of Arabia. It featured Ralph Fiennes as Lawrence and Alexander Siddig as Prince Faisal. The movie dealt primarily with the attempts of Lawrence and Faisal to secure independence for Arabia during the 1919 Versailles Conference following the end of World War I. A principal departure from the earlier film shows Faisal closer in age to Lawrence, and in a sometimes fraught role of friendship and collaboration with him - a clear echo of Lawrence's friendship with Sherif Ali in the original. The film was generally well received and deals more with the political ramifications of Lawrence's efforts in the Middle East.
Notes
[1] Turner 1994, pp.4145 [2] Lane, Anthony (March 31, 2008). "Master and Commander" (http:/ / www. newyorker. com/ arts/ critics/ atlarge/ 2008/ 03/ 31/ 080331crat_atlarge_lane). The New Yorker. . [3] Turner 1994, pp.4549 [4] Turner 1994, p.49 [5] Turner 1994, p.51 [6] Turner 1994, pp.137138 [7] Murphy, David The Arab Revolt 1916-1918, London: Osprey, 2008 page 17 [8] Murphy, David The Arab Revolt 1916-1918, London: Osprey, 2008 page 18 [9] Murphy, David The Arab Revolt 1916-1918, London: Osprey, 2008 page 39 [10] Murphy, David The Arab Revolt 1916-1918, London: Osprey, 2008 pages 43-44 [11] Murphy, David The Arab Revolt 1916-1918, London: Osprey, 2008 page 24 [12] cf. Jeremy Wilson, Lawrence of Arabia: The Authorized Biography of T.E. Lawrence (1990), pp. 409410 [13] Wilson, Jeremy. "Lawrence of Arabia or Smith in the Desert?" (http:/ / www. telawrence. info/ telawrenceinfo/ legacy3/ film/ film4. htm). T. E. Lawrence Studies. . Retrieved February 26, 2011. [14] L. Robert Morris and Lawrence Raskin. Lawrence of Arabia: The 30th Anniversary Pictorial History. pp. 149-156 [15] "The Seven Pillars Portraits" (http:/ / www. castlehillpress. com/ plates/ pl01. htm). castlehillpress.com. . [16] "General Allenby (biography)" (http:/ / www. pbs. org/ lawrenceofarabia/ players/ allenby. html). pbs.org. . [17] "General Allenby (radio interview)" (http:/ / www. pbs. org/ lawrenceofarabia/ players/ allenby2. html). pbs.org. . [18] Steven C. Caton, Lawrence of Arabia: A Film's Anthropology, p. 59 [19] "Prince Feisal" (http:/ / www. pbs. org/ lawrenceofarabia/ players/ feisal. html). pbs.org. . [20] Adrian Turner, Robert Bolt: Scenes From Two Lives, 201206 [21] Korda, pp. 693694 [22] Lawrence of Arabia: An Encyclopedia. Westport, CT: Greenwood, Press, 2004. p. 24 [23] Murphy, David The Arab Revolt, Osprey: London, 2008 pages 88-89 [24] Brownlow 1996, pp.410411 [25] Brownlow 1996, pp.393401 [26] Brownlow 1996, p.443 [27] Brownlow 1996, pp.466467 [28] Peter O'Toole, interview on the Late Show with David Letterman, 11 May 1995. [29] The Economist. Obituary: Maurice Jarre. April 16, 2009. [30] Oscars.org (http:/ / awardsdatabase. oscars. org/ ampas_awards/ DisplayMain. jsp;jsessionid=8F5F6247D39A404C7AFB85E4B340603F?curTime=1292597039486) [31] Maurice Jarre on AFI.com (http:/ / www. afi. com/ 100years/ scores. aspx) [32] Brownlow 1996, pp.484,705,709 [33] Caton, S.C. (1999). Lawrence of Arabia: A Film's Anthropology (pp. 129-131). Berkeley/Los Angeles, CA: University of California Press. ISBN: 0-520-21082-4. [34] "Festival de Cannes: Lawrence of Arabia" (http:/ / www. festival-cannes. com/ en/ archives/ ficheFilm/ id/ 239/ year/ 1989. html). festival-cannes.com. . Retrieved 2009-08-03. [35] "Karlovy Vary International Film Festival" (http:/ / www. kviff. com/ en/ films/ film-detail/ 3691-lawrence-of-arabia/ ). kviff.com. . Retrieved 2012-07-04. [36] "Alternate versions for Lawrence of Arabia (1962)" (http:/ / www. imdb. com/ title/ tt0056172/ alternateversions). imdb.com. . [37] "Director's Notes on Re-editing Lawrence of Arabia" (http:/ / davidlean. com/ fun/ fun/ leannotes. html). davidlean.com. . [38] "Lawrence of Arabia (Collector's Edition) DVD" (http:/ / shop. tcm. com/ lawrence-of-arabia-collectors-edition-dvd/ detail. php?p=351469). . Retrieved 2012-01-04.

[39] Wasser, Frederick (2010). Steven Spielberg's America. Polity America Through the Lens. Polity. p.222. ISBN978-0-7456-4082-2. [40] http:/ / www. hometheater. com/ content/ hollywood-4k-way-page-2 [41] http:/ / www. blu-raydefinition. com/ news/ lawrence-of-arabia-on-blu-ray-later-this-year. html [42] http:/ / hometheater. about. com/ b/ 2012/ 08/ 07/ lawrence-of-arabia-blu-ray-disc-release-finalized. htm [43] http:/ / www. festival-cannes. fr/ en/ article/ 58952. html [44] http:/ / www. indiewire. com/ article/ jaws-lawrence-of-arabia-once-upon-a-time-in-america-and-tess-to-get-the-cannes-classics-treatment# [45] http:/ / www. top10films. co. uk/ archives/ 3244 [46] American Film Institute (2008-06-17). "AFI Crowns Top 10 Films in 10 Classic Genres" (http:/ / www. comingsoon. net/ news/ movienews. php?id=46072). ComingSoon.net. . Retrieved 2008-06-18. [47] http:/ / www. totalfilm. com/ reviews/ dvd/ lawrence-of-arabia-two-disc-set [48] Crowther, Bosley (17 December 1962). "Screen: A Desert Warfare Spectacle:'Lawrence of Arabia' Opens in New York" (http:/ / movies. nytimes. com/ movie/ review?res=950CEEDE1630EF3BBC4F52DFB4678389679EDE). The New York Times. . [49] http:/ / www. kirjasto. sci. fi/ telawren. htm [50] "The 35th Academy Awards (1963) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 35th-winners. html). oscars.org. . Retrieved 2011-08-23. [51] DVD documentary, A Conversation with Steven Spielberg
296
References
Brownlow, Kevin (1996). David Lean: A Biography. Richard Cohen Books. ISBN978-1-86066-042-9. Turner, Adrian (1994). The Making of David Lean's Lawrence of Arabia. Dragon's World Ltd. ISBN978-1-85028-211-2.
Further reading
Morris, L. Robert and Raskin, Lawrence (1992). Lawrence of Arabia: the 30th Anniversary Pictorial History. Doubleday & Anchor, New York. A book on the creation of the film, authorised by Sir David Lean.
External links
Lawrence of Arabia (http://www.imdb.com/title/tt0056172/) at the Internet Movie Database Lawrence of Arabia (http://www.allrovi.com/movies/movie/v28608) at AllRovi Lawrence of Arabia (http://www.boxofficemojo.com/movies/?id=lawrenceofarabia.htm) at Box Office Mojo Lawrence of Arabia (http://www.metacritic.com/movie/lawrence-of-arabia) at Metacritic Lawrence of Arabia (http://www.rottentomatoes.com/m/lawrence_of_arabia/) at Rotten Tomatoes Lawrence of Arabia (http://www.youtube.com/watch?v=qcD9SkM_eQo&feature=related) "Making of" trailer at YouTube Lawrence of Arabia (http://www.youtube.com/watch?v=ZsIhjgHQBsY&feature=related) Theatrical trailer at YouTube Essay on the Lawrence of Arabia film (http://www.cliohistory.org/thomas-lawrence/movie/) in the "Lowell Thomas and Lawrence of Arabia" online exhibit at Clio Visualizing History
1963 Tom Jones
297
1963 Tom Jones

Tom Jones
Theatrical poster
Directed by Produced by Tony Richardson Tony Richardson Michael Holden Oscar Lewenstein Michael Balcon John Osborne The History of Tom Jones, a Foundlingby Henry Fielding Michel Mac Liammir Albert Finney Susannah York Hugh Griffith Edith Evans Diane Cilento Joyce Redman John Addison
Written by Based on
Music by
Cinematography Walter Lassally Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Antony Gibbs Woodfall Film Productions United Artists (UK) Lopert Pictures Corporation (US)

September 29, 1963 (Venice) October 6, 1963 (United States)
128 minutes 121 minutes (1989 reissue) United Kingdom English $1 million $11,922,000
Tom Jones is a 1963 British adventure comedy film, an adaptation of Henry Fielding's classic novel The History of Tom Jones, a Foundling (1749), starring Albert Finney as the titular hero. It was one of the most critically acclaimed and popular comedies of its time,[1] winning four Academy Awards. The film was directed by Tony Richardson and the screenplay was adapted by playwright John Osborne. The film is notable for its unusual comic style: the opening sequence is performed in the style of a silent movie, and characters sometimes break the fourth wall, often by looking directly into the camera and addressing the audience, and going so far as to have the character of Tom Jones suddenly appearing to notice the camera and covering the lens with his hat.
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Plot
The story begins with a silent film sequence during which the good Squire Allworthy (George Devine) returns home after a lengthy stay in London and discovers a baby in his bed. Thinking that his barber, Mr. Partridge (Jack MacGowran), and one of his servants, Jenny Jones (Joyce Redman), have "birthed" the infant out of lust, the squire banishes them and chooses to raise little Tom Jones as if he were his own son. Tom (Albert Finney) grows up to be a lively young man whose good looks and kind heart make him very popular with the opposite sex. However, he truly loves only one woman, the gentle Sophie Western (Susannah York), who returns his passion. Sadly, Tom is stigmatized as a "bastard" and cannot wed a young lady of her high station. Sophie, too, must hide her feelings while her aunt (Edith Evans) and her father, Squire Western (Hugh Griffith) try to coerce her to marry a more suitable man - a man whom she hates. This young man is Blifil (David Warner, in his film debut), the son of the Squire's widowed sister Bridget (Rachel Kempson). Although he is of legitimate birth, he is an ill-natured fellow with plenty of hypocritical 'virtue' but none of Tom's warmth, honesty, or high spirits. When Bridget dies unexpectedly, Blifil intercepts a letter which his mother intended for her brother's eyes only. What this letter contains is not revealed until the end of the movie; however, after his mother's funeral, Blifil and his two tutors, Mr. Thwackum (Peter Bull) and Mr. Square (John Moffatt), join forces to convince the squire that Tom is a villain. Allworthy gives Tom a small cash legacy and sorrowfully sends him out into the world to seek his fortune. In his road-traveling odyssey, Tom is knocked unconscious while defending the good name of his beloved Sophie and robbed of his legacy. He also flees from a jealous Irishman who falsely accuses him of having an affair with his wife, engages in deadly swordfights, meets his alleged father and his alleged mother, a certain Mrs. Waters, whom he saves from an evil Redcoat Officer, and later beds the same Mrs. Waters. In a celebrated scene, Tom and Mrs. Waters sit opposite each other in the dining room of the Upton Inn, wordlessly consuming an enormous meal while gazing lustfully at each other. Meanwhile, Sophie runs away from home soon after Tom's banishment to escape the attentions of the loathed Blifil. After narrowly missing each other at the Upton Inn, Tom and Sophie arrive separately in London. There, Tom attracts the attention of Lady Bellaston (Joan Greenwood), a promiscuous noblewoman over 40 years of age. She is rich, beautiful, and completely amoral, though it is worth noting that Tom goes to her bed willingly and is generously rewarded for his services. Eventually, Tom ends up at Tyburn Gaol, facing a boisterous hanging crowd after two blackguardly agents of Blifil frame him for robbery and attempted murder. Allworthy learns the contents of the mysterious letter: Tom is not Jenny Jones's child, but Bridget's illegitimate son and Allworthy's nephew. Furthermore, since Blifil knew this, concealed it, and tried to destroy his half-brother, he is now in disgrace and disinherited. Allworthy uses this knowledge to get Tom a pardon, but Tom has already been conveyed to the gallows; his hanging is begun, but is interrupted by Squire Western, who cuts him down and takes him to Sophie. Tom now has permission to court Sophie, and all ends well with Tom embracing Sophie with Squire Western's blessing. In its original release, the film ran 2 hours and 37 minutes.
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Cast
Albert Finney as Tom Jones Susannah York as Sophie Western Hugh Griffith as Squire Western Edith Evans as Miss Western Joan Greenwood as Lady Bellaston Diane Cilento as Molly Seagrim George Devine as Squire Allworthy David Tomlinson as Lord Fellamar Rosalind Atkinson as Mrs. Millar Wilfrid Lawson as Black George Rosalind Knight as Mrs. Fitzpatrick Jack MacGowran as Partridge Freda Jackson as Mrs. Seagrim David Warner as Blifil Joyce Redman as Mrs. Waters/Jenny Jones James Cairncross as Parson Supple Rachel Kempson as Bridget Allworthy Peter Bull as Thwackum Angela Baddeley as Mrs. Wilkins George A. Cooper as Fitzpatrick Jack Stewart as MacLachlan Patsy Rowlands as Honour John Moffatt as Square Avis Bunnage as Innkeeper Mark Dignam as Lieutenant Michael Brennan as Jailer at Newgate Lynn Redgrave as Susan Redmond Phillips as Lawyer Dowling Julian Glover as Northerton Ray Austin as Henchman / stunt Director
Production
Bridgwater's Castle Street was used as a location in several scenes. Bryanston Films hesitated to make the film in colour and shortly went bankrupt. The film was financed by American production money through United Artists.[2] The production suffered from more than the usual disasters, near-disasters and squabbles attending films shot on location in English weather. Tony Richardson was dissatisfied with the final product, notwithstanding its acclaim by others. In his autobiography[3] Richardson wrote: "I felt the movie to be incomplete and botched in much of its execution. I am not knocking that kind of success everyone should have it but whenever someone gushes to me about Tom Jones, I always cringe a little inside." Cinematographer Walter Lassally has said[4] that in his opinion the location unit got on very well together under the circumstances, and that the experience was satisfying. He thought Richardson rather lost his way in post-production, endlessly fixing what was not really broken.
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Reception
The film was the third most popular movie at the British box office in 1963.[5]
Releases
The film was reissued in 1989; for this release, Richardson trimmed the film by seven minutes.[1] The original full-length version is now once again available on DVD.

Academy Awards
Wins[6] Best Picture Best Director Best Substantially Original Score (John Addison) Best Writing, Screenplay Based on Material from Another Medium
Nominations Best Actor - Albert Finney Best Supporting Actor - Hugh Griffith Best Supporting Actress - Diane Cilento Best Supporting Actress - Dame Edith Evans Best Supporting Actress - Joyce Redman Best Art Direction-Set Decoration, Color (Ralph W. Brinton, Ted Marshall, Jocelyn Herbert, Josie MacAvin).
Tom Jones is the only film in the history of the Academy in which three actresses were nominated for Best Supporting Actress Oscar.[7] All three nominations were unsuccessful, however, as the Academy Award in this category went to Margaret Rutherford for her role in The V.I.P.s. Ilya Lopert accepted the Academy Award for Best Picture on behalf of the producers. Upon Lopert's death the award was passed on to Finney, who played the title role.
BAFTA Awards
Wins Best Film from any source Best British Film Best British Screenplay (John Osborne) Nominations Best British Actor (Albert Finney) Best British Actor (Hugh Griffith) Best British Actress (Edith Evans)
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Golden Globe Awards

Wins Best English-Language Foreign Film Best Motion Picture - Comedy Most Promising Newcomer - Male (Albert Finney) (tied with Stathis Giallelis for America, America (1963) and Robert Walker Jr. for The Ceremony (1963). Nominations Best Motion Picture Actor - Musical/Comedy (Albert Finney) Best Motion Picture Director (Tony Richardson) Best Supporting Actor (Hugh Griffith) Best Supporting Actress (Joan Greenwood)
Other awards
New York Film Critics Circle Awards Best Actor (Albert Finney) Best Director (Tony Richardson) Best Picture Venice Film Festival Volpi Cup: Best Actor (Albert Finney) Golden Lion: Tony Richardson (nom) Writers' Guild of Great Britain Best British Comedy Screenplay (John Osborne) Grammy Awards Best Original Score from a Motion Picture (John Addison)
References
[1] Scott, A. O. (2005-02-07). "We're Sorry" (http:/ / movies2. nytimes. com/ gst/ movies/ movie. html?v_id=50295). The New York Times. . Retrieved 2010-05-25. [2] p.xiv Mayer, Geoff Guide to British Cinema Greenwood Publishing Group, 2003 [3] Richardson, Tony (1993). Long Distance Runner - A memoir. London: Faber & Faber. p.136. ISBN0-571-16852-3. [4] "Web of Stories: Tom Jones: the editing and Tony Richardson's generosity." The generosity was Richardson's decision to give Lassally and other crew members a percentage of the film's revenue, a highly unusual arrangement. (http:/ / www. webofstories. com/ play/ 14061?o=MS) [5] "Most Popular Films Of 1963." Times [London, England] 3 Jan. 1964: 4. The Times Digital Archive. Web. 11 July 2012. [6] "NY Times: Tom Jones" (http:/ / movies. nytimes. com/ movie/ 50295/ Tom-Jones/ awards). NY Times. . Retrieved 2008-12-25. [7] Tom Jones Movie Reviews, Pictures - Rotten Tomatoes (http:/ / www. rottentomatoes. com/ m/ tom_jones/ )
External links
Tom Jones (http://www.imdb.com/title/tt0057590/) at the Internet Movie Database Tom Jones (http://tcmdb.com/title/title.jsp?stid=93524) at the TCM Movie Database Tom Jones (http://www.allrovi.com/movies/movie/v50295) at AllRovi Tom Jones (http://www.rottentomatoes.com/m/tom_jones/) at Rotten Tomatoes
1964 My Fair Lady
302
1964 My Fair Lady

My Fair Lady
Theatrical release poster by Bill Gold, original illustration by Bob Peak
Directed by Produced by Written by Starring George Cukor Jack Warner Alan Jay Lerner George Bernard Shaw Audrey Hepburn Rex Harrison Stanley Holloway Wilfrid Hyde-White Gladys Cooper Frederick Loewe (Music) Alan Jay Lerner (Lyrics)
Music by
Cinematography Harry Stradling Sr. Editing by Distributed by Release date(s) Running time Country Language Budget Box office William H. Ziegler Warner Bros. (Original) Hollywood Classics (current, under Paramount Pictures and CBS)
25 December 1964
My Fair Lady is a 1964 musical film adaptation of the Lerner and Loewe stage musical of the same name, based on the 1938 film adaptation of the original stage play Pygmalion by George Bernard Shaw. The film was directed by George Cukor and starred Audrey Hepburn and Rex Harrison. The film won eight Academy Awards, including Best Picture, Best Actor, and Best Director.[1]
Plot
In Edwardian London, Henry Higgins (Rex Harrison), an arrogant, irascible, misogynistic teacher of elocution, believes that the accent and tone of one's voice determines a person's prospects in society. He boasts to a new acquaintance, Colonel Hugh Pickering (Wilfrid Hyde-White), himself an expert in phonetics, that he could teach any woman to speak so "properly" that he could pass her off as a duchess at an embassy ball, citing, as an example, a young flower seller from the slums, Eliza Doolittle (Audrey Hepburn), who has a strong Cockney accent. Eliza goes to Higgins seeking speech lessons. Her great ambition is to work in a flower shop, but her thick accent makes her unsuitable for such a position. All she can afford to pay is a shilling per lesson, whereas Higgins is used to training wealthier members of society.[2] Pickering, who is staying with Higgins, is intrigued by the idea of passing a common flower girl off as a duchess and bets Higgins he cannot make good his boast, offering to pay for the lessons himself.
1964 My Fair Lady Eliza's father, Alfred P. Doolittle (Stanley Holloway), a dustman, shows up three days later, ostensibly to protect his daughter's virtue, but in reality simply to extract some money from Higgins, and is bought off with 5. Higgins is impressed by the man's honesty, his natural gift for language, and especially his brazen lack of morals - "Can't afford 'em!" claims Doolittle. Higgins recommends Doolittle to a wealthy American who is interested in morality. Eliza goes through many forms of speech training, such as speaking with marbles in her mouth, enduring Higgins' harsh approach to teaching and his treatment of her personally. She makes little progress, but just as she, Higgins, and Pickering are about to give up, Eliza finally "gets it"; she instantly begins to speak with an impeccable upper class accent. As a test, Higgins takes her to Ascot Racecourse, where she makes a good impression with her stilted, but genteel manners, only to shock everyone by a sudden and vulgar lapse into Cockney while encouraging a horse to win a race: "C'mon Dover, move your bloomin' arse!" Higgins, who dislikes the pretentiousness of the upper class, partly conceals a grin behind his hand. Eliza poses as a mysterious lady at an embassy ball and even dances with a foreign prince. At the ball is Zoltan Karpathy (Theodore Bikel), a Hungarian phonetics expert trained by Higgins. After a brief conversation with Eliza, he certifies that she is not only Hungarian, but of royal blood. This makes Higgins' evening, since he has always looked upon Karpathy as a bounder and a crook. After all the effort she has put in however, Eliza is given hardly any credit, all the praise going to Higgins. This, and his callous treatment towards her afterwards, especially his indifference to her future, causes her to walk out on him, leaving him mystified by her ingratitude. Accompanied by Freddy Eynsford-Hill (Jeremy Brett), a young man she met at Ascot and who has become enamoured of her, Eliza returns to her old stomping ground at Covent Garden, but finds that she no longer fits in. She meets her father, who has been left a large fortune by the wealthy American Higgins had sent him to and is resigned to marrying Eliza's stepmother. Alfred feels that Higgins has ruined him, since he is now bound by morals and responsibility. Eventually, Eliza ends up visiting Higgins' mother, who is incensed at her son's behaviour. Higgins finds Eliza the next day and attempts to talk her into coming back to him. During a testy exchange, Higgins becomes incensed when Eliza announces that she is going to marry Freddy and become Karpathy's assistant. Higgins explodes and Eliza is satisfied that she has had her "own back." Higgins has to admit that rather than being "a millstone around my neck... now you're a tower of strength, a consort battleship. I like you this way." Eliza leaves, saying they will never meet again. After an argument with his motherin which he asserts that he does not need Eliza or anyone else Higgins makes his way home, stubbornly predicting that Eliza will come crawling back. However, he comes to the horrified realization that he has "grown accustomed to her face." Then, to his surprise, Eliza reappears in Higgins' study: she knows now that he cares for her after all.
303
Cast
Rex Harrison as Professor Henry Higgins Audrey Hepburn (Marni Nixon, singing) as Eliza Doolittle Stanley Holloway as Alfred P. Doolittle Wilfrid Hyde-White as Colonel Hugh Pickering Gladys Cooper as Mrs. Higgins Jeremy Brett (Bill Shirley, singing) as Freddy Eynsford-Hill Theodore Bikel as Zoltan Karpathy Mona Washbourne as Mrs. Pearce, Higgins' housekeeper Isobel Elsom as Mrs. Eynsford-Hill John Holland as the Butler Queenie Leonard as Cockney Bystander (uncredited)
As of 2012, Theodore Bikel is the only surviving member of the main on-screen cast; Marni Nixon is also still alive.
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Musical numbers
1. "Overture" 2. "Why Can't the English?" - Higgins 3. "Wouldn't It Be Loverly?" - Eliza, Workers 4. "An Ordinary Man" - Higgins 5. "With a Little Bit of Luck" - Alfred Doolittle, Harry & Jamie, Ensemble 6. "Just You Wait" - Eliza 7. "Servants Chorus" - Mrs. Pearce, Servants 8. "The Rain in Spain" - Eliza, Higgins, Pickering 9. "I Could Have Danced All Night" - Eliza, Mrs. Pearce, Maids 10. "Ascot Gavotte" - Ensemble 11. "Ascot Gavotte (Reprise)" - Ensemble 12. "On the Street Where You Live" - Freddy 13. "Intermission" 14. "Transylvanian March" - Band 15. "Embassy Waltz" - Band 16. "You Did It" - Higgins, Pickering, Mrs. Pearce, Servants 17. 18. 19. 20. 21. 22. 23. 24. 25. "Just You Wait (Reprise)" - Eliza "On the Street Where You Live" (reprise) - Freddy "Show Me" - Eliza & Freddy "Wouldn't It Be Loverly" (reprise) - Eliza, Workers "Get Me to the Church on Time" - Alfred Doolittle w/ Harry,Jamie & Ensemble "A Hymn to Him (Why Can't A Woman Be More Like a Man?)" - Higgins, Pickering "Without You" - Eliza, Higgins "I've Grown Accustomed to Her Face" - Higgins "Finale" - Ensemble
Production
Order of musical numbers
The order of the songs in the show was followed faithfully, except for "With a Little Bit of Luck". The song is listed as being the third musical number in the play; in the film it is the fourth. Onstage, the song is split into two parts sung in two different scenes. Part of the song is sung by Doolittle and his cronies just after Eliza gives him part of her earnings, immediately before she makes the decision to go to Higgins's house to ask for speech lessons. The second half of the song is sung by Doolittle just after he discovers that Eliza is now living with Higgins. In the film, the entire song is sung in one scene that takes place just after Higgins has sung "I'm an Ordinary Man". However, the song does have a dialogue scene (Doolittle's conversation with Eliza's landlady) between verses. The instrumental "Busker Sequence", which opens the play immediately after the Overture, is the only musical number from the play omitted in the film version. However, there are several measures from this piece that can be heard as we see Eliza in the rain, making her way through the cars and carriages in Covent Garden. All of the songs in the film were performed almost complete; however, there were some verse omissions, as there sometimes are in film versions of Broadway musicals. For example, in the song "With a Little Bit of Luck" the verse "He does not have a Tuppence in his pocket", which was sung with a chorus, was omitted, due to space and its length. The original verse in "Show Me" was used instead. The stanzas of "You Did It" that came after Higgins says "she is a Princess" were originally written for the Broadway version, but Harrison hated the lyrics and refused to perform them, unless and until those lyrics were
1964 My Fair Lady omitted, which they were in most Broadway versions. However, Cukor insisted that the omitted lyrics be restored for the film version or he would not direct at all, causing Harrison to oblige. The omitted lyrics end with the words "Hungarian Rhapsody" followed by the servants shouting "BRAVO" three times, to the strains of Liszt's "Hungarian Rhapsody" before the servants sing "Congratulations, Professor Higgins". (Source: "On the Street where I Live" by Alan Jay Lerner, published in 1978.)
305
Dubbing
Hepburn's singing was judged inadequate, and she was dubbed by Marni Nixon,[3] who sang all songs except "Just You Wait", where Hepburn's voice was left undubbed during the harsh-toned chorus of the song and Nixon sang the melodic bridge section. Some of Hepburn's original vocal performances for the film were released in the 1990s, affording audiences an opportunity to judge whether the dubbing was necessary. Less well known is the dubbing of Jeremy Brett's songs (as Freddy) by Bill Shirley.[4] Rex Harrison declined to pre-record his musical numbers for the film, explaining that he had never talked his way through the songs the same way twice and thus couldn't convincingly lip-sync to a playback during filming (as musical stars had, according to Jack Warner, been doing for years. "We even dubbed Rin-Tin-Tin"[5]). To permit Harrison to recite his songs live during filming, the Warner Bros. Studio Sound Department, under the direction of George Groves, implanted a wireless microphone in Harrison's neckties, marking the first known wireless microphone use in film history. Andr Previn then conducted the final version of the music to the voice recording. The sound department earned an Academy Award for its efforts.
Intermission
One of the few differences in structure between the stage version and the film is the placement of the intermission. In the stage play, the intermission comes after the scene at the Embassy Ball where Eliza is seen dancing with Karpathy. In the film, the intermission comes before the ball, as Eliza, Higgins and Pickering are seen departing for the embassy.
Art direction
The art direction was by Cecil Beaton, who won an Oscar. Beaton's inspiration for the library in Henry Higgins' home, where much of the action takes place, was a room at the Chteau de Groussay, Montfort-l'Amaury, in France, which had been decorated opulently by its owner Carlos de Beistegui.
Copyright issues
The head of CBS, William S. Paley, put up the money for the original Broadway production in exchange for the rights to the cast album (through Columbia Records). When Warner bought the film rights in February 1962 for the then-unprecedented sum of $5 million, it was agreed that the rights to the film would revert to CBS seven years after its release.[6] The first home video release was by MGM/CBS Home Video in 1981, and was re-released by CBS/Fox Video in 1984, 1986, 1991, 1994, and 1996. Warner owned the film's original copyright, but it was renewed by CBS due to the 1971 rights reversion. From 1998-2008, Warner Home Video handled DVD distribution to the film on behalf of CBS Home Entertainment, while CBS Television Distribution owns the television rights. The theatrical distribution rights are currently handled by Hollywood Classics on behalf of Paramount Pictures and CBS. A VHS release by Paramount Pictures in 2001 is currently out of print. However, Paramount obtained DVD rights in 2009 and re-released the film on DVD, on October 6, 2009.[7]
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Blu-ray
The Blu-ray version was released by Paramount Pictures on November 15, 2011.[8]
Soundtrack album as heard on the original LP

All tracks played by The Warner Bros. Studio Orchestra conducted by Andr Previn. Between brackets the singers. 1. "Overture" 2. "Why Can't the English?" (Rex Harrison, Audrey Hepburn, Wilfrid Hyde-White) 3. "Wouldn't It Be Loverly?" (Marni Nixon (for Audrey Hepburn)) 4. "I'm Just an Ordinary Man" (Rex Harrison) 5. "With a Little Bit of Luck" (Stanley Holloway) 6. "Just You Wait" (Audrey Hepburn, Marni Nixon (for Audrey Hepburn)) 7. "The Rain in Spain" (Rex Harrison, Audrey Hepburn, Marni Nixon (for Audrey Hepburn), Wilfrid Hyde-White) 8. "I Could Have Danced All Night" (Marni Nixon (for Audrey Hepburn)) 9. "Ascot Gavotte" 10. "On the Street Where You Live" (Bill Shirley (for Jeremy Brett)) 11. "You Did It" (Rex Harrison, Wilfrid Hyde-White) 12. 13. 14. 15. 16. "Show Me" (Marni Nixon (for Audrey Hepburn), Bill Shirley (for Jeremy Brett)) "Get Me to the Church on Time" (Stanley Holloway) "A Hymn to Him (Why Can't a Woman Be More Like a Man?)" (Rex Harrison, Wilfrid Hyde-White) "Without You" (Marni Nixon (for Audrey Hepburn), Rex Harrison) "I've Grown Accustomed to Her Face" (Rex Harrison)
Previously unreleased on LP, included on the CD 1. "The Flower Market" 2. "Servants' Chorus" 3. "Ascot Gavotte (Reprise)" 4. "Intermission" 5. "The Transylvanian March" 6. "The Embassy Waltz" 7. "Just You Wait (Reprise)" (Audrey Hepburn and/or Marni Nixon (for Audrey Hepburn)) 8. "On the Street Where You Live (Reprise)" Bill Shirley (for Jeremy Brett) 9. "The Flowermarket" (containing the reprise of "Wouldn't It Be Loverly?") (Marni Nixon (for Audrey Hepburn)) 10. "End Titles" 11. "Exit Music"
Awards and honors
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Academy Awards record 1. Best Actor, Rex Harrison 2. Best Art Direction, Gene Allen, Cecil Beaton, George James Hopkins 3. Best Cinematography, Harry Stradling Sr. 4. Best Costume Design, Cecil Beaton 5. Best Director, George Cukor 6. Best Original Score, Andr Previn 7. Best Picture, Jack Warner 8. Best Sound, George Groves Golden Globe Awards record 1. Best Motion Picture - Musical or Comedy 2. Best Actor - Musical or Comedy, Rex Harrison 3. Best Director, George Cukor BAFTA Awards record 1. Best Film from any Source, George Cukor
Academy Awards: 1964

My Fair Lady won eight Oscars:[1][9] Academy Award for Best Picture - Jack Warner Academy Award for Directing - George Cukor Academy Award for Best Actor - Rex Harrison Academy Award for Best Cinematography - Harry Stradling Academy Award for Sound - George R. Groves, Warner Brothers Studio Academy Award for Original Music Score - Andre Previn Academy Award for Best Art Direction - Gene Allen, Cecil Beaton and George James Hopkins Academy Award for Costume Design - Cecil Beaton
Four nominations Academy Award for Writing Adapted Screenplay - Alan Jay Lerner Academy Award for Film Editing - William Ziegler Academy Award for Best Supporting Actor - Stanley Holloway Academy Award for Best Supporting Actress - Gladys Cooper
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Golden Globe Awards

My Fair Lady won three Golden Globes: Golden Globe Award for Best Motion Picture - Musical or Comedy Golden Globe Award for Best Director - Motion Picture - George Cukor Golden Globe Award for Best Actor - Motion Picture Musical or Comedy - Rex Harrison
BAFTA Awards
My Fair Lady won the BAFTA Award for Best Film from any source.
Accolades
American Film Institute recognition 1998 AFI's 100 Years... 100 Movies #91 2000 AFI's 100 Years...100 Laughs Nominated 2002 AFI's 100 Years... 100 Passions #12 2004 AFI's 100 Years... 100 Songs: "I Could Have Danced All Night" #17 "I've Grown Accustomed to Her Face" Nominated "The Rain in Spain" Nominated 2006 AFI's 100 Years of Musicals #8 2007 AFI's 100 Years...100 Movies (10th Anniversary Edition) Nominated
Restoration
The film was restored in 1994 by James C. Katz and Robert A. Harris, who had restored Spartacus three years earlier. The restoration was commissioned and financed by CBS, who purchased the film from Warner Bros. in 1971.[10]
Possible remake
In 1995 20th Century Fox executives gave animation directors/producers Don Bluth and Gary Goldman, then newly appointed as the creative heads of Fox Animation Studios, the choice between creating an animated remake of either My Fair Lady or the 1956 Fox film, Anastasia. Bluth and Goldman chose to make the animated film Anastasia, which became the highest-grossing non-Disney animated film, in 1997.[11] In June 2008, it was reported that a remake of My Fair Lady was being planned, starring Colin Firth and Keira Knightley[12] as Eliza Doolittle, for release in 2010.[13] It will be produced by Duncan Kenworthy (Love Actually) and Cameron Mackintosh, and co-developed by Columbia Pictures and CBS Films. Emma Thompson was reported to be set to write the script.[14] Others who had tried to get the part of Higgins had included George Clooney and Brad Pitt whose close friendship is reported to have hit a low point as a result.[15] As of March 2010, it was reported that Carey Mulligan has replaced Keira Knightley as the role of Eliza Doolittle.
1964 My Fair Lady
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References
Notes
[1] "NY Times: My Fair Lady" (http:/ / movies. nytimes. com/ movie/ 34019/ My-Fair-Lady/ awards). NY Times. . Retrieved 2008-12-21. [2] In the original play, Higgins states that "in three months I could pass that girl off as a duchess at an ambassador's garden party. I could even get her a place as lady's maid or shop assistant, which requires better English. That's the sort of thing I do for commercial millionaires. And on the profits of it I do genuine scientific work in phonetics, and a little as a poet on Miltonic lines" [3] Lawson, Kyle. "Marni Nixon in My Fair Lady", (http:/ / www. azcentral. com/ ent/ arts/ articles/ 2008/ 06/ 10/ 20080610fairlady. html) The Arizona Republic, June 10, 2008 [4] Bill Shirley (http:/ / www. imdb. com/ name/ nm0794301/ ) at the Internet Movie Database [5] Stirling, Richard; Julie Andrews: An Intimate Biography; 2007, Portrait; ISBN 978-0-7499-5135-1, p.127 [6] Metz, Robert (July 21, 1975). "The Biggest Man in Broadcasting" (pages 48-50) New York Magazine, Vol. 8, #29. [7] Amazon.com: My Fair Lady (http:/ / www. amazon. com/ dp/ B002HK9IDQ) [8] http:/ / uk. blu-ray. com/ news/ ?id=7096 [9] "The 37th Academy Awards (1965) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 37th-winners. html). oscars.org. . Retrieved 2011-08-24. [10] Grimes, William (August 15, 1994). "In 'My Fair Lady,' Audrey Hepburn Is Singing at Last" (http:/ / www. nytimes. com/ 1994/ 08/ 15/ movies/ in-my-fair-lady-audrey-hepburn-is-singing-at-last. html). The New York Times. . Retrieved 2010-04-23. [11] 1997 DOMESTIC GROSSES (http:/ / www. boxofficemojo. com/ yearly/ chart/ ?yr=1997& p=. htm) [12] Simon Reynolds, " Knightley in talks for 'My Fair Lady' (http:/ / www. digitalspy. co. uk/ movies/ a97624/ knightley-in-talks-for-my-fair-lady. html)," Digital Spy (June 6, 2008). [13] Keira Knightley is My Fair Lady - ComingSoon.net (http:/ / www. comingsoon. net/ news/ movienews. php?id=45737) [14] Simon Reynolds, " Emma Thompson to write 'My Fair Lady' (http:/ / www. digitalspy. co. uk/ movies/ a112135/ emma-thompson-to-write-my-fair-lady. html)," Digital Spy (July 17, 2008). [15] Thadian News, September 25th 2008 (http:/ / www. thaindian. com/ newsportal/ south-asia/ clooney-pitt-at-daggers-drawn-over-role-in-my-fair-lady-remake_10099860. html)
Bibliography Lees, Gene (2005). The Musical Worlds of Lerner and Loewe. Publisher: Bison Books ISBN 080328040 Green, Benny, Editor (1987). A Hymn to Him : The Lyrics of Alan Jay Lerner. Hal Leonard Corporation. ISBN 0-87910-109-1 Lerner, Alan Jay (1985). The Street Where I Live. Da Capo Press. ISBN 0-306-80602-9
External links
My Fair Lady (http://www.imdb.com/title/tt0058385/) at the Internet Movie Database My Fair Lady (http://tcmdb.com/title/title.jsp?stid=84310) at the TCM Movie Database My Fair Lady (http://www.allrovi.com/movies/movie/v34019) at AllRovi My Fair Lady (http://www.boxofficemojo.com/movies/?id=myfairlady.htm) at Box Office Mojo My Fair Lady (http://www.rottentomatoes.com/m/1014503-my_fair_lady/) at Rotten Tomatoes
1965 The Sound of Music
310

The Sound of Music
Original poster by Howard Terpning
Directed by Produced by Written by Robert Wise Robert Wise Howard Lindsay Russel Crouse (Libretto) Maria von Trapp
(Autobiography)
Ernest Lehman Starring Julie Andrews Christopher Plummer Eleanor Parker Richard Haydn Richard Rodgers (music/lyrics) Oscar Hammerstein II (lyrics) Irwin Kostal (Score)
Music by
Cinematography Ted D. McCord Editing by Distributed by Release date(s) Running time Country Language Budget Box office William H. Reynolds 20th Century Fox March 2, 1965 (US) March 29, 1965 (UK) 174 minutes United States, Austria English $8.2 million
[1] [1]
$286,214,286
Rodgers and Hammerstein's The Sound of Music is a 1965 American musical film directed by Robert Wise and starring Julie Andrews and Christopher Plummer. The film is based on the Broadway musical The Sound of Music, with songs written by Richard Rodgers and Oscar Hammerstein II, and with the musical book written by the writing team of Howard Lindsay and Russel Crouse and screenplay written by Ernest Lehman. The musical originated with the book The Story of the Trapp Family Singers by Maria von Trapp. It contains many popular songs, including "Edelweiss", "My Favorite Things", "Climb Ev'ry Mountain", "Do-Re-Mi", "Sixteen Going on Seventeen", and "The Lonely Goatherd", as well as the title song. The movie version was filmed on location in Salzburg, Austria; Bavaria in Southern Germany; and at the 20th Century Fox Studios in California. It was photographed in 70mm Todd-AO format by Ted D. McCord. It won a total of five Academy Awards including Best Picture and displaced Gone with the Wind as the highest-grossing film of all-time. The cast album was also nominated for a Grammy Award for Album of the Year. In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry as it was deemed "culturally, historically, or aesthetically significant".
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Plot
Maria (Julie Andrews) is found in a pasture, exulting in the musical inspiration she finds there (The Sound of Music). Maria is a postulant in Nonnberg Abbey, where she is constantly getting into mischief and is the nuns' despair ("Maria"). Maria's life suddenly changes when a widowed Austrian Navy Captain, Georg von Trapp (Christopher Plummer) writes to the abbey asking for a governess for his seven children. Mother Abbess asks Maria to take the position on a probationary basis; previous governesses, though, have not lasted long. She is worried about what awaits her at the von Trapp household, but is determined to succeed ("I Have Confidence"). Maria, upon arrival at the von Trapp estate, finds that the Captain keeps it in strict shipshape order, blows a whistle, issues orders, and dresses his children in sailor-suit uniforms. While they are initially hostile to her, they warm to her when she comforts them during a thunderstorm (My Favorite Things). Liesl (Charmian Carr), the oldest, who is "Sixteen Going on Seventeen", sneaks into Maria's window after a secret meeting with a messenger boy, Rolfe (Daniel Truhitte). At first she is adamant that she "doesn't need a governess", but Maria offers to be her friend, and she acquiesces. Maria teaches them how to sing ("Do-Re-Mi") and to play, sewing playclothes for them from discarded drapes in her room. The Captain entertains a visit from a lady friend, Baroness Elsa Schroeder (Eleanor Parker), a wealthy socialite from Vienna, along with mutual friend Max Detweiler (Richard Haydn), who is intent on finding an obscure musical act to launch at the upcoming Salzburg Music Festival. The Captain becomes aware that Maria has been taking the children on picnics and bicycle rides, climbed trees with them, and taken them in a boat on the lake adjoining his estate. When the boat capsizes, Maria and all of the children (wearing their clothes made from the former curtains) fall into the water. The Captain turns his wrath on her and Maria begs him to pay attention to the children and love them, but he orders her to return to the abbey. When he discovers the children performing a reprise of "The Sound of Music" for the Baroness, he changes his mind. Maria has brought music back into his home, and he begs her to stay. Things get better at the household. She and the children perform a puppet show ("The Lonely Goatherd") that Max gave to them. He announces that he has entered the children in the Salzburg Festival; the Captain, however, forbids their participation. Maria and the children insist that he sing a song, knowing that he used to play and sing with a guitar, and he agrees ("Edelweiss"). At a soiree thrown in Baroness Schroeder's honor, eleven-year-old Kurt (Duane Chase) observes guests dancing the Laendler, and asks Maria to teach him the steps. The Captain cuts in and partners her in a graceful performance, culminating in a close clinch. At that moment, she breaks off and blushes. The children perform "So Long, Farewell" to say goodnight to the guests, receiving enthusiastic applause. The Baroness, jealous of Maria, convinces her to return to Nonnberg. Maria leaves the estate and returns to the abbey, where she keeps herself in seclusion until Mother Abbess gently confronts her, urging her to "Climb Ev'ry Mountain" in search of God's will for her. At this command, she returns to the von Trapp family, finding that the Captain is now engaged to the Baroness. However, he breaks off the engagement, realizing that he is in love with Maria. He meets Maria in his gazebo and they declare their love for each other ("Something Good"). The two wed in an elaborate ceremony at the Salzburg Cathedral, with many of Austria's elite, as well as the nuns from Nonnberg Abbey, in attendance. While the new couple is away on their honeymoon in Paris, Max grooms the children to perform in the Salzburg Music Festival, against the Captain's wishes. At the same time, Austria is annexed into the Third Reich in the Anschluss (actual date was March 12, 1938). When the Captain returns, he is informed that he must report as soon as possible to the Nazi Naval Headquarters in Bremerhaven, to accept a commission in the German Navy. He is opposed to Nazism, and stalls by insisting he must perform with his family that night in the Salzburg Festival, now politicized and showcased as a Nazi event under the patronage of Hans Zeller (Ben Wright), recently appointed as the Nazi Gauleiter. Zeller agrees, but orders the Captain to depart immediately after the performance. The
1965 The Sound of Music choreography of the final song, "So Long, Farewell", allows the family to leave slowly, a few at a time, and as the winners are announced, they flee. At first they hide in the abbey, but are discovered by Rolfe (who had joined the Nazi party), who threatens to shoot the Captain despite being visibly scared of having to do so. The Captain unsuccessfully attempts to persuade Rolfe to join them; he calls for his lieutenant instead, and the von Trapps flee again. The Nazis are unable to pursue them, as the nuns have removed the spark plug wires and ignition coils from their cars. The final shot shows the von Trapps climbing over the Alps into Switzerland, as "Climb Ev'ry Mountain", reprised by a choir, swells to a conclusion.
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Cast
Julie Andrews as Maria von Trapp, a free-spirited young Austrian woman, studying to become a nun. Due to her often singing and seeming somewhat out of place in the abbey, Mother Abbess sends her to the nearby city of Salzburg to be governess to the seven children of Captain von Trapp. Although initially hostile toward her, they come to love her through her introducing the joys of music and singing, and she develops a special relationship with Liesl, the eldest. Throughout the film, the Captain grows closer to both her and his children through the reintroduction of music, and she falls in love with him. Fearful of how returning his affections might seem in God's eyes (as she is the children's governess), she goes back to the abbey, but is convinced to return and see what her love might bring. Eventually, the Captain admits his feelings for her, and they marry. However, the Third Reich is taking power via the Anschluss, prompting her and her new family to leave Austria. Julie Andrews was famously nominated for the Academy Award for Best Actress, however, she lost it to another Julie: Julie Christie. Christopher Plummer as Captain Georg von Trapp, a veteran Austrian navy captain whose wife died, leaving behind their seven children. He extends his military background into raising them, at first represented as a strict disciplinarian. However, his attitude toward both the children and Maria softens considerably after she reintroduces music into the family. He is courting Baroness Elsa Schroeder throughout the film, and becomes engaged to her, but they call it off, and he proclaims his love to Maria, marrying her instead. He firmly believes in Austrian independence, proudly displaying the Austrian flag and tearing down the Nazi one, as well as refusing to join them. He, Maria, and the children leave Austria at the end of the film by crossing the Alps to Switzerland. His singing voice was dubbed by Bill Lee. Richard Haydn as Max Detweiler, a good friend of both the Baroness and the Captain, and an impresario. In searching Salzburg for talented singers, he finds what he wants in the von Trapp family, and constantly tries to convince the Captain to let him enter the children in the Salzburg Music Festival. He is also somewhat neutral when it comes to the Third Reich, seeking only to make a good and honest living regardless of who was in power. Although he doesn't like or approve of the Anschluss, he is more willing than the Captain to let it quietly take place. Nevertheless, due to their close friendship, he helps them escape during the festival at his own expense. Eleanor Parker as Baroness Elsa Schroeder, the Captain's lady friend from Vienna, and later fiance for a short period. She becomes jealous of Maria's talent, and convinces her to leave during a grand party at the house by exploiting her inner conflict about becoming a nun and her discomfort at the Captain's obvious affection towards her. He announces their engagement to the children, but she doesn't go over well with them. After Maria's return, he confesses to her that he is being unfair to her. Seeing the marriage wouldn't work, she gives her blessings to him and "No Way to Stop It" were not used in the film. Charmian Carr as Liesl von Trapp, the first and eldest child, sixteen ("going on seventeen"). She believes she doesn't need a governess at first, but soon comes to trust Maria. She is in love with a messenger named Rolfe, who delivers their telegrams. However, he changes after joining the Nazis, no longer caring for her. She seeks advice from Maria about this, who tells her to "wait a year or two" to find love. She is shocked to see that he is one of the search party, and begs him to stop and let them escape. Nicholas Hammond as Friedrich von Trapp, the second child, fourteen. He is very quiet and is also something of a gentleman, despite his involvement in the tricks against the previous governesses, which the children confess
1965 The Sound of Music were merely to get the Captain's attention. After Maria arrives, he tells her that he "is impossible" according to "Fraulein Josephine: four governesses ago". Heather Menzies as Louisa von Trapp, the third child, thirteen. She and Brigitta are often together, and she is a bit of a daydreamer. Her two favorite tricks on governesses are to fill their beds with spiders and pretend that she is one of the other girls, such as Brigitta. Duane Chase as Kurt von Trapp, the fourth child, eleven. He often tries to act manly and is outspoken against the previous governesses and often questions Maria about things, once trying to learn an Austrian folk dance. Angela Cartwright as Brigitta von Trapp, the fifth child, ten. She is very sharp-witted, honest, somewhat nonconformist, and not afraid to speak her mind about things (e.g., Maria's dress being ugly). Brigitta also reads books as she first appears. Debbie Turner as Marta von Trapp, the sixth child, seven. She gets along well with Maria, sharing her love of pink and being the first to like her. She once mentions a pink parasol as her birthday gift. Kym Karath as Gretl von Trapp, the seventh and youngest child, five. She speaks very little, and is often shy. As the other children tell Maria to adopt questionable behaviors and practices, she tells her, as her first phrase in the film, "Don't you believe a word they say, Fraulein Maria, because I like you." In real life, she could not swim. When the boat capsized in the water, she had to be lifted up by a couple of people that were hidden under it. During one rehearsal, she threw up after swallowing some of the water. Peggy Wood as Mother Abbess, the head of Nonnberg Abbey, who convinces Maria to leave there and explore life as a governess for a while. When she returns, she has her explain why she left and realizes she is in love, and convinces her to return and face her problems, to see what might come of this love. This proves to be good advice, as she later marries the Captain. Mother Abbess also shelters her and her family while they are hiding from the Nazis and helps them escape to Switzerland. Peggy Wood was nominated for Best Supporting Actress at the Oscars for her performance. Her singing voice was dubbed by Margery McKay. She is often referred to by the other nuns as 'The Reverend Mother'. Anna Lee as Sister Margaretta, a nun who looks fondly on Maria. She, as well as Sister Berthe, helps her to escape by sabotaging the cars of the Gauleiter and his soldiers. Portia Nelson as Sister Berthe, a nun who doesn't believe Maria belongs in the abbey; she nevertheless helps her escape by sabotaging the cars of the Gauleiter and his soldiers. Marni Nixon as Sister Sophia. She appeared on screen first telling her opinion to the nuns about Maria and then singing for herself. She was cast in the role by director Robert Wise. In the DVD commentary to the film, he comments that audiences were finally able to see the woman whose voice they knew so well. Daniel Truhitte as Rolfe, a messenger who is in love with Liesl. The two become estranged after his enthusiasm for the Nazi cause leads him to forsake Liesl, partly as he realises that her father does not support Adolf Hitler's Third Reich and thus has no regard for him. He subtly warns the von Trapps about the danger they face for not obeying the summons of the Reich. At the end, though he pulls a gun on Captain von Trapp, he does not have the nerve to shoot him. Ben Wright as Herr Zeller, Gauleiter, an enthusiast for the Third Reich and the Anschluss, and the main antagonist of the film. He is oppositional against the Captain as early on as the party held for the Baroness. After the Anschluss he is appointed Gauleiter of the region and informs Max that Georg will be expected to take up his 'proper position in the new order', which, we later find out, is to serve in the German Navy. Through the intervention of the abbey and the festival, the von Trapps ultimately elude his grasp. The famous marionette puppet sequence for the song "The Lonely Goatherd" was produced and performed by the leading puppeteers of the day, Bil Baird and Cora Eisenberg-Baird.
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314
Production
Darryl and Richard D. Zanuck originally asked Robert Wise to do the film, but he turned it down because it was "too saccharine". They then approached Stanley Donen, Vincent Donehue, Gene Kelly, and George Roy Hill, but they all turned it down.[2] Zanuck next asked William Wyler to direct the film. Because he was suffering from a loss of hearing that affected his ability to appreciate music fully, Wyler felt he was the wrong man for the job, but he agreed to fly to New York and see the Broadway production. Feeling many of the songs did not evolve organically from the plot, he remained undecided and wrote to the producer of Die Trapp-Familie, a 1956 non-musical film about the von Trapps starring famous German screen star Ruth Leuwerik, to ask his advice. "This cannot fail," he responded, and Wyler accepted the assignment.[3] Wyler had seen the original Broadway production of My Fair Lady and had been impressed by Julie Andrews, who was in the process of filming Mary Poppins. He met with her on the set and asked Walt Disney if he could see some of the dailies. Convinced she was perfect for the role of Maria, he signed her to a contract.[3] Wyler returned to New York and met with Maria von Trapp, then he and screenwriter Ernest Lehman and their wives flew to Austria to begin scouting locations in the Tyrolean Alps. There they visited the convent where von Trapp had been a novice, and Wyler discussed the possibility of filming scenes there with the Mother Superior. He then met with the mayor of Salzburg. Wyler was concerned that the presence of a film crew shooting German troops parading before buildings draped with the Nazi flag would be a harsh reminder of the Anschluss for those who had experienced it. The mayor assured him the residents had managed to live through it the first time and would survive it again.[3] Wyler returned to Hollywood and began pre-production work on the film, but his wife realized his heart clearly was not in it. Then he was approached by Jud Kinberg and John Kohn, neophyte film producers who had purchased the rights to the John Fowles novel The Collector prior to its publication. They had a commitment from Terence Stamp to star in the film and a first draft screenplay by Stanley Mann. Wyler was impressed with the script and, feeling an affinity with the project he did not with The Sound of Music, he asked the Zanucks to release him from his contract. They agreed, and Robert Wise, who became available due to delays in production of The Sand Pebbles, was hired to replace Wyler.[2][3]
Historical accuracy
Both the musical and the film present a history of the von Trapp family, albeit one that is not completely accurate. The following are examples of the dramatic license taken by the filmmakers: 1. Georg Ludwig von Trapp was indeed anti-Nazi and opposed to the Anschluss, and lived with his family in a villa in a district of Salzburg called Aigen; however, the residence depicted in the film greatly exaggerated their standard of living. Georg had lost most of the family fortune, inherited from his first wife Agathe Whitehead, in a failed Austrian bank, leaving the von Trapps virtually bankrupt. 2. Georg is referred to as Baron von Trapp but his actual title was "Ritter" (German for "knight"). Ritter is a hereditary knighthood closer to the British "baronet" than "baron". Furthermore, the Austrian nobility was legally abolished in 1919, so the use of the title was only by courtesy. 3. Maria had been hired only to be a tutor to young Maria Franziska ("Louisa" in the movie), who had come down with scarlet fever and needed her lessons at home. 4. Maria and Georg were married in 1927, not in 1938 as depicted in the film. The couple had been married for 10 years before the Anschluss and had two of their three children together before that time. 5. Georg had been offered a position in the Kriegsmarine but this occurred before the Anschluss. He was being heavily recruited by the Nazis because he had extensive experience with submarines and Germany was looking to expand its fleet of U-boats. Unlike in the film, Georg seriously pondered the offer before turning it down. His family was in desperate financial straits and he had no other marketable skills other than his training as a naval
1965 The Sound of Music officer. He eventually decided that he could not serve a Nazi regime. Rather than threaten arrest, the Nazis actually continued to try to woo him. Georg was never in serious danger of being arrested by the Nazis. He had turned down the Kriegsmarine commission before the Nazis had taken over Austria so they could not have arrested him even if they had wanted. In fact, he and the family visited Austria again and stayed for several months in 1939 before leaving again for good without incident. This was nearly a year after their emigration and after the Anschluss when the Nazis could have easily detained him. The Anschluss occurred in March, and the Salzburg Music Festival is held in June; therefore, the family could not have escaped after their festival performance before the borders closed. The bell cord on the real Nonnberg Abbey is strictly a prop and rings nothing. The nuns liked it anyway and asked that it be left by the film crew. The film shows the von Trapp family hiking over the Alps from Austria to Switzerland, but from Salzburg this would be impossible. Salzburg is only a few kilometers away from the AustrianGerman border and is much too far from either the Swiss or Italian borders for a family to reach by walking. In fact, a hike over the mountain from Salzburg would put them in the German town of Berchtesgaden and virtually within sight of Hitler's vacation cottage at Obersalzberg.
315
6.
7. 8. 9.
10. The Trapp family simply walked to the local train station and boarded a train to Italy. Being born in the Dalmatian city of Zara, which had been part of Austria but fell to Italy after World War I, he could claim Italian citizenship. From Italy, they traveled to London and, ultimately, the United States.[4] 11. Friedrich (the second oldest child in the film version) was based on Rupert, the oldest of the real von Trapp children. Liesl (the oldest child in the film) was based on Agathe von Trapp, the second oldest in the real family. The names and ages of the children were changed, in part because the third child (who would be portrayed as "Louisa") was also named Maria. 12. The film was largely filmed in the city and county of Salzburg and Upper Austria, including sites such as Nonnberg Abbey, and St. Peter Cemetery. Leopoldskron Palace, Frohnburg Palace, and Hellbrunn Palace were some of the locations used for the Trapp estate in the film. The opening scene and aerial shots were filmed in Anif (Anif Palace), Mondsee, and Salzkammergut (Fuschl am See, St. Gilgen and Saint Wolfgang).[5] Hohenwerfen Castle served as the main backdrop for the song "Do-Re-Mi". At the Mirabell Gardens in Salzburg, Maria and the children sing "Do-Re-Mi", dancing around the horse fountain and using the steps as a musical scale.
Songs
Original Soundtrack
Chart Year Peak position
UK Albums Chart
[6] 1965 1 1966 1967 1968
All songs have music by Richard Rodgers and lyrics by Oscar Hammerstein II unless otherwise noted. Instrumental underscore passages were adapted by Irwin Kostal. 1. "Prelude and The Sound of Music"
1965 The Sound of Music 2. "Overture" (Main Titles, consisting of "The Sound of Music", "Do-Re-Mi", "My Favorite Things", "Something Good" and "Climb Ev'ry Mountain") segu into the Preludium 3. "Preludium: Dixit Dominus", "Morning Hymn" (Rex admirabilis and Alleluia, based on traditional songs) 4. "Maria" 5. "I Have Confidence" (@ 18:04) (lyrics and music by Richard Rodgers) 6. "Sixteen Going on Seventeen" (@ 37:22) 7. "My Favorite Things" (@ 47:42) 8. "Salzburg Montage" (instrumental underscore based on "My Favorite Things") 9. "Do-Re-Mi" (@ 54:55) 10. "The Sound of Music" (reprise) 11. "The Lonely Goatherd" (@ 1:15:38) 12. "Edelweiss" (@ 1:21:36) 13. "The Grand Waltz" (instrumental underscore, based on "My Favorite Things") 14. "Lndler" (instrumental based on "The Lonely Goatherd") 15. "So Long, Farewell" (@ 1:29:43) 16. "Processional Waltz" (instrumental underscore) 17. "Goodbye Maria/How Can Love Survive Waltz" (instrumental underscore, incorporating "Edelweiss" and the deleted song "How Can Love Survive?") 18. "Edelweiss Waltz" (instrumental, Act 1 Finale, based on "Edelweiss") 19. "Entr'acte" (instrumental, consisting of "I Have Confidence", "So Long, Farewell", "Do-Re-Mi", "Something Good" and "The Sound of Music") 20. "The Sound of Music" (Sad Reprise Incomplete) 21. "Climb Ev'ry Mountain" 22. "My Favorite Things" (reprise) 23. "Something Good" (lyrics and music by Rodgers) 24. "Processional" (instrumental) and "Maria" 25. "Sixteen Going On Seventeen" (reprise) 26. "Do-Re-Mi" (Salzburg Folk Festival reprise) 27. "Edelweiss" (Salzburg Folk Festival reprise) 28. "So Long, Farewell" (Salzburg Folk Festival reprise) 29. "Climb Ev'ry Mountain" (reprise) 30. "End Titles" "Edelweiss", thought by some to be a traditional Austrian song or even the Austrian national anthem, was written expressly for the musical by Rodgers and Hammerstein. Originally unknown in Austria, it has been promoted heavily there ever since, especially in Salzburg. The songs "How Can Love Survive?", "An Ordinary Couple", and "No Way to Stop It" were not used in the film version. The omission of those songs had to be approved through Richard Rodgers. There were four extra children singing with the main ones to add more effect to their voices, including Darleen Carr, Charmian Carr's younger sister. However, these were uncredited. Darleen Carr sang Kurt's high voice, during the reprise and "sad" versions of the title song, as well as the high "Bye" in the song "So Long, Farewell", and later for Gretl in its reprise towards the end of the film.
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Release
Theatrical
The film premiered March 2, 1965, in the United States, briefly displacing Gone with the Wind as the highest-grossing film of all-time;[7] taking re-releases into account, it ultimately grossed $286 million internationally.[1] Adjusted to contemporary prices it is the third highest-grossing film of all-time at the North American box office, behind Gone with the Wind and Star Wars.[8] The soundtrack album on the RCA Victor label has sold over 11 million copies worldwide, and has never been out of print. The soundtrack album was included in the stockpile of records held in 20 underground radio stations of Great Britain's Wartime Broadcasting Service, designed to provide public information and morale-boosting broadcasts for 100 days after a nuclear attack.[9][10] Despite the enormous popularity of the movie, most critics were unimpressed.[11] Walter Kerr of the New York Herald Tribune had written the one negative review of the stage musical by calling it "not only too sweet for words but almost too sweet for music"; similarly, noted film critic Pauline Kael blasted the film by calling it "the sugar-coated lie people seem to want to eat," and "we have been turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs."[12] This review allegedly led to Kael's dismissal from McCall's magazine.[12][13] Controversy surrounded the film's release in Germany and Austria, where the film had to compete with the much-loved Die Trapp-Familie (1956), which provided the original inspiration for the Broadway musical, and its sequel Die Trapp-Familie in Amerika (1958), which are regarded in German-speaking Europe as the authoritative von Trapp story. According to a 1994 documentary titled From Fact to Phenomenon: The Real Story of the von Trapp Family Singers, which was narrated by Claire Bloom and included on the 30th Anniversary Laserdisc box set of the film, "...the film's Nazi overtones brought about the unauthorized cutting of the entire third act," which begins directly after Maria's wedding to the Captain and contains images of post-Anschluss Austria. This version, ending at the church altar, did passably well at the box office, but when the American studio forced the third act to be restored to the German release, audience attendance plummeted. Austrian filmgoers in particular resented the way Naziism in their country was depicted. Other offenses in the Austrians' eyes were the way the family's kindly manager, Father Wasner, was transformed into a sleazy huckster; changing the family's genre of music into show tunes; and a contrived (and fictional) climactic flight over the mountains to Switzerland, which does not border Salzburg. As a result, in Austria and Germany the movie is widely ignored.[14] The Sound of Music is credited as the film that saved 20th Century Fox, after high production costs and low revenue for Cleopatra nearly bankrupted the studio.[13]
Television and home video

The first American television airing was on ABC on February 29, 1976 to record ratings. The film wasn't seen on TV again until NBC acquired the broadcast rights. NBC's first telecast of the film was on February 11, 1979.[15] NBC continued to air it annually for twenty years, often preempting regular programming. During most of its run on NBC, the film was heavily edited to fit a three-hour time slot (approximately 140 minutes without commercials). The 30 minutes of edits, which bewildered those familiar with the complete film included: portions of the "Morning Hymn/Alleluia", sung by the nuns; part of dialogue scene in abbey between Mother Abbess and Maria; part of Liesl and Rolf's dialogue preceding "Sixteen Going on Seventeen"; Liesl's verse of "Edelweiss" sung with the Captain; the Captain and Baroness waltzing at the party, and many more dialogue cuts within existing scenes. Starting in 1995, the movie aired in an uncut form on NBC (on April 9, 1995, minus the entr'acte). Julie Andrews hosted the four-hour telecast which presented the musical numbers in a letterbox format. As the film's home video availability cut into its TV ratings, NBC let their contract lapse at the turn of the 21st century. In 2001 it had a one time airing on the Fox network, again in its heavily-edited 140-minute version. Since 2002 it has aired on ABC
1965 The Sound of Music (generally between Christmas and New Years), and periodically (generally around Easter and other holidays) on its sister cable network, ABC Family, where its most recent runs have been the full version in a four-hour time slot, complete with the entr'acte. ABC first broadcast an HD resolution version on December 28, 2008. Canada's CTV also put the movie in a four hour time slot broadcast during the holidays. In the UK, the first television airing was on BBC1, on Christmas Day, 1978 at 4.20pm. The film has been released on VHS, Laserdisc, and DVD numerous times. It made its DVD debut on August 29, 2000 in commemoration of its 35th Anniversary. The film is often included in box sets with other Rodgers & Hammerstein film adaptations. A 40th anniversary DVD, with "making of" documentaries and special features, was released in 2005. The film made its debut issue on Blu-ray Disc on November 2, 2010, for its 45th anniversary.[16][17] For the Blu-ray release, the original 70mm negatives were rescanned at 8k resolution, giving the most detailed copy of the film seen thus far.
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Sing-A-Long Sound of Music

Sing-A-Long Sound of Music revival screenings began in London, where the audience was encouraged to sing along to lyrics superimposed on the screen. Following a successful run there, the film began a successful run in New York in 2000.[18] Audiences would dress in costume and hold contests at screenings. The revival continued to tour globally following the New York run.
Accolades
Academy Awards
The film was nominated for ten Academy Awards, winning in five categories.[19] Best Picture (Won) Best Director Robert Wise (Won) Best Actress in a Leading Role Julie Andrews (Nomination) Best Actress in a Supporting Role Peggy Wood (Nomination) Best Art Direction (Nomination) Best Costume Design (Nomination) Best Sound (James Corcoran, Fred Hynes) (Won) Best Scoring of Music Adaptation or Treatment (Won) Best Cinematography (Nomination) Best Film Editing (Won)
Golden Globe Awards

Nominated for four categories, winning in two [20] Best Motion Picture Musical or Comedy (Won) Best Actress in a Motion Picture Musical or Comedy Julie Andrews (Won) Best Director of a Motion Picture (Nomination) Best Supporting Actress in a Motion Picture Peggy Wood (Nomination)
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AFI recognition
It has been in included in numerous "Top 100" lists from the American Film Institute including: AFI's 100 Years...100 Movies No. 55 AFI's 100 Years...100 Passions No. 27 AFI's 100 Years...100 Heroes and Villains: Maria Von Trapp Nominated Hero[21] AFI's 100 Years...100 Songs: "The Sound of Music" No. 10 "My Favorite Things" No. 64 "Do-Re-Mi" No. 88 AFI's 100 Years...100 Cheers No. 41 AFI's 100 Years of Musicals No. 4 AFI's 100 Years...100 Movies (10th Anniversary Edition) No. 40
Legacy
Every year starting in 2005, the Hollywood Bowl in Los Angeles holds an annual Sound of Music sing-a-long, where the film is played with lyrics underneath the screen. The real Von Trapp children and the actors who played them in the film have made appearances at this event. Called "The Rocky Horror Picture Show on Prozac", it has sold out every year since its inception. The song "The Sound of Music" was used in the movie Moulin Rouge!, in the green fairy sequence featuring Kylie Minogue, who later used the recording in her 2002 and 2009 tours. On October 28, 2010, both Julie Andrews and Christopher Plummer who portrayed the Captain and Maria, and the seven former child stars from the film appeared together for the first time since the film's release on The Oprah Winfrey Show during the final season, in honor of the film's 45th anniversary.
References
[1] "The Sound of Music" (http:/ / www. the-numbers. com/ movies/ 1965/ 0SOMU. php). The Numbers. Nash Information Services. . Retrieved April 26, 2011. [2] Classic American films: conversations with the screenwriters. William Baer. 2008: Greenwood. [3] Herman, Jan, A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director. New York: G.P. Putnam's Sons 1995. ISBN 0-399-14012-3, pp. 419422 [4] Gearin, Joan (Winter 2005). "Movie vs. Reality:The Real Story of the von Trapp Family" (http:/ / www. archives. gov/ publications/ prologue/ 2005/ winter/ von-trapps. html). Prologue (National Archives and Records Administration) 37 (4). . Retrieved April 2, 2008. [5] "The Sound of Music-shooting locations" (http:/ / www2. salzburg. info/ soundofmusic_462. htm). 2007. . Retrieved December 30, 2007. [6] "Chart Stats Original Soundtrack The Sound of Music" (http:/ / www. chartstats. com/ release. php?release=36250). chartstats.com. . Retrieved June 3, 2011. [7] Thomas, Bob (November 23, 1969). "'Sound of Music' Sound Finance". Pittsburgh Post-Gazette: p. 22 (http:/ / news. google. com/ newspapers?id=An5IAAAAIBAJ& sjid=32wDAAAAIBAJ& pg=7175,3623930). [8] "All Time Box Office Adjusted For Ticket Price Inflation" (http:/ / boxofficemojo. com/ alltime/ adjusted. htm). Box Office Mojo. . Retrieved April 2, 2008. [9] Hellen, Nicholas (July 11, 1999). "Julie Andrews to sing to Brits during nuclear attack". The Sunday Times. [10] Article noting that the BBC had The Sound of Music materials ready for broadcast in case of nuclear attack (http:/ / www. btinternet. com/ ~pdbean/ threads. html) [11] Griffith, Richard; Arthur Mayer and Eileen Bowser (1981). The Movies. Simon and Schuster. [12] Tucker, Ken (February 9, 1999). "A Gift for Effrontery" (http:/ / www. salon. com/ bc/ 1999/ 02/ 09bc. html). Salon.com. . Retrieved April 3, 2008. [13] Purdum, Todd (June 1, 2005). "'The Sound of Music':40 years of unstoppable success" (http:/ / www. iht. com/ articles/ 2005/ 05/ 31/ features/ music. php). International Herald Tribune. . Retrieved April 3, 2008. [14] Dassanowsky, Robert Von (2003). "An Unclaimed Country: The Austrian Image in American Film and the Sociopolitics of The Sound of Music" (http:/ / www. brightlightsfilm. com/ 41/ soundofmusic. htm). Bright Lights Film Journal 41. . Retrieved April 7, 2007.

[15] "Chaos in Television" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,948438,00. html). TIME. March 12, 1979. . Retrieved April 2, 2008. [16] Calogne, Juan (August 31, 2010). "The Sound of Music Blu-ray announced" (http:/ / www. blu-ray. com/ news/ ?id=5065). Blu-ray.com. . Retrieved November 16, 2010. [17] Smotroff, Mark. "HomeTechTell Review: The Sound of Music 45th Anniversary Blu-ray" (http:/ / www. technologytell. com/ hometech/ 84487/ hometechtell-review-the-sound-of-music-45th-anniversary-blu-ray/ ). Hometechtell. technologytell.com. . Retrieved March 29, 2012. [18] Styaff report (September 7, 2000). Crowds Turn Out for Opening of 'Sing-a-Long Sound of Music' in NYC. (http:/ / www. playbill. com/ news/ article/ 55250-Crowds-Turn-Out-for-Opening-of-Sing-a-Long-Sound-of-Music-in-NYC) Playbill [19] "The 38th Academy Awards (1966) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 38th-winners. html). oscars.org. . Retrieved 2011-08-24. [20] http:/ / www. imdb. com/ title/ tt0059742/ awards [21] "AFI's 100 Years 100 Heroes and Villains" (http:/ / www. afi. com/ Docs/ 100Years/ handv400. pdf) (PDF). American Film Institute. 2005. . Retrieved December 28, 2011.
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Bibliography
Hirsch, Julia Antopol (1993). The Sound of Music: The making of America's favorite movie. Chicago: Contemporary Books. ISBN0-8092-3837-3. Maslon, Laurence (2007). The Sound of Music Companion. New York: Fireside. ISBN1-4165-4954-4.
External links
The Sound of Music (http://www.imdb.com/title/tt0059742/) at the Internet Movie Database The Sound of Music (http://tcmdb.com/title/title.jsp?stid=90931) at the TCM Movie Database The Sound of Music (http://www.allrovi.com/movies/movie/v45745) at AllRovi The Sound of Music (http://www.boxofficemojo.com/movies/?id=soundofmusic.htm) at Box Office Mojo The Sound of Music (http://www.rottentomatoes.com/m/sound_of_music/) at Rotten Tomatoes 'The Sound of Music' history at RNH (http://www.rnh.com/show/95/The-Sound-of-Music) Original NY Times review (http://movies.nytimes.com/movie/ review?res=9804E4DF153CE733A25750C0A9659C946491D6CF) The Sound of Music album (http://www.discogs.com/master/89158) at Discogs (list of releases) The Sound Of Music : Salzburg 19642011 (http://the.sound.of.music.1964-2011.over-blog.com/)
1966 A Man for All Seasons
321

A Man for All Seasons
Original film poster by Howard Terpning
Directed by Produced by Written by Starring Fred Zinnemann Fred Zinnemann Robert Bolt Paul Scofield Wendy Hiller Leo McKern Orson Welles Robert Shaw Susannah York Georges Delerue
Music by
Cinematography Ted Moore Editing by Studio Distributed by Release date(s) Running time Country Language Budget Ralph Kemplen Highland Films Columbia Pictures
12 December 1966 (US)
120 minutes United Kingdom English $2 million

[1]
A Man for All Seasons is a 1966 film based on Robert Bolt's play A Man for All Seasons about Sir Thomas More. It was released on 12 December 1966. Paul Scofield, who had played More in the West End stage premiere, also took the role in the film. It was directed by Fred Zinnemann, who had previously directed such films as High Noon and From Here to Eternity. The film won six Academy Awards, including Best Picture and Best Actor.
Title
The title reflects playwright Bolts portrayal of More as the ultimate man of conscience and as remaining true to his principles and religion under all circumstances and at all times. Bolt borrowed the title from Robert Whittington, a contemporary of More, who in 1520 wrote of him: More is a man of an angel's wit and singular learning. I know not his fellow. For where is the man of that gentleness, lowliness and affability? And, as time requireth, a man of marvelous mirth and pastimes, and sometime of as sad gravity. A man for all seasons.[2][3]
Premise
Sir Thomas More was the 16th-century Lord Chancellor of England who refused to sign a letter asking Pope Clement VII to annul the King's marriage to Catherine of Aragon and resigned rather than take an Oath of Supremacy declaring the King the Supreme Head of the Church of England. The King is Henry VIII of England and his wife is Catherine of Aragon, the first of Henry's eventual six wives. Both the play and the film portray More as a tragic hero, motivated by his devout Roman Catholic faith and envied by rivals, such as Thomas Cromwell. He is
1966 A Man for All Seasons also deeply loved by his family and respected by the common people.
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Plot
The film opens with Cardinal Wolsey summoning Sir Thomas More to his palace at Hampton Court. Desiring his support in obtaining a divorce from the Pope so that Henry VIII of England can marry Anne Boleyn, Wolsey chastises More for being the only member of the Privy Council to argue against him. When More states that the Pope will never grant a divorce, he is scandalised by Wolsey's suggestion that they apply "pressure" in order to force the issue. More refuses to support continued efforts to secure an annulment for Henry VIII from the Pope as legal and religious options having been exhausted, provide no grounds for the Pope to issue an annulment. Returning by a River Thames ferry to his estate at Chelsea, More finds Richard Rich, a young acquaintance from Cambridge waiting by the dock for his return. An ambitious young man, who is drawn to the allure of power, Rich pleads with More for a position at Court, but More, citing the various corruptions there, advises him to become a teacher instead. Entering the house, More finds his daughter Meg with a young Lutheran named William Roper, who announces his desire to marry her. More, a devout Catholic, announces that his answer is "no" as long as Roper remains a heretic. Shortly afterwards, Wolsey dies, banished from Court in disgrace, having failed to coerce a divorce from the Pope. King Henry appoints More as Lord Chancellor of England. Soon after, the King makes an "impromptu" visit by barge at More's home in Chelsea to inquire about his divorce. Sir Thomas, not wishing to admit that his conscience forbids him to dissolve what he considers a valid marriage, remains unmoved as the King alternates thinly-veiled threats with promises of unbounded Royal favour. When More finally refers to Catherine as "the Queen," the King explodes into a raging tantrum. Storming off in a huff, King Henry returns to his barge and orders the oarsmen to cast off. His courtiers are left to run through the mud and into the river to catch up as the King laughs hysterically at their predicament. At the embankment, Rich is approached by Thomas Cromwell, a member of Henry's court and political adversary of More. Cromwell subtly inquires whether Rich has information that could damage More's reputation, in exchange for a position at Court. Roper, learning of More's quarrel with the King, reveals that his religious opinions have altered considerably. He declares that by attacking the Catholic Church, the King has become "the Devil's minister." An alarmed More admonishes him to be more guarded as Rich arrives, pleading again for a position at Court. When More again refuses, Rich denounces More's steward as a spy for Cromwell. Now, More and his family, including wife Alice learn the ugly truth: Rich is being manipulated by Cromwell to spy on him. As a humiliated Rich leaves, More's family pleads with him to have Rich arrested. More refuses, stating that Rich, while dangerous, has broken no law. Still seeking a position at Court, Rich enlists Cromwell's patronage and joins him in attempting to bring down More. Henry, tired of awaiting for an annulment from the Vatican, redefines the Catholic Church in England by declaring himself "Supreme Head of the Church in England." He demands that both the bishops and Parliament renounce all allegiance to the Holy See. More quietly resigns his post as Chancellor rather than accept the new order. As he does so, his close friend, Thomas Howard, 3rd Duke of Norfolk, attempts to draw his opinions out as part of a friendly chat with no witnesses present. More, however, knows that the time for speaking openly of such matters is over. The King will not be appeased. He demands that More attend his wedding to Anne Boleyn. More refuses and is summoned again to Hampton Court, now occupied by Cromwell. More is interrogated on his opinions but refuses to answer, citing it as his right under English Law. Cromwell angrily declares that the King now views him as a traitor. More returns home and is met by his daughter. Meg informs him that a new oath about the marriage is being circulated and that all must take it on pain of high treason. Initially, More says he would be willing to take the oath, provided it does not conflict with his principles. One issue for More is that the King cannot declare himself to be the head of the Catholic Church as the head of the Catholic Church is the Pope. However, an expert in the law, More
1966 A Man for All Seasons knows that if he does not state why he is opposed to taking the oath, he cannot be considered a traitor to the King; More refuses to take the oath and is imprisoned in the Tower of London regardless. In spite of the bullying tactics of Cromwell, the subtle manipulation of Archbishop Thomas Cranmer and the pleadings of both Norfolk and his family, More remains steadfast in his refusal to take the oath. When he is finally brought to trial, he remains silent until after being convicted of treason on the perjured testimony of Richard Rich. He is then informed that Rich has been promoted to Attorney General for Wales as a reward. Now having nothing left to lose, More angrily denounces the illegal nature of the King's actions, citing the Biblical basis for the authority of the Papacy over Christendom. He further declares that the immunity of the Church from State interference is guaranteed both in Magna Carta and in the King's own Coronation Oath. As the spectators scream in protest, More is condemned to death. A narrator intones the epilogue. Thomas More's head was stuck on Traitor's Gate for a month. Then his daughter, Margaret, removed it and kept it 'til her death. Cromwell was beheaded for high treason five years after More. The Archbishop was burned at the stake. The Duke of Norfolk should have been executed for high treason but the King died of syphilis the night before. Richard Rich became Chancellor of England and died in his bed.
323
Adaptation
Robert Bolt adapted the screenplay himself. The running commentary of The Common Man was deleted and the character was divided into the roles of the Thames boatman, More's steward, an innkeeper, the jailer from the Tower, the jury foreman and the executioner. The subplot involving the Spanish ambassador, Eustace Chapuys, was also excised. A few minor scenes were added to the play, for instance Wolsey's death, More's investiture as Chancellor, and the King's wedding to Anne Boleyn, in order to cover narrative gaps left by the exclusion of the Common Man. For obvious reasons, the Brechtian staging of the final courtroom scene (which depicted the Jury as consisting of the Common Man and several sticks bearing the hats of the various characters he has played) is changed to a more realistic setting. Also, while the Duke of Norfolk was the judge both historically and in the play's depiction of the trial, the character of the Chief Justice (Jack Gwillim) was created for the film. Norfolk is still present, but plays little role in the proceedings. Zinneman uses light in an interesting way throughout the film. Regardless of the time of day, Mores home is always shown in full daylight, whereas in contrast other places are seen in the dark of night. This contrast of light is often jarring. For example, the film opens with a courier delivering a message to More. The courier travels in darkness up to the wall surrounding Mores estate. Once the courier enters the estate, he finds himself in the full light of day. More travels home in darkness and pre-dawn light, only to find full daylight once he's on his estate. In another scene More and his family members go to bed with daylight streaming in through the bedroom windows. Light is also used to capture moods: the kings trip to and from Mores estate and the kings wedding take place on bright sunny days, plotting against More takes place on a cold snowy day, Mores execution takes place on a cloudy overcast day, Wolsey's death is presaged by a foggy day, and the passage of time is shown by the changing seasons.
324
Cast
Paul Scofield as Sir Thomas More Wendy Hiller as Alice More Leo McKern as Thomas Cromwell Robert Shaw as Henry VIII Orson Welles as Cardinal Wolsey Susannah York as Margaret More Nigel Davenport as The Duke of Norfolk John Hurt as Richard Rich Corin Redgrave as William Roper (the Younger) Colin Blakely as Matthew Cyril Luckham as Archbishop Thomas Cranmer Jack Gwillim as Chief Justice Vanessa Redgrave as Anne Boleyn
Production
The producers initially feared that Paul Scofield was not a big enough name to draw in audiences, so the producers approached Richard Burton, who turned down the part. Laurence Olivier was also considered, but Fred Zinnemann demanded that Scofield be cast. Alec Guinness was the studio's first choice to play Cardinal Wolsey, and Peter O'Toole was the first choice to play Henry VIII. Richard Harris was also considered. Bolt wanted film director John Huston to play Norfolk, but he refused. Vanessa Redgrave was originally to have played Margaret, but she had a theatre commitment. She agreed to a cameo as Anne Boleyn on the condition that she not be billed in the part or mentioned in the previews. To keep the budget at under $2 million, the actors all took salary cuts. Only Scofield, York and Welles were paid salaries exceeding 10,000. For playing Rich, his first major film role, John Hurt was paid 3,000. Vanessa Redgrave appeared simply for the fun of it and refused to accept any money. Leo McKern had played the Common Man in the original West End production of the show, but had been shifted to Cromwell for the Broadway production. He and Scofield are the only members of the cast to appear in the both the stage and screen versions of the story. Vanessa Redgrave did appear as Alice in a 1988 remake.
Awards and acclaim

The film was a box office success, making $28,350,000 in the US alone,[4] making it the fifth highest grossing film of 1966. Scofield's performance was particularly acclaimed and he won the Best Actor Oscar. The film also won Academy Awards for Best Adapted Screenplay, cinematography, costume design, Best Director, and Best Picture. It was also nominated for Best Supporting Actor for Shaw and Best Supporting Actress for Hiller. The film also helped launch the career of the then-unknown Hurt. The film's win for Best Picture Oscar defeated another heavy nominee Who's Afraid of Virginia Woolf? which earned 13 nominations, almost twice the winning picture's total nominations alone. The film won five BAFTA Awards for Best Film from any Source, Best British Film, Best Photography (Ted Moore), Best Production design (John Box) and Best Actor (Scofield). It has received positive reviews from modern film critics, with an 86% approval rating in review aggregator Rotten Tomatoes and the site's consensus being: "Solid cinematography and enjoyable performances from Paul Scofield and Robert Shaw add a spark to this deliberately paced adaptation of the Robert Bolt play."[5] It's also ranked number 43 on the British Film Institute's list of the top 100 British films.
325
Notes
[1] IMDb: Box office for A Man for All Seasons (1966) (http:/ / www. imdb. com/ title/ tt0060665/ business) Retrieved January 1, 2012 [2] Whittinton, R. in The Vulgaria of John Stonbridge and the Vulgaria of Robert Whittinton (http:/ / books. google. com. au/ books?id=FbtZAAAAMAAJ& q=all+ seasons#search_anchor), ed Beatrice White, Kraus Reprint, 1971, at Google Books. Accessed 10 March 2012. [3] Cited by O'Connell, M. in A Man for all Seasons: an Historian's Demur (http:/ / www. catholiceducation. org/ articles/ politics/ pg0078. html) from Catholic Dossier 8 No. 2 (March-April, 2002), pp. 16-19, at Catholic Education Resource Center (Canada and U.S.A.) [4] "A Man For All Seasons, Box Office Information" (http:/ / www. the-numbers. com/ movies/ 1966/ 0MFAS. php). The Numbers. . Retrieved April 16, 2012. [5] A Man for All Seasons (http:/ / www. rottentomatoes. com/ m/ 1013162-man_for_all_seasons/ ). Rotten Tomatoes. Flixter. Retrieved 10 August 2012.
References
Film Script (http://www.script-o-rama.com/movie_scripts/m/man-for-all-seasons-script.html)
External links
A Man for All Seasons (http://www.imdb.com/title/tt0060665/) at the Internet Movie Database A Man for All Seasons (http://www.allrovi.com/movies/movie/v31129) at AllRovi A Man for All Seasons (http://www.rottentomatoes.com/m/1013162-man_for_all_seasons/) at Rotten Tomatoes
1967 In the Heat of the Night
326
1967 In the Heat of the Night

In the Heat of the Night
Directed by Produced by Screenplay by Based on Starring Norman Jewison Walter Mirisch Stirling Silliphant In the Heat of the Nightby John Ball Sidney Poitier Rod Steiger Warren Oates Lee Grant Quincy Jones, Ray Charles (vocals)
Music by
Cinematography Haskell Wexler, ASC Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Hal Ashby The Mirisch Corporation United Artists
August 2, 1967

[1]
In the Heat of the Night is a 1967 mystery film based on the John Ball novel of the same name published in 1965, which tells the story of Virgil Tibbs, a black police detective from Philadelphia, who becomes involved in a murder investigation in a racist small town in Mississippi. The film won five Academy Awards, including Best Picture. It stars Sidney Poitier, Rod Steiger, and Warren Oates, and was directed by Norman Jewison. The film was followed by two sequels, They Call Me MISTER Tibbs! in 1970, and The Organization in 1971. In 1988, it also became the basis of a television series adaptation of the same name. Although the film was set in the fictional Mississippi town of Sparta (with supposedly no connection to the real Sparta, Mississippi, an unincorporated community), part of the movie was filmed in Sparta, Illinois, where many of the film's landmarks can still be seen. The quote "They call me Mister Tibbs!" was listed as number 16 on the American Film Institute's 100 Years...100 Movie Quotes, a list of top film quotes.
Plot
Mr. Colbert, a wealthy man from Chicago who was planning to build a factory in Sparta, Mississippi, is found murdered. Police Chief Bill Gillespie (Rod Steiger) comes under pressure to quickly find his killer. African-American northerner Virgil Tibbs (Sidney Poitier), passing through, is picked up at the train station between trains with a substantial amount of cash in his wallet. Gillespie, prejudiced against blacks, jumps to the conclusion he has his culprit but is embarrassed to learn that Tibbs is an experienced Philadelphia homicide detective who had been visiting his mother. After the racist treatment he receives, Tibbs wants nothing more than to leave as quickly as
1967 In the Heat of the Night possible, but his own chief, after questioning whether Tibbs himself is prejudiced, has him stay and help. The victim's widow, already frustrated by the ineptitude of the local police, is impressed by Tibbs' expertise when he clears another wrongly-accused suspect Gillespie has arrested on circumstantial evidence. She threatens to stop construction on the much-needed factory unless he leads the investigation. Unwilling to accept help but under orders from the town's mayor, Gillespie talks a reluctant Tibbs into working on the case. Despite the rocky start to their relationship, the two policemen are compelled to respect each other as they are forced to work together to solve the crime. Tibbs initially suspects wealthy plantation owner Eric Endicott, who opposed the new factory. When he attempts to interrogate Endicott about Colbert, Endicott slaps him in the face. Tibbs slaps him back, which leads to Endicott sending a gang of hooligans after Tibbs. Gillespie rescues him from the fight and orders him to leave town for his own safety. Tibbs refuses to leave until he has solved the case. Tibbs asks Sam Wood, the officer who discovered the body, to retrace his steps the night of the murder. He and Gillespie accompany Sam on his patrol route, stopping at a diner where the counterman, Ralph Henshaw, refuses to serve Tibbs. When Tibbs notices that Sam has deliberately changed his route, Gillespie begins to suspect Sam of the crime. When he discovers that Sam made a sizable deposit into his bank account the day after the murder (which Sam claims is gambling winnings) and Lloyd Purdy, a local, files charges against Sam for getting his 16-year-old sister Delores pregnant, Gillespie arrests Sam for the murder, despite Tibbs' protests. Purdy is insulted that Tibbs, a black man, was present for his sister's interrogation about her sexual encounter with Sam, and he gathers a mob to get his revenge on Tibbs. Tibbs is able to clear Sam by finding the original murder scene and pointing out that Sam would not have been able to drive two cars at the same time to dump the body and the victim's car while continuing on his patrol. Acting on a hunch, he tracks down the local back-room abortionist, who reveals that someone has paid for Delores Purdy to have an abortion. When Delores arrives, Tibbs pursues her outside, where he is confronted by the murderer, the diner counterman Ralph Henshaw. Purdy's mob tracks down Tibbs at this moment, and he is being held at gunpoint when he proves to Purdy that it was Ralph, not Sam, who got Delores pregnant. Purdy attacks Ralph, who kills Purdy in self-defense. Ralph is arrested and confesses to the murder of Colbert. He had attempted to rob Colbert to gain money to pay for Delores' abortion but accidentally killed him. His job done, Tibbs finally boards the Gulf, Mobile & Ohio train out of town, seen off by a more respectful Gillespie.
327
Cast
Sidney Poitier as Detective Virgil Tibbs Rod Steiger as Police Chief Bill Gillespie Warren Oates as Sergeant (Patrolman) Sam Wood Lee Grant as Mrs. Leslie Colbert Larry Gates as Eric Endicott James Patterson as Lloyd Purdy (Delores' brother) William Schallert as Mayor Webb Schubert Beah Richards as Mama Caleba (aka Mrs. Bellamy) Peter Whitney as CPL. George Courtney Kermit Murdock as H.E. Henderson (banker) Larry D. Mann as Watkins Quentin Dean as Delores Purdy Anthony James as Ralph Henshaw (diner counterman)
Arthur Malet as Ted Ulam (mortician) Scott Wilson as Harvey Oberst (murder suspect) Matt Clark as Packy Harrison
1967 In the Heat of the Night Eldon Quick as Charlie Hawthorne (photographer) Jester Hairston as Henry (Endicott's butler)
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Production
The film contains the famous scene in which Tibbs and Gillespie visit the home of Eric Endicott to question him, following Tibbs' discovery of trace evidence in the murder victim's car. Upon discovering that Tibbs is suggesting he murdered Colbert, Endicott slaps Tibbs. Tibbs slaps him back. Reportedly, Tibbs' action was originally omitted from the screenplay, which stayed true to the novel with Tibbs not reacting to the slap. However, when Sidney Poitier read the script he was purportedly uncomfortable with that reaction, as it wasn't true to the values his parents instilled in him. He requested that the producers alter the scene to Tibbs slapping Endicott back. This was important due to the ongoing battle for civil rights, which was still raging in 1967, despite the passage of the Civil Rights Act of 1964. This was one of the first times in any major motion picture where a black man reacted to provocation from a white man in such a way. Referring to the scene Poitier said, "[The scene] was almost not there. I said, 'I'll tell you what, I'll make this movie for you if you give me your absolute guarantee when he slaps me I slap him right back and you guarantee that it will play in every version of this movie.' I try not to do things that are against nature. I stayed away from films that didn't speak well of my values. I could only say yes to films if I passed it by my dad. I passed it by my father because I did not want ever to make a film that would not reflect positively on my father's life." However, Poitier's version of the story seems to be a bit of publicity fiction and is contradicted by Mark Harris in his meticulously researched book, Pictures at a Revolution. In the book Harris states that Stirling Silliphant's original draft contained both slaps, which is backed up by Jewison and Silliphant, and Harris states that copies of the original draft he obtained clearly contain the scene. The film contains two classic lines read by Poitier. When Gillespie sarcastically asks Tibbs what they call him in Philadelphia, he snaps, "They call me Mister Tibbs." Later, having deduced that the murderer is diner counterman Ralph Henshaw (introduced killing flies in the first scene of the film) and not police officer Sam Wood, Tibbs says, "Sam couldn't have driven two cars." At the very end of the film, as Poitier is boarding a train to leave the town, the last lines are uttered by Steiger and sum the growth of their relationship, yet maintain the standard of the South. He said, "You take care now, Virgil," words to give support to the budding civil rights movement, exemplifying that, with effort, racial divisions are capable of being overcome. The film is also important for being the first major Hollywood film in color that was lit with proper consideration for a person of African descent. Haskell Wexler recognized that standard strong lighting used in filming tended produce too much glare on that kind of dark complexion and rendered the features indistinct. Accordingly, Wexler toned it down to feature Poitier with better photographic results[2] .
Reception
In contrast to films like The Chase and Hurry Sundown, which offered confused visions of the South, In the Heat of the Night offered a tough, edgy vision of a Southern town that seemed to hate outsiders more than itself, a theme reflecting the uncertain mood of the time as the Civil Rights Movement attempted to take hold. On this count, the film became an overnight hit, especially with the talents of Sidney Poitier and Rod Steiger in place. During filming Poitier also contributed his efforts to Civil Rights functions devised by Dr. Martin Luther King. In a sneak preview in San Francisco, Norman Jewison was concerned when the young audience was laughing with the film as if it were a comedy. However, his editor, Hal Ashby, was convinced that they were appreciating the film with the amused satisfaction of a strong African American hero putting white bigots in their place. However, the audience's stunned reaction to the famous slapping scene convinced Jewison that the film was effective as drama.[3] That scene helped make the film so popular for audiences, finally seeing the top black film actor physically strike back against bigotry, that the film earned the nickname, Super-Spade Versus the Rednecks[4] During the film's initial
1967 In the Heat of the Night run, Steiger and Poitier occasionally went to the Capitol Theatre in New York to amuse themselves seeing how many African American and white audience members there were, which could be immediately ascertained by listening to the former cheering Tibbs' retaliatory slap and the latter whispering "Oh!" in astonishment.[5] Then-freshman critic Roger Ebert gave In the Heat of the Night a positive review and placed it at number ten on his top ten list of films that year. AD Murphy of Variety magazine felt it was a good, but uneven film.[6] Another driving force was Canadian director Norman Jewison; through this film, he wanted to tell a story of a white man and a black man working together in spite of tough ongoings. He also hated the way black Americans were treated by the white establishment at the time. Jewison, Poitier and Steiger worked together and got along well during the filming, but Jewison had problems with the Southern authorities, and Poitier refused to come south of the Mason-Dixon line for filming. Jewison therefore decided to film part of the film in Dyersburg (Edicott's house) and Union City, Tennessee, while the rest was filmed in Sparta, Chester (Harvey Oberst chase scene), and Freeburg (Compton's diner), Illinois: it worked out for everyone. It proved a conviction Jewison has held for a long time: he said on making film, "It's you against the world. It's like going to war. Everybody is trying to tell you something different and they are always putting obstacles in your way". The film, as of March, 2012, holds a 96% "Fresh" rating on the review aggregate website Rotten Tomatoes, out of 28 reviews.[7]
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Release on DVD & HD

In 2001 it was released on DVD. In 2010 it was digitized in High Definition (1080i) and broadcast on MGM HD.
Awards
In the Heat of the Night was nominated for seven Academy Awards, winning five. They are as follows:[8]
Academy Award wins

Academy Award for Best Picture Academy Award for Best Actor Rod Steiger Academy Award for Film Editing Hal Ashby Academy Award for Best Sound Samuel Goldwyn Studios Academy Award for Writing Adapted Screenplay Stirling Silliphant
Academy Award nominations

Academy Award for Directing - Norman Jewison Academy Award for Sound Editing - James Richard Other wins and nominations are:
Other awards
Golden Globe Award for Best Motion Picture - Drama Golden Globe Award for Best Actor - Motion Picture Drama - Rod Steiger Golden Globe Award for Best Screenplay - Stirling Silliphant BAFTA Award for Best Foreign Actor - Rod Steiger BAFTA UN Award - Norman Jewison
Edgar Award - Best Motion Picture Screenplay - Stirling Silliphant (Ball's book also received an Edgar, for Best First Novel) New York Film Critics Circle Awards for Best Picture
1967 In the Heat of the Night In 2002, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
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Other nominations
BAFTA Award for Best Foreign Actor - Sidney Poitier BAFTA Award for Best Film from any Source - Norman Jewison Directors Guild of America for Outstanding Directorial Achievement in Motion Pictures - Norman Jewison Golden Globe Award for Best Motion Picture Director - Norman Jewison Golden Globe Award for Best Motion Picture Actor - Drama - Sidney Poitier Golden Globe Award for Best Supporting Actress - Lee Grant Golden Globe Award for Best Supporting Actress - Quentin Dean Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media Quincy Jones Writers Guild of America for Best Written American Drama - Stirling Silliphant
References
Notes
[1] "In the Heat of the Night, Box Office Information" (http:/ / www. the-numbers. com/ movies/ 1967/ 0ITHN. php). The Numbers. . Retrieved March 8, 2012. [2] Harris, Mark. Pictures at a Revolution: Five Films and the Birth of a New Hollywood. Penguin Press, 2008, p. 221. [3] Harris, p. 288-90. [4] Harris, p. 336. [5] Ibid. p. 335-6 [6] Later, Poitier did the sequels They Call Me MISTER Tibbs and The Organization, but both films failed at the box office. Variety review, 1967 (http:/ / www. variety. com/ review/ VE1117488059) [7] "In the Heat of the Night, Movie Reviews" (http:/ / www. rottentomatoes. com/ m/ in_the_heat_of_the_night/ ). Rotten Tomatoes. . Retrieved March 9, 2012. [8] "The 40th Academy Awards (1968) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 40th-winners. html). oscars.org. . Retrieved 2011-08-25.
Bibliography DuBose, James (2008). Searching for Sparta. lulu.com.
External links
In the Heat of the Night (http://www.imdb.com/title/tt0061811/) at the Internet Movie Database In the Heat of the Night (http://www.rottentomatoes.com/m/in_the_heat_of_the_night/) at Rotten Tomatoes
1968 Oliver!
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1968 Oliver!
Oliver!
Theatrical release poster by Howard Terpning
Directed by Produced by Written by Story by Starring Carol Reed John Woolf Vernon Harris Charles Dickens (Novel) Lionel Bart (Musical) Mark Lester Ron Moody Shani Wallis Oliver Reed Jack Wild Harry Secombe Peggy Mount Leonard Rossiter Hylda Baker Johnny Green Eric Rogers Onna White Oswald Morris Ralph Kemplen Romulus Films Columbia Pictures 26 September 1968 (UK) 153 minutes United Kingdom English $10 million $77,402,877
Music by
Cinematography Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office
Oliver! is a 1968 British musical film directed by Carol Reed. The film is based on the stage musical Oliver!, with book, music and lyrics written by Lionel Bart. The screenplay was written by Vernon Harris. Both the film and play are based on Charles Dickens' novel Oliver Twist. The film includes several musical standards, including "Food, Glorious Food", "Consider Yourself", "As Long as He Needs Me", "You've Got to Pick a Pocket or Two" and "Where Is Love?". The film version was a Romulus Films production and was distributed internationally by Columbia Pictures. It was filmed in Shepperton Film Studio in Surrey. At the 41st Academy Awards in 1969, Oliver!, which had earlier been nominated for eleven Academy Awards, won six, including Awards for Best Picture, and Best Director for Carol Reed.[1] At the 26th Golden Globe Awards the film won two Golden Globes for Best Film - Musical or Comedy, and Best Actor - Musical or Comedy for Ron Moody.[1]
1968 Oliver!
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Synopsis
Act 1
A workhouse in a small town in England is visited by the wealthy governnors who fund it. At the same time a sumptuous banquet is held for them, the orphan boys who work there are being served their daily gruel. They dream of enjoying the same "Food, Glorious Food" as their masters. While eating, some boys draw straws to see who will ask for more to eat, and the job falls to a boy named Oliver Twist. He goes up to Mr. Bumble and Widow Corney, who run the workhouse and serve the gruel, and quietly asks, "Please, sir, I want some more." Mr. Bumble is enraged and Oliver is taken to the governors to see what to do with him ("Oliver!"). A decision is made to have Oliver be sold into service. Mr. Bumble parades Oliver through the snow trying to sell him to the highest bidder ("Boy for Sale"). Oliver is eventually sold to an undertaker named Mr. Sowerberry, who intends to use him as a mourner for children's funerals. After his first funeral, Noah Claypole, Sowerberry's apprentice, insults Oliver's mother to get a rise out of him. Oliver attacks Noah and Mrs. Sowerberry forces him into a coffin while Noah fetches Mr. Bumble. Oliver is too angry to be intimidated by Mr. Bumble and Bumble places the blame on not keeping Oliver on a diet of gruel. Oliver is thrown into the cellar as further punishment. Alone in the dark with a roomful of empty coffins, Oliver tearfully wonders "Where is Love?". While clutching the window grate, Oliver inadvertently pushes it open and he escapes. After a week on the road, Oliver reaches London, where he plans to seek his fortune. Shortly after arriving, he crosses paths with the Artful Dodger, a young thief who decides to take Oliver under his wing ("Consider Yourself"). Dodger leads Oliver to his home, a hideout for a group of young pickpockets run by the criminal Fagin. Oliver naively believes the handkerchiefs and wallets they've stolen are "made" by them and Fagin and the boys play along for their amusement. He then helps the boys practice their stealing while reiterating his belief that "You've Got to Pick a Pocket or Two" to get by. Once the boys go to sleep, Fagin sneaks off to meet with Bill Sikes, a dangerous thief with whom he makes his deals. Sikes' girlfriend, Nancy, waits for him at the pub and sings of her contentment with the life she shares with the reprobates of London while covering up her own broken dreams of the life she wishes she had with Sikes (It's a Fine Life"). Back at the hideout, Oliver witnesses Fagin counting his hidden treasures and taking a little more than his fair share from Sikes' loot. While initially furious that he's been discovered, Fagin halfheartedly admits that he's keeping his "pretty things" for comfort in his old age. Nancy and her sister Bet arrive in the morning to collect some money from Fagin on behalf of Sikes and meet Oliver. The boys mock Oliver for his politeness towards Nancy, which she finds charming. Dodger attempts to be just as gentlemanly towards Nancy and the boys and Fagin join in the fun ("I'd Do Anything"). Fagin sends the boys out for the day and Oliver asks to go with Dodger, which he agrees to ("Be Back Soon"). While on the job, however, Oliver witnesses what Dodger really does and is blamed for Dodger's theft of a wallet belonging to a gentleman named Mr. Brownlow. Oliver is chased by the police, and despite Dodger's best efforts to stall them, is arrested. Afraid that Oliver will tell the police all about them, Fagin and Sikes send Nancy to court to watch what he does. Oliver is too terrified to say anything, but before the magistrate can finalize the verdict, a bookseller who witnessed the act arrives to prove Oliver's innocence. Mr. Brownlow takes in Oliver and Sikes and Fagin send Dodger to follow them.
Act 2
Oliver has been living in the wealthy residence of Mr. Brownlow for several weeks now. From the balcony he watches the merchants and other folk of London sell their wares ("Who Will Buy?") Sikes has been keeping an eye on Oliver, firmly believing he may tell on them. He and Fagin are determined to get him back and employ Nancy to help them as Oliver trusts her the most out of them. Nancy refuses as she wants Oliver to have a life free of thievery but Sikes cruelly hits her. As Nancy reluctantly follows Sikes, she sings of her unwavering love of him despite his ways ("As Long As He Needs Me"). The next day, Mr. Brownlow entrusts Oliver with some books and money to be
1968 Oliver! delivered to the bookshop. As he leaves, Brownlow notices a striking resemblance between a portrait of his long-lost niece and Oliver. While walking through the streets of London, Oliver is sidetracked by Nancy and is eventually kidnapped by Sikes and taken back to the hideout. Sikes and Nancy argue but she leaves as he starts to get violent in front of the boys again. Fagin begins reconsidering his life as a thief and weighs all his options, but decides to keep to his old ways ("Reviewing the Situation"). Mr. Bumble and Widow Corney pay a visit to Mr. Brownlow after he begins searching for Oliver's origin. They present a locket belonging to Oliver's mother, who arrived at the workhouse penniless and died in childbirth. Mr. Brownlow recognizes the locket as his niece's and throws the two out, enraged that they chose to selfishly keep the trinket and information to themselves. Nancy arrives soon after, confessing her part in Oliver's kidnapping and promising to return him to Mr. Brownlow the next evening at London Bridge; her loyalty to Sikes prevent her from turning him over to the police. In attempt to introduce Oliver to a life of crime, Sikes forces Oliver to take part in a robbery. The plot fails and they both escape to the tavern. Nancy starts up a lively drinking song that the whole tavern joins in on, allowing her to distract Sikes while Oliver back to Mr. Brownlow ("Oom-Pah-Pah"). Sikes' dog Bullseye, however, alerts Sikes and he chases them despite Fagin's pleads not to hurt Nancy. As Oliver and Nancy say a tearful farewell by London Bridge, Sikes catches up and bludgeons Nancy to death. He then kidnaps Oliver, but a frightened Bullseye barks, allowing Mr. Brownlow to find them. An angry mob chases Sikes, who threatens to kill Oliver at the every available chance to make sure he gets away unscathed. The mob and police also find the hideout of Fagin, Dodger and the boys, who scatter. Fagin loses his grip on his box of treasures while running and they sink deep into the mud. After forcing Oliver to cross a rooftop and attempting to do the same, Sikes accidentally hangs himself. Fagin watches as Oliver is reunited with Mr. Brownlow and makes up his mind to change his ways for good. Just as he's about to walk away a new man, Dodger approaches him with a wallet he stole earlier. They dance off into the sunrise together, happily determined to live out the rest of their days as thieves ("Reviewing the Situation (reprise)") while Oliver returns home for good ("Finale: Where is Love/Consider Yourself").
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Background
The film used mostly young unknowns: Ron Moody (Fagin), Mark Lester (Oliver), Shani Wallis (Nancy) and Jack Wild as The Artful Dodger, but also had some 'big names' (Oliver Reed as Bill Sikes, Harry Secombe as Mr Bumble, British classical stage actor Joseph O'Conor as Mr. Brownlow, and Hugh Griffith, an Oscar winner for Ben-Hur, as the Magistrate; Secombe, however, was hardly known in the United States, and Reed had just begun to make a big name for himself). Ron Moody recreated his London stage performance, after Peter Sellers, Dick Van Dyke and Peter O'Toole reportedly turned down the role. Elizabeth Taylor turned down the role of Nancy as well. The screenplay was adapted from both Lionel Bart's play and Dickens's novel. The screenplay was written by Vernon Harris, and the film was directed by Sir Carol Reed, who was also Oliver Reed's uncle. A few of the songs from the stage production were not used in the movie, although they often make appearances in the incidental music. For example, the music of Sikes' song "My Name" can be heard when the character first appears, and several other times whenever he is about to commit some nefarious deed. The film also included extended choreography sequences not found in the original show, and some additional scenes which expanded the role of Bill Sikes, making him closer to the Sikes of the original Dickens novel. In the stage version, he did not even make his entrance until the second act. The songs that Sikes sang in the stage version were omitted. The magistrate at Oliver's trial, who is played by Hugh Griffith, is called Mr. Fang in the Dickens novel, but simply known as "The Magistrate" in the film. He does not appear in the original stage version; Act I of the stage version ends immediately after Oliver is mistakenly arrested, and Act II begins after he has been exonerated. Two of the songs sung by Mr. Bumble and the Widow Corney, whose roles are larger in the stage version than in the film, were omitted, as well as nearly all of the reprises of several of the show's other songs, giving the second half of the film a more dramatic quality than Act II of the stage production had had.
1968 Oliver! The beginning section of Dickens's novel, in which Oliver is born in the workhouse, was never filmed, although there is evidence that it was supposed to have been. Still photos of this section exist in an "Oliver" novelization for children, published in 1968. In this same Oliver! storybook, Nancy has a final moment in which, after being fatally beaten by Bill Sikes, she gasps out her dying words to Mr. Brownlow, but there is nothing to indicate that this was actually filmed, so it may have been dramatic license on the part of the authors of the storybook. However, when Brownlow runs down the steps of London Bridge toward Nancy, she is clearly still alive - her feet are seen to be moving. The film, rather than following through on this, then cuts away to a scene showing Sikes trying to kill his bull terrier for fear that the dog may lead the police to him, and when the film returns again to Brownlow, Nancy has already died. Shooting at Shepperton Studios, England, began on 23 June 1967.[2]
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Cast
Ron Moody as Fagin Mark Lester as Oliver Shani Wallis as Nancy Oliver Reed as Bill Sikes Jack Wild as the Artful Dodger Harry Secombe as Mr. Bumble Peggy Mount as Mrs. Bumble Leonard Rossiter as Mr. Sowerberry Hylda Baker as Mrs. Sowerberry Joseph O'Conor as Mr. Brownlow Sheila White as Bet Megs Jenkins as Mrs. Bedwin Hugh Griffith as the Magistrate Kenneth Cranham as Noah Claypole Wensley Pithey as Dr. Grimwig
Reception
The film took $77,402,877 at the global box office.[3][4] Oliver! received extremely favourable reviews. It was hailed by Pauline Kael in her New Yorker review as being one of the few film versions of a stage musical that was superior to the original show, which she, according to her own review of the film, had walked out on. "The musical numbers emerge from the story with a grace that has been rarely seen since the musicals of Ren Clair."[5]
Songs
Overture (heard before the film begins) Main Title (heard over the opening title sequence) Food, Glorious Food/Oliver! Boy For Sale Where is Love? Consider Yourself Pick a Pocket or Two It's a Fine Life
I'd Do Anything Be Back Soon
1968 Oliver! Entr'acte (heard during the film's intermission, just before the second half begins) Who Will Buy? As Long As He Needs Me Reviewing the Situation Oom-Pah-Pah Reviewing the Situation (reprise) Finale (Where Is Love?/Consider Yourself) Exit Music
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The words and music were written by Lionel Bart, and were supervised, arranged and conducted by John Green. The pre-credits Overture as heard on the actual soundtrack of the film is not included on the soundtrack album. Instead, an abbreviated version of the Main Title is labelled "Overture". For the convenience of the original LP, the order of some of the songs was shuffled, but this was not corrected on the CD issue; instead, the film soundtrack CD is an exact duplicate of the LP - nothing on the CD has been expanded to its full-length, as on other CD soundtrack albums. The movie's soundtrack was originally issued in the US on Colgems Records; it was later reissued on compact disc on the RCA Records label. Mark Lester's singing voice in Oliver! (1968) was dubbed by Kathe Green, the daughter of Johnny Green, the musical director on the film. She was brought in when it was found that Lester couldn't sing, although this was not made public until 1988 during an interview with Johnny Green on the 20th anniversary of the film (he stated that Mark Lester was "tone deaf and arrhythmic"). He originally had two boys set to dub his singing but during post production it was felt that their voices did not match Mark's look, so they used Johnny's daughter instead.
Awards
1968 Academy Awards[6] Best Picture (Winner) Best Director - Carol Reed (Winner) Best Actor in a Leading Role - Ron Moody (Nomination) Best Actor in a Supporting Role - Jack Wild (Nomination) Best Adapted Screenplay (Nomination) Best Cinematography (Nomination) Best Adaptation Score (Winner) Best Art Direction (Winner) Best Sound (Winner) Best Costume Design (Nomination) Best Film Editing (Nomination) Special Academy Award for Choreography - Onna White (Winner)
Oliver! is the only G-rated film (since the development of the MPAA rating system in 1968) to receive an Academy Award for Best Picture (though some pre-1968 Best Picture winners were rated G when re-released to cinemas after 1968). Oliver! was also the last musical to win the Best Picture Oscar until Chicago, 34 years later. 1968 Golden Globe Awards Best Motion Picture Musical or Comedy (Winner) Best Director - Carol Reed (Nomination) Best Actor Motion Picture Musical or Comedy - Ron Moody (Winner) Best Supporting Actor - Hugh Griffith (Nomination)
New Star of the Year - Actor - Jack Wild (Nomination)
1968 Oliver!
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References
[1] Oliver! (http:/ / www. imdb. com/ title/ tt0063385/ ) at the Internet Movie Database [2] Filming began on 23/06/67 Shepperton (http:/ / www. oliver1968. co. uk/ stage_screen. htm) [3] "Box Office Information for Oliver!" (http:/ / www. the-numbers. com/ movies/ 1968/ 00242. php). The Numbers. . Retrieved 9 January 2012. [4] "Box Office and Business for Oliver!" (http:/ / www. imdb. com/ title/ tt0063385/ business). IMDb. . Retrieved 9 January 2012. [5] Pauline Kael Going Steady, p.202 [6] "The 41st Academy Awards (1969) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 41st-winners. html). oscars.org. . Retrieved 2011-08-25.
External links
Oliver! (http://www.imdb.com/title/tt0063385/) at the Internet Movie Database Oliver! (http://www.allrovi.com/movies/movie/v36175) at AllRovi Oliver! (http://tcmdb.com/title/title.jsp?stid=85532) at the TCM Movie Database Oliver! (http://www.rottentomatoes.com/m/oliver/) at Rotten Tomatoes
1969 Midnight Cowboy
337

Midnight Cowboy
Directed by Produced by Screenplay by Based on John Schlesinger Jerome Hellman Waldo Salt Midnight Cowboyby James Leo Herlihy Dustin Hoffman Jon Voight Sylvia Miles John Barry
Starring
Music by
Cinematography Adam Holender Editing by Distributed by Release date(s) Running time Country Language Budget Box office Hugh A. Robertson United Artists
May 25, 1969

[1]
Midnight Cowboy is a 1969 American drama film based on the 1965 novel of the same name by James Leo Herlihy. It was written by Waldo Salt, directed by John Schlesinger, and stars Dustin Hoffman and newcomer Jon Voight in the title role. Notable smaller roles are filled by Sylvia Miles, John McGiver, Brenda Vaccaro, Bob Balaban, Jennifer Salt and Barnard Hughes; M. Emmet Walsh is an uncredited, pre-fame extra. The film won three Academy Awards: Best Picture, Best Director and Best Adapted Screenplay. It is the only X-rated film ever to win Best Picture.[2]
Plot
A young Texan named Joe Buck (Jon Voight) works as a dishwasher in a diner. As the film opens, Joe dresses himself like a rodeo cowboy, packs a suitcase, and quits his job. He heads to New York City in the hope of leading the life of a hustler. Joe's navet becomes evident as quickly as his cash disappears upon his arrival in New York. He is unsuccessful in his attempts to be hired by wealthy women. When finally successful in bedding a middle-aged New Yorker (Sylvia Miles), Joe's attempt to "talk business" results in the woman breaking down in tears and Joe giving her $20 instead. (It ends up that she was a call girl herself as she thought he was another John.) Joe then meets the crippled Enrico "Ratso" Rizzo (Dustin Hoffman), a third-rate con man who easily tricks Joe out of $20 by offering to introduce him to a well-known pimp, who instead turns out to be a Bible thumper (John McGiver). Joe flees the scene in pursuit of Rizzo, but Rizzo is long gone.
1969 Midnight Cowboy Joe then spends his days wandering the city and relaxing in his hotel room. Once broke, he is locked out of his hotel room for failure to pay the bill. He finally attempts to make money by agreeing to receive oral sex from a young gay man in a movie theater, but this plan goes awry when the teen (Bob Balaban) admits to having no money. An angry Joe threatens the teen and thinks about taking the guy's watch but backs down. The next day, Joe spots an unsuspecting Rizzo at a lunch counter. He angrily shakes down Rizzo for every penny he has 64 cents but Rizzo surprisingly offers to help Joe by sharing his place, an apartment in a condemned building. Joe reluctantly accepts and they begin a "business relationship," helping each other pickpocket, steal and further attempt to get Joe hired as a gigolo. They are both completely alone without each other, and a genuine bond develops between the two men. Rizzo had a cough when the two met in the summer and, as the story progresses into winter, his health steadily worsens. The events of Joe's early life are told through fast-cutting flashbacks interspersed throughout the film. He had been to church and baptized as a boy but has only frightening memories of the experience. The two people Joe loved were his grandmother Sally Buck (Ruth White), and his onetime girlfriend, Crazy Annie (Jennifer Salt). His grandmother raised Joe after his mother abandoned him but often left him alone to go off with boyfriends; one of them, a wrangler named Woodsy Niles (Gilman Rankin), was Joe's only father figure. Annie had been a promiscuous girl who changed her ways after meeting Joe, but this did not sit well with the men of their hometown: the two were caught and raped by a gang of males. Annie was later sent to a mental institution and Joe joined the army. Sally Buck died while Joe was away serving in the Army, and Annie remains a constant presence in Joe's mind. Rizzo's backstory comes mostly through the things he tells Joe. His father was an illiterate Italian immigrant shoe shiner who worked deep in a subway station, developed a bad back, and "coughed his lungs out from breathin' in that wax all day!" Rizzo learned shining from his father but refuses to follow (such as he could, after polio crippled one leg) in the old man's footsteps. At one point, an odd-looking couple approach Joe and Ratso in a diner and hand Joe a flyer inviting him to a party. They enter a Warhol-esque party scene (with Warhol superstars Viva, Ultra Violet and others in cameo appearances). The naive Joe smokes most of a joint thinking it's a cigarette, then takes a pill offered to him and begins to hallucinate. He leaves the party with a socialite (Brenda Vaccaro), who agrees to pay him $20 for spending the night with her. Rizzo falls down a flight of stairs as they are leaving; he insists he is fine. Joe and the socialite attempt to have sex but he suffers from temporary impotence. They play a game of scribbage together in which Joe shows his limited academic prowess. She teasingly suggests that Joe may be gay, and that does the trick. He is suddenly able to perform, and the two have lively, aggressive sex. In the morning, the socialite sets up a friend of hers to be Joe's next customer, and it appears his career is on its way. When Joe returns home later, Rizzo is in bed, sweating and feverish. He admits to Joe that he is unable to walk. Joe wants to find a doctor, but Rizzo adamantly refuses. Rizzo wants to leave New York for Miami; this has been his goal the whole time. A frightened Joe is determined to take care of his friend and leaves the apartment to scrounge up money. He picks up an older male customer (Barnard Hughes), but the man tries to send him away at the last minute out of guilt. Joe's desperation boils over when the man gives him a religious medallion instead of cash. He beats up and robs the man, stuffing the phone receiver into the man's mouth when Joe thinks the man is calling the hotel front desk for help. With the money, Joe buys two bus tickets to Florida. During the long journey, Rizzo's frail physical condition deteriorates further. At a rest stop, Joe touchingly buys bright new clothing for Rizzo and himself. He throws away his cowboy outfit and admits, "I ain't no kinda hustler." As they reach Florida and near Miami, Joe talks about getting a regular job, only to realize that Rizzo has died in the seat beside him. After Joe informs the bus driver, the driver tells him that there is nothing else to do but continue on to Miami. The film ends with Joe seated with his arm around his dead pal.
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Cast
Dustin Hoffman as Enrico Salvatore "Ratso" Rizzo Jon Voight as Joe Buck Sylvia Miles as Cass John McGiver as Mr. O'Daniel Brenda Vaccaro as Shirley Barnard Hughes as Towny
Production
The opening scenes were filmed in Big Spring, Texas. A roadside billboard stating "IF YOU DON'T HAVE AN OIL WELL...GET ONE!" was shown while the New York-bound bus carrying Joe Buck rolled through Texas.[3] Such advertisements, which were common in the Southwestern United States during the late-1960s and throughout the 1970s, promoted Eddie Chiles' Western Company of North America.[4] Joe first realized that the bus was soon approaching New York when he heard a Ron Lundy broadcast on WABC while listening to his portable radio.[5] At the time the movie was being filmed in 1968, Lundy worked the midday shift (10 AM1 PM) Monday through Saturday at the radio station.[6] Joe stayed at the Hotel Claridge which was located at the southeast corner of Broadway and West 44th Street in Midtown Manhattan. His room overlooked the northern half of Times Square.[7] The building, designed by D. H. Burnham & Company and opened in 1911, has since been demolished.[8] A motif that was featured three times throughout the New York part of the movie was the sign at the top of the facade of the Mutual of New York (MONY) Building.[3] It was extended into the scribbage scene with Shirley the socialite when Joe's incorrect spelling of the word "money" matched that on the signage.[9] Despite his portrayal of Joe Buck, a character hopelessly out of his element in New York, Jon Voight is a native New Yorker, hailing from Yonkers. Dustin Hoffman, who played a grizzled veteran of New York's streets, is actually from Los Angeles. The line "I'm walkin' here!", which reached #27 on AFI's 100 Years... 100 Movie Quotes, is often said to have been improvised, but producer Jerome Hellman disputes this account on the 2-disc DVD set of Midnight Cowboy. The cab was driven by a hired actor during a scripted take, and the production team filmed it to look like an ad-lib. However, Hoffman told it differently on an installment of Bravo's Inside the Actors Studio. He stated that there were many takes to hit that traffic light just right so they didn't have to pause while walking. That take, the timing was perfect and the cab came out of nowhere and nearly hit them. Hoffman wanted to say "We're filming a movie here!", but he decided not to ruin the take. Upon initial review by the Motion Picture Association of America, Midnight Cowboy received a "Restricted" ("R") rating (Persons under 16 not admitted unless accompanied by parent or adult guardian). However, after consulting with a psychologist, executives at United Artists were told to accept an "X" rating (Persons under 17 will not be admitted) due to the "homosexual frame of reference" and its "possible influence upon youngsters". The film was released with an X.[10]
Awards and honors

The film won Academy Awards for Best Picture, Best Director, and Best Adapted Screenplay; it is the only X-rated film to win an Oscar in any category, and one of two X-rated films to be nominated for an Oscar (the other being Stanley Kubrick's 1971 film A Clockwork Orange). Both Hoffman and Voight were nominated for Best Actor awards and Sylvia Miles was nominated for Best Supporting Actress, in what is one of the shortest performances ever nominated (clocking in approximately five minutes of screen-time).
1969 Midnight Cowboy There was controversy from critics who felt the MPAA "X" rating for the film was too harsh. The film had also won major awards. The MPAA later broadened the requirements for the "R" rating to allow more content, and in addition raised the age restriction from sixteen to seventeen. The film was later rated "R" for a reissue in 1971 with no edits made. The R rating for the film remains to this day.[10][11] The film won six BAFTA Awards. It was also entered into the 19th Berlin International Film Festival.[12][13] This film was Adam Holender's first cinematography assignment; he was recommended to Schlesinger by Holender's childhood friend, filmmaker Roman Polanski.[14] In 1994, this film was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry.
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Soundtrack
The soundtrack features songs of Elephant's Memory, Warren Zevon, Randy Newman and Harry Nilsson. John Barry, who supervised the music and composed the score for the film, won a Grammy for Best Instrumental Theme. Fred Neil's song "Everybody's Talkin'" also won a Grammy Award for Best Male Pop Vocal Performance, for Harry Nilsson. Schlesinger chose the song "Everybody's Talkin'" (written by Fred Neil and performed by Harry Nilsson) as its theme, and the song underscores the entire first act of the film. (Other songs considered for the film included Nilsson's own "I Guess the Lord Must Be in New York City," and Randy Newman's "Cowboy.") The song "He Quit Me" was also on the soundtrack; it was written by Warren Zevon, who also included it (as "She Quit Me") on his debut album Wanted Dead or Alive.
References
Notes
[1] "Box Office Information for Midnight Cowboy" (http:/ / boxofficemojo. com/ movies/ ?id=midnightcowboy. htm). Box Office Mojo. . Retrieved February 26, 2012. [2] Ditmore, Melissa Hope (2006). "Midnight Cowboy". Encyclopedia of prostitution and sex work. 1. Greenwood Publishing Group. pp.307308. ISBN0-313-32968-0. [3] Midnight Cowboy (1969) locations Exquisitely Bored in Nacogdoches. (http:/ / exquisitelyboredinnacogdoches. blogspot. com/ 2006/ 10/ midnight-cowboy-1969-locations. html) [4] "If you don't have an oil well, get one!" (Eddie Chiles of Western Company) The Big Apple. (http:/ / www. barrypopik. com/ index. php/ new_york_city/ entry/ if_you_dont_have_an_oil_well_get_one_eddie_chiles_of_western_company/ ) [5] Ron Lundy Retires From Radio Musicradio77.com. (http:/ / www. musicradio77. com/ lundy. html) [6] WABC Schedule 19661970 Musicradio77.com. (http:/ / www. musicradio77. com/ sked6670. html) [7] Midnight Cowboy (1969) OntheSetofNewYork.com. (http:/ / www. onthesetofnewyork. com/ midnightcowboy. html) [8] Hotel Claridge SkyscraperPage.com. (http:/ / skyscraperpage. com/ cities/ ?buildingID=56559) [9] Midnight Cowboy (1969) amc filmsite. (http:/ / www. filmsite. org/ midn. html) [10] United Artists: The Company that Changed the Film Industry by Tino Balio [11] Monaco, Paul (2001). History of the American Cinema: 19601969. The Sixties, Volume 8. New York: Charles Scribner's Sons. ISBN 0-520-23804-4. p. 166 [12] "IMDB.com: Awards for Midnight Cowboy" (http:/ / www. imdb. com/ title/ tt0064665/ awards). imdb.com. . Retrieved 2010-03-07. [13] "Tri City Herald Jul 6, 1969" (http:/ / news. google. com/ newspapers?nid=1951& dat=19690706& id=9x0qAAAAIBAJ& sjid=eYcFAAAAIBAJ& pg=6036,1195362). Google News. . Retrieved 2010-03-07. [14] Goldstein, Patrick (February 27, 2005). "'Midnight Cowboy' and the very dark horse its makers rode in on" (http:/ / articles. latimes. com/ 2005/ feb/ 27/ entertainment/ ca-cowboy27). Los Angeles Times. . Retrieved August 27, 2009.
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External links
Official website (http://www.mgm.com/view/movie/1251/Midnight-Cowboy/) Midnight Cowboy (http://www.imdb.com/title/tt0064665/) at the Internet Movie Database Midnight Cowboy (http://www.rottentomatoes.com/m/midnight_cowboy/) at Rotten Tomatoes Liner notes from the original Criterion Laserdisc (http://www.dareland.com/midnight.htm)
1970 Patton
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1970 Patton
Patton
film poster
Directed by Produced by Screenplay by Based on Franklin J. Schaffner Frank McCarthy Francis Ford Coppola Edmund H. North Patton: Ordeal and Triumphby Ladislas Farago A Soldier's Storyby Omar Bradley George C. Scott Karl Malden Michael Bates Karl Michael Vogler Jerry Goldsmith
Starring
Music by
Cinematography Fred J. Koenekamp Editing by Distributed by Release date(s) Running time Country Language Budget Box office Hugh S. Fowler 20th Century Fox
April 2, 1970

[1]
Patton is a 1970 American biographical war film about U.S. General George S. Patton during World War II. It stars George C. Scott, Karl Malden, Michael Bates, and Karl Michael Vogler. It was directed by Franklin J. Schaffner from a script by Francis Ford Coppola and Edmund H. North, who based their screenplay on the biography Patton: Ordeal and Triumph by Ladislas Farago and Omar Bradley's memoir A Soldier's Story. The film was shot in 65mm Dimension 150 by cinematographer Fred J. Koenekamp, and has a music score by Jerry Goldsmith. Patton won eight Academy Awards, including Best Picture. The opening monologue, delivered by George C. Scott as General Patton with an enormous American flag behind him, remains an iconic and often quoted image in film. The film was a success and has become an American classic.[2] In 2003, Patton was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
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Plot
The film's famous beginning has General George S. Patton (George C. Scott) giving a speech to an unseen audience of American troops (based on his speech to the Third Army), with a huge American flag in the background. The scene then shifts to North Africa at the start of 1943, where Patton takes charge of the demoralized American II Corps in North Africa after the humiliating defeat at the Battle of the Kasserine Pass. After instilling discipline in his soldiers, he leads them to victory at the Battle of El Guettar, though he is bitterly disappointed to learn afterward that Erwin Rommel (Karl Michael Vogler), whom he respects greatly as a general, was not his opponent. Patton's aide, Captain Jensen, is killed in the battle and replaced by Lieutenant Colonel Codman who assures Patton that, though Rommel was absent, that if Patton defeated Rommel's plan, then he defeated Rommel. Patton is shown to believe in reincarnation, while remaining a devout Christian. At one point during the North Africa campaign, he takes his staff on an unexpected detour to the site of the ancient Battle of Zama. There he reminisces about the battle, insisting to his second in command, General Omar Bradley (Karl Malden) that he was there. After North Africa is secured, Patton is involved in the Allied invasion of Sicily. His proposal to land his Seventh Army in the northwest of the island is rejected in favor of the more cautious plan of British General Bernard Law Montgomery, in which the British and American armies are to land side-by-side in the southeast. Frustrated at the slow progress of the campaign, Patton defies orders, racing northwest to capture the city of Palermo and then narrowly beats Montgomery in a race to capture the port of Messina in the northeast. However, Patton's aggression is regarded with increasing disquiet by his subordinates Bradley and Truscott, and he is eventually relieved of command for slapping and attempting to shoot a shell-shocked soldier, whom he accuses of cowardice, in an Army hospital. For this incident and for his tendency to speak his mind to the press, he is sidelined during the long-anticipated D-Day landings, being placed in command of the fictional First United States Army Group in southeast England as a decoy. German General Alfred Jodl (Richard Mnch) is convinced that Patton will lead the invasion of Europe. Fearing he will miss out on his destiny, he begs his former subordinate, General Omar Bradley, for a command before the war ends. He is given the Third Army and distinguishes himself by rapidly sweeping across France until his tanks are halted by lack of fuel. He later relieves the vital town of Bastogne during the Battle of the Bulge. He then smashes through the Siegfried Line and drives into Germany itself. Patton has previously remarked to a British crowd that the United States and Great Britain would dominate the post-war world, which is viewed as a slight to the Russians. After the Germans capitulate, he insults a Russian officer at a celebration; fortunately, the Russian insults Patton right back, defusing the situation. Patton then makes an offhand remark comparing the Nazi Party to the political parties in the U.S. In the end, Patton's outspokenness loses him his command once again, though he is kept on to see to the rebuilding of Germany. The film ends with Patton walking his dog, a bull terrier named Willie, and Scott relating in a voice over that a returning hero of ancient Rome was honored with a victory parade in which "a slave stood behind the conqueror holding a golden crown and whispering in his ear a warning: that all glory is fleeting."
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Cast
George C. Scott as General George S. Patton. Rod Steiger had first turned down the role, later admitting that it was the worst decision of his career.[3] Karl Malden as General Omar Bradley Stephen Young as Captain Chester B. Hansen Michael Strong as Brigadier General Hobart Carver Michael Bates as Field Marshal Bernard Montgomery Frank Latimore as Lieutenant Colonel Henry Davenport Morgan Paull as Captain Richard N. Jensen Karl Michael Vogler as Field Marshal Erwin Rommel John Barrie as Air Marshal Arthur Coningham Siegfried Rauch as Captain Steiger Richard Mnch as Colonel General Alfred Jodl John Doucette as Major General Lucian Truscott Paul Stevens as Colonel Charles R. Codman Jack Gwillim as General Harold Alexander Gerald Flood as Air Chief Marshal Sir Arthur Tedder Ed Binns as General Walter B. Smith Peter Barkworth as Colonel John Welkin Lawrence Dobkin as Colonel Gaston Bell Lionel Murton as Third Army chaplain James H. O'Neill David Healy as Clergyman Douglas Wilmer as Major General Francis de Guingand James Edwards as Sergeant William George Meeks Tim Considine as Corporal Charles Kuhl Clint Ritchie as Tank captain Alan MacNaughtan as British briefing officer
Production
Script preparation
Attempts to make a film about the life of Patton had been ongoing for over fifteen years, commencing in 1953. Eventually, the Patton family was approached by the producers for help in making the film. The filmmakers desired access to Patton's diaries, as well as input from family members. However, by unfortunate coincidence, the producers contacted the family the day after Beatrice Ayer Patton, the general's widow, was laid to rest. After this encounter, the family refused to provide any assistance to the film's producers. In the end, screenwriters Francis Ford Coppola and Edmund H. North wrote the script based largely on the biographies Patton: Ordeal and Triumph by Ladislas Farago and A Soldier's Story by Omar Bradley. Omar Bradley served as a consultant for the film, though the extent of his influence and input into the final script is largely unknown. While Bradley knew Patton personally, it was also well known that the two men were polar opposites in personality, and there is evidence to conclude that Bradley despised Patton both personally and professionally.[4][5] As the film was made without access to General Patton's diaries, it largely relied upon observations by Bradley and other military contemporaries when attempting to reconstruct Patton's thoughts and motives.[6] In a review of the film, S.L.A. Marshall, who knew both Patton and Bradley, stated that "The Bradley name gets heavy billing on a picture of [a] comrade that, while not caricature, is the likeness of a victorious, glory-seeking buffoon. ... Patton in the flesh was an enigma. He so stays in the film. ... Napoleon once said that the
1970 Patton art of the general is not strategy but knowing how to mold human nature. ... Maybe that is all producer Frank McCarthy and Gen. Bradley, his chief advisor, are trying to say."[6]
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The opening
Patton opens with Scott's rendering of Patton's famous military "Pep Talk" to members of the Third Army, set against a huge American flag. Coppola and North had to tone down Patton's actual words and statements in this scene, as well as throughout the film, to avoid an R rating; in the opening monologue, the word "fornicating" replaced "fucking" when criticizing The Saturday Evening Post. Also, Scott's gravelly and scratchy voice is the complete opposite of Patton's high-pitched, nasal and somewhat squeaky voice, a point noted by historian S.L.A. Marshall.[6] Yet Marshall also points out that the film contains "too much cursing and obscenity [by Patton]. Patton was not habitually foul-mouthed. He used dirty words when he thought they were needed to impress."[6] When Scott learned that the speech would open the film, he refused to do it, as he believed that it would overshadow the rest of his performance. Director Franklin J. Schaffner assured him that it would be shown at the end. The scene was actually shot on the stage of the theater at the Los Alamitos Naval Air Station in Los Alamitos California. All the medals and decorations shown on Patton's uniform in the monologue are authentic replicas of those actually awarded to Patton. However, the general never wore all of them in public. He wore them all on only one occasion, in his backyard in Virginia at the request of his wife, who wanted a picture of him with all his medals. The producers used a copy of this photo to help recreate this "look" for the opening scene. However, the ivory-handled revolvers Scott wears in this scene are in fact Patton's, borrowed from the General George S. Patton Memorial Museum.
Locations
Most of the film was shot in Spain. One scene, which depicts Patton driving up to an ancient city that is implied to be Carthage, was shot in the ancient Roman city of Volubilis, located in Morocco. The early scene, wherein Patton and Muhammed V are reviewing Moroccan troops including the Goumiers, was shot at the Royal Palace in Rabat. One unannounced battle scene was shot the night before, which raised fears in the Royal Palace neighborhood of a coup d'tat. One paratrooper was electrocuted in power lines, but none of this battle footage appears in the film. Also a scene at the dedication of the welcome center in Knutsford, England was filmed at the actual site. The scenes set in Africa and Sicily were shot in the south of Spain (Almeria ), while the winter scenes in Belgium were shot near Segovia (to which the production crew rushed when they were informed that snow had fallen).[7] It has been noted that in the scene where Patton arrives to establish his North African command, a supposedly "Arab" woman is selling "pollos y gallinas" (chickens and hens) in Spanish, which is not normally spoken by local people in Tunisia (though it is in the north of Morocco, Spanish Protectorate from 1912 to 1956).
Music
The critically acclaimed score for Patton was composed and conducted by the prolific composer Jerry Goldsmith. Goldsmith used a number of innovative methods to tie the music to the film, such as having an echoplex loop recorded sounds of "call to war" triplets played on the trumpet to musically represent General Patton's belief in reincarnation. The main theme also consisted of a symphonic march accompanied by a pipe organ to represent the militaristic yet deeply religious nature of the protagonist.[8] The music to Patton subsequently earned Goldsmith an Academy Award nomination for Best Original Score and was one of the American Film Institute's 250 nominees for the top twenty-five American film scores.[9] The original soundtrack has been released three times on disc and once on LP; through Twentieth-Century Fox Records in 1970; through Tsunami Records in 1992, through Film Score Monthly in 1999, and a two-disc extended version through Intrada Records in 2010.[8]
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Reception
Roger Ebert said of George C. Scott, "It is one of those sublime performances in which the personalities of the actor and the character are fulfilled in one another."[10] Online film critic James Berardinelli has called Patton his favorite film of all time[11] and "...to this day one of Hollywood's most compelling biographical war pictures."[12] According to Bob Woodward and Carl Bernstein's book The Final Days, it was also Richard Nixon's favorite film. He screened it several times at the White House and during a cruise on the Presidential yacht. Before the 1972 Nixon visit to China, then Chinese Premier Zhou Enlai specially watched this film in preparation for his meeting with Nixon.
Awards and honors

Scott's performance won him an Academy Award for Best Actor in 1971. He famously refused to accept it, citing a dislike of the voting and even the actual concept of acting competitions.[13] He was the first actor to do so. The film won six additional Academy Awards, for Best Picture, Best Director, Best Original Screenplay, Best Film Editing, Best Sound (Douglas Williams, Don Bassman), and Best Art Direction (Urie McCleary, Gil Parrondo, Antonio Mateos, Pierre-Louis Thvenet).[14] The Best Picture Oscar is on display at the George C. Marshall Museum at the Virginia Military Institute, courtesy of Frank McCarthy. It was nominated for Best Cinematography, Best Visual Effects and Best Music, Original Score.[15] In 2006, the Writers Guild of America selected Francis Ford Coppola and Edmund North's adapted screenplay as the 94th best screenplay of all time. American Film Institute Lists AFI's 100 Years...100 Movies - #89 AFI's 100 Years...100 Heroes and Villains: General George Patton - #29 Hero AFI's 100 Years...100 Movie Quotes: "Now, I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country." - Nominated AFI's 100 Years of Film Scores - Nominated AFI's 100 Years...100 Cheers - Nominated AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated AFI's 10 Top 10 - Nominated Epic film
First telecast
Patton was first telecast by ABC-TV as a three hours-plus color movie special in the fall of 1972, only two years after its theatrical release. This was highly unusual at the time, especially for a roadshow theatrical release which had played in theatres for many months. Most theatrical films at that time had to wait at least five years for their first telecast. Another unusual element of the telecast was that very, very little of Patton's profanity-laced dialogue was cut (only two sentences, one of which contained no profanity, were cut from the famous opening speech in front of the giant U.S. flag).
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Sequels
A made-for-television sequel, The Last Days of Patton, was produced in 1986. Scott reprised his title role. The movie was based on Patton's final weeks after being mortally injured in a car accident, with flashbacks of Patton's life.
Use of footage
A sizeable amount of battle scene footage was left out of the final cut of Patton, but a use was found for it in 1972. Outtakes from Patton were used to provide battle-scenes in the made-for-TV movie Fireball Forward which was first broadcast in 1972. The film was produced by Patton producer Frank McCarthy and Edmund North wrote the screenplay. One of the cast-members of Patton Morgan Paull appeared in this production alongside Eddie Albert, Ben Gazzara and Ricardo Montalban. The plot featured a general taking command of a U.S. infantry division with a high casualty rate, a reputation as a hard-luck outfit and a suspected traitor hiding in its midst.[16]
Notes
[1] "Patton, Box Office Information" (http:/ / boxofficemojo. com/ movies/ ?id=patton. htm). Box Office Mojo. . Retrieved January 29, 2012. [2] Rabin, Nathan (May 24, 2006). "Patton" (http:/ / www. avclub. com/ content/ node/ 48785). AV Club. . Retrieved 2007-01-07. [3] Cornwell, Rupert (2002-07-10). "Rod Steiger, 'brooding and volatile' Hollywood tough guy for more than 50 years, dies aged 77" (http:/ / www. independent. co. uk/ arts-entertainment/ films/ news/ rod-steiger-brooding-and-volatile-hollywood-tough-guy-for-more-than-50-years-dies-aged-77-647871. html). The Independent. . Retrieved 2009-05-21 [4] D'Este, Carlo. Patton: A Genius For War, New York: HarperCollins, ISBN 0-06-016455-7 (1995), pp. 466-467 [5] D'Este, Carlo, Eisenhower: A Soldier's Life, New York: Henry Holt & Co. (2002), pp. 403-404 [6] Marshall, S.L.A. (March 21, 1970). "Great Georgie Redone". The Charleston Gazette 4: 4. [7] http:/ / www. in70mm. com/ news/ 2003/ patton/ index. htm [8] Clemmensen, Christian. Patton (http:/ / www. filmtracks. com/ titles/ patton. html) soundtrack review at Filmtracks.com. Retrieved 2011-04-22. [9] AFI's 100 Years Of Film Scores (http:/ / connect. afi. com/ site/ DocServer/ scores250. pdf?docID=221) from the American Film Institute. Retrieved 2011-04-22. [10] Roger Ebert (March 17, 2002). "Patton (1970)" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20020317/ REVIEWS08/ 203170301/ 1023). rogerebert.com. . Retrieved December 1, 2009. [11] "#1: Patton" (http:/ / www. reelviews. net/ top100/ 1. html). reelviews.net. . [12] James Berardinelli. "Patton" (http:/ / www. reelviews. net/ php_review_template. php?identifier=258). reelviews.net. . Retrieved December 1, 2009. [13] Entertainment Weekly (http:/ / www. ew. com/ ew/ article/ 0,,306200,00. html) [14] "The 43rd Academy Awards (1971) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 43rd-winners. html). oscars.org. . Retrieved 2011-08-27. [15] "NY Times: Patton" (http:/ / movies. nytimes. com/ movie/ 37460/ Patton/ awards). NY Times. . Retrieved 2008-12-28. [16] http:/ / www. rottentomatoes. com/ m/ fireball_forward/
External links
Patton (http://www.imdb.com/title/tt0066206/) at the Internet Movie Database Patton (http://www.rottentomatoes.com/m/patton/) at Rotten Tomatoes Opening Speech from the Movie in Text, Audio and Video (http://www.americanrhetoric.com/ MovieSpeeches/moviespeechpatton3rdarmyaddress.html) from AmericanRhetoric.com
1971 The French Connection
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The French Connection
Directed by Produced by William Friedkin Philip D'Antoni
Executive Producer:
G. David Schine Screenplay by Based on Starring Ernest Tidyman book The French Connection by Robin Moore Gene Hackman Fernando Rey Roy Scheider Tony Lo Bianco Marcel Bozzuffi Don Ellis
Music by
Cinematography Owen Roizman Editing by Distributed by Release date(s) Running time Country Language Budget Box office Gerald B. Greenberg (as Jerry Greenberg) 20th Century Fox
October 9, 1971
104 minutes United States English French $1.8 million $51,700,000

[1]
The French Connection is a 1971 American dramatic thriller film directed by William Friedkin and produced by Philip D'Antoni. It starred Gene Hackman, Fernando Rey and Roy Scheider. The film was adapted and fictionalized by Ernest Tidyman from the non-fiction book by Robin Moore. It tells the story of New York Police Department detectives named "Popeye" Doyle and Buddy "Cloudy" Russo, whose real-life counterparts were Narcotics Detectives Eddie Egan and Sonny Grosso. Egan and Grosso also appear in the film, as characters other than themselves. It was the first R-rated movie to win the Academy Award for Best Picture since the introduction of the MPAA film rating system. It also won Academy Awards for Best Actor (Gene Hackman), Best Director, Best Film Editing, and Best Adapted Screenplay (Ernest Tidyman). It was nominated for Best Actor in a Supporting Role (Roy Scheider), Best Cinematography and Best Sound. Tidyman also received a Golden Globe Award, a Writers Guild of America Award and an Edgar Award for his screenplay. In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."
349
Plot
The film revolves around the smuggling of narcotics between Marseilles, France and New York City, USA. In Marseilles a policeman is staking out Alain Charnier (Fernando Rey), a French criminal who is smuggling heroin from France to the United States. The policeman is assassinated by Charnier's henchman, Pierre Nicoli (Marcel Bozzuffi). In New York, detectives James "Popeye" Doyle (Gene Hackman) and Buddy "Cloudy" Russo (Roy Scheider) are conducting an undercover stakeout in Bedford-Stuyvesant, Brooklyn. After seeing a drug transaction take place in a bar, Russo goes in to make an arrest and the suspect makes a break for it. After catching up with their suspect and delivering a severe beating after the suspect cuts Russo on the arm with a knife, the detectives aggressively interrogate the man, forcing him to reveal where his connection is based. After Russo's injury is treated, Doyle convinces him to go out for a drink. At the Copacabana, Doyle becomes interested in Salvatore "Sal" Boca and his young wife, Angie, who are entertaining Mob members involved in narcotics. Doyle persuades his partner to tail the couple; although the Bocas run a modest newsstand luncheonette, they have criminal records: Sal is said to have held up Tiffany and also killed "a guy named DeMarco" while Angie drew a suspended sentence for shoplifting and Sal's brother Lou served jail time for assault and robbery. They make nearly nightly trips to several nightclubs, as well as drive several new cars, which indicate they may be involved in criminal activity. A link is established between the Bocas and lawyer Joel Weinstock, who is rumored to have connections in the narcotics underworld; Doyle and Russo allude to a drug shipment from Mexico bankrolled by Weinstock. Doyle and Russo roust a bar in their precinct, where the majority of the black patrons are in possession of marijuana and other minor drugs. The rousting is a stunt for Doyle to connect with an undercover policeman, whom he questions about an apparent shortage of hard drugs on the street; Doyle is told that a major shipment of heroin is on its way. The detectives convince their supervisor, Walt Simonson, to wiretap the Bocas' phones and use several ruses to try to obtain more information. The film centers on three main points: the criminals' efforts to smuggle drugs into the United States, which is made easier when Charnier dupes his friend, a French actor named Henri Devereaux, into importing an automobile (unbeknownst to Devereaux, the drugs are concealed within the vehicle) and the sale of the drugs to Weinstock and Sal Boca; the efforts of Doyle and Russo to shadow Boca and Charnier; and the conflicts the detectives have with Simonson and a federal agent named Mulderig, assigned to the case due to the wiretap. Doyle and Mulderig dislike each other; Russo and Doyle feel they can handle the bust without the government's help, and Mulderig criticizes Doyle on items ranging from trivialities like Doyle's appearance to an incident where a policeman was killed and Mulderig holds Doyle responsible. Doyle comes to blows with Mulderig. Weinstock's chemist tests a sample of the heroin and declares it the purest he has ever seen, establishing that the shipment could make as much as $32 million on a half-million dollar investment. Boca is impatient to make the purchase (reflecting Charnier's desire to return to France as soon as possible), while Weinstock, with more experience in smuggling, urges patience, knowing Boca's phone is tapped and that they are being investigated. Charnier soon "makes" Doyle and realizes he has been observed since his arrival in New York. Nicoli offers to kill Doyle; Charnier objects, knowing killing one policeman will not amount to anything, but Nicoli says they will be in France before they can be detained. Nicoli attempts to assassinate Doyle, but botches the job, leading to a car chase scene that culminates with Nicoli's hijacking an elevated train. Nicoli, after killing a policeman who was pursuing him, holds the driver at gunpoint. Near the end of the line Nicoli is confronted by passengers and the motorman passes out. The train reaches the end of the line and is halted by a safety mechanism on the tracks. Nicoli escapes the train and Doyle shoots him when he attempts to escape. The car containing the drugs is impounded when some thieves try to strip it of its valuables. Doyle and Russo take the car apart searching for drugs. When Russo notes the vehicle is 120 pounds over its listed weight, they realize the drugs
1971 The French Connection must still be in the car. The mechanic tells them he did not remove the car's rocker panels; when he does, the drugs are discovered. The police later return the car to Devereaux, seemingly untouched. It seems as though the drug deal has been a major success; Weinstock's chemist tests one of the bags and confirms its quality. Using a car that Sal Boca's brother Lou picked out, the criminals conceal the money. The car is to be imported into France, where Charnier will retrieve the money. Charnier and Sal Boca drive off, but run into a roadblock consisting of a large force of police led by Doyle. The police chase Charnier and Sal Boca to an old factory. Sal is killed during a shootout with the police and almost all of the others surrender. Charnier escapes into the warehouse and Doyle hunts for him. Russo joins in the search. Doyle, trigger-happy and high on adrenaline, sees a shadowy figure in the distance and empties his revolver at it a split-second after shouting a warning. The man Doyle kills is not Charnier, but Mulderig. Doyle seems unfazed and vows to capture Charnier, reloading his gun and running into another room. The last sound heard in the film is a single gunshot. (In the TV version that ran in the late 1970s, Doyle says of getting Charnier, I'm going to get that son of a bitch if it takes me the rest of my life!!) Title cards before the closing credits note that Joel Weinstock and Angie Boca got away without prison time while Lou Boca got a reduced sentence and Devereaux served four years. Charnier was never caught. Both Doyle and Russo were transferred out of the narcotics division.
350
Cast
Gene Hackman as Det. Jimmy 'Popeye' Doyle Fernando Rey as Alain Charnier Roy Scheider as Det. Buddy 'Cloudy' Russo Tony Lo Bianco as Salvatore 'Sal' Boca Marcel Bozzuffi as Pierre Nicoli, Hit Man Frdric de Pasquale as Henri Devereaux Bill Hickman as Bill Mulderig Ann Rebbot as Mrs. Marie Charnier Harold Gary as Joel Weinstock Arlene Farber as Angie Boca Eddie Egan as Walt Simonson Andr Ernotte as La Valle Sonny Grosso as Bill Klein Benny Marino as Lou Boca Patrick McDermott as Howard, Chemist Alan Weeks as Willie Craven, drug pusher Andre Trottier as Wyett Cohn, weapons specialist Sheila Ferguson as The Three Degrees Eric Jones as Little Boy (uncredited) Darby Lloyd Rains as Stripper (uncredited) Jean Luisi as French detective
Comparison to actual people

The plot centers around drug smuggling in the 1960s and early '70s, when most of the heroin illegally imported into the East Coast came to the United States through France (see French Connection). In addition to the two main protagonists, several of the fictional characters depicted in the film also have real-life counterparts. The Alain Charnier character is based upon Jean Jehan who was arrested later in Paris for drug trafficking, though he was not extradited;[2] the director credits a general lack of punishment to Jehan's military service with Charles de Gaulle. Sal Boca is based on Pasquale "Patsy" Fuca, and his brother Anthony. Angie Boca is based on Patsy's wife Barbara, who later wrote a book with Robin Moore detailing her life with Patsy. The Fucas and their uncle were part of a heroin dealing crew that worked with some of the New York crime families.[3] Henri Devereaux, who takes the fall for importing the Lincoln to New York, is based on Jacques Angelvin, a television actor arrested and sentenced to three to six years in a federal penetentiary for his role, serving about four before repatriating to France and turning to real estate.[4] The Joel Weinstock character is, according to the director's commentary, a composite of several similar drug dealers.[5]
351
Production
In an audio commentary track recorded by Friedkin for the Collector's Edition DVD release of the film, Friedkin notes that the film's documentary-like realism was the direct result of the influence of having seen Z, a French film. Additionally, this was the first film to show the World Trade Center: the completed North Tower and the partial completion of the South Tower are seen in the background of one scene. Friedkin credits his decision to direct the movie to a discussion with film director Howard Hawks, whose daughter was living with Friedkin at the time. Friedkin asked Hawks what he thought of his movies, to which Hawks bluntly replied that they were "lousy." Instead Hawks recommended that he "Make a good chase. Make one better than anyone's done."[6]
Casting
Though the cast ultimately proved to be one of the film's greatest strengths, Friedkin had problems with casting choices from the start. He was strongly opposed to the choice of Hackman for the lead, and actually first considered Paul Newman (out of the budget range), then Jackie Gleason, and a New York columnist, Jimmy Breslin, who had never acted before.[7] However, Gleason, at that time, was considered box-office poison by the studio after his film Gigot had flopped several years before, and Breslin refused to get behind the wheel of a car, which was required of Popeye's character for an integral car chase scene. Steve McQueen was also considered, but he did not want to do another police film after Bullitt and, as with Newman, his fee would have exceeded the movie's budget. Tough guy Charles Bronson was also considered for the role. Friedkin almost settled for Rod Taylor (who had actively pursued the role, according to Hackman), another choice the studio approved, before he went with Hackman. The eventually successful casting of Rey as the main French heroin smuggler, Alain Charnier (irreverently referred to throughout the film as "Frog One"), resulted from mistaken identity. Friedkin had asked his casting director to get a Spanish actor he had seen in Luis Buuel's French film, Belle de Jour, who was actually Francisco Rabal, but Friedkin did not know his name, and Rey, who had played in several other films directed by Buuel, was instead contacted. After Rabal was finally reached, they discovered he spoke neither French nor English and Rey was kept in the film.[8] In a further irony, after screening the film's final cut, Rey's French was deemed unacceptable by the filmmakers. They decided to dub his French while preserving his English dialogue.
Car chase
The film is often cited as containing one of the greatest car chase sequences in movie history.[9] The chase involves Popeye commandeering a civilian's car (a 1971 Pontiac LeMans) and then frantically chasing an elevated train, on which a hitman is trying to escape. The scene was filmed in Bensonhurst, Brooklyn roughly running under the BMT West End Line (currently; the D train, then the B train) which runs on an elevated track above Stillwell Avenue, 86th Street and New Utrecht Avenue in Brooklyn, with the chase ending just north of the 62nd Street station after the train crashed into another train up ahead.[10] The conductor played by Bob Morrone and train operator played by William Coke, aboard the hijacked train were both actual NYC Transit Authority employees.[11] Friedkin's plan included fast driving coupled with five specific stunts: 1. 2. 3. 4. Doyle is sideswiped by a car in an intersection Doyle's car is clipped by a truck with a Drive Carefully bumper sticker. Doyle narrowly misses a woman with a baby stroller and crashes into a pile of garbage. Doyle's vision is blocked by a tractor trailer which forces him into a steel fence.
5. Doyle must go against traffic to get back on a parallel path with the train. Intercut with these car scenes underneath the elevated train is additional footage (shots facing the car, not from the driver's perspective) that was shot in Bushwick, Brooklyn, particularly when Doyle misses a moving truck and slams into a steel fence.
1971 The French Connection The most famous shot of the chase is made from a front bumper mount and shows a low-angle point of view shot of the streets racing by. This was the last shot made in the film and was, according to Friedkin, needed to increase the speed of the chase after a rough cut of the scene proved less impressive than he hoped. While Friedkin contends the front-bumper shot is made at speeds of "up to 90mph," director of photography Owen Roizman, wrote in American Cinematographer magazine in 1972 that the camera was undercranked to 18 frames per second to enhance the sense of speed. Roizman's contention is borne out when you see a car at a red light whose muffler is pumping smoke at an accelerated rate. Other shots involved stunt drivers who were supposed to barely miss hitting the speeding car, but due to errors in timing accidental collisions occurred and were left in the final film.[12] Friedkin said that he used Santana's song "Black Magic Woman" during editing to help shape the chase sequence; though the song does not appear in the film, "it [the chase scene] did have a sort of pre-ordained rhythm to it that came from the music."[13] The scene concludes with Doyle confronting Nicoli the hitman at the stairs leading to the subway and shooting him as he tries to run back up them. Many of the police officers acting as advisers for the film objected to the scene on the grounds that shooting a suspect in the back was simply murder, not self-defense, but director Friedkin stood by it, stating that he was "secure in my conviction that that's exactly what Eddie Egan (the model for Doyle) would have done and Eddie was on the set while all of this was being shot."[14][15]
352
Awards and honors

Academy Awards
Wins[16][17] Best Picture - Phillip D'Antoni Best Director - William Friedkin Best Actor - Gene Hackman Best Adapted Screenplay Film Editing
Nominations Best Supporting Actor - Roy Scheider Best Cinematography Best Sound - Theodore Soderberg, Christopher Newman
Golden Globes
Wins[18] Golden Globe for Best Motion Picture - Drama - Phillip D'Antoni Golden Globe Award for Best Director - William Friedkin Golden Globe Award for Best Actor Motion Picture Drama - Gene Hackman Nominations Golden Globe Award for Best Screenplay - Ernest Tidyman
353
Home video
The film has been issued in a number of home video formats. For a 2009 reissue on Blu-ray Disc, William Friedkin controversially altered the film's color timing to give it a "colder" look.[19] Cinematographer Owen Roizman, who was not consulted about the changes, dismissed the new transfer as "atrocious".[20]
Sequels and adaptations

A sequel, French Connection II appeared in 1975, and in 1986, the NBC television network aired a made-for-TV movie, Popeye Doyle, starring Ed O'Neill in the title role. While not a sequel, The Seven-Ups (1973) is closely related as it stars Roy Scheider and Tony Lo Bianco, was directed by Philip D'Antoni, written by Sonny Grosso and features another famous car chase choreographed by Bill Hickman. The score for this film was also by Don Ellis.
References
[1] "The French Connection, Box Office Information" (http:/ / boxofficemojo. com/ movies/ ?id=frenchconnection. htm). Box Office Mojo. . Retrieved January 29, 2012. [2] Turner Classic Movies spotlight (http:/ / www. tcm. com/ thismonth/ article/ ?cid=97174) [3] [4] [5] [6] The French Connection (book) Jacques Angelvin, French Wikipedia article Film commentary McCarthy, Todd. Howard Hawks: The Grey Fox of Hollywood (http:/ / books. google. com/ books?id=7UCUWDSEkM8C& pg=PA625& dq=make+ a+ good+ chase+ howard+ hawks& hl=en& ei=FpJpTNOFBY6HnQeWwpzDBQ& sa=X& oi=book_result& ct=result& resnum=2& ved=0CDYQ6AEwAQ#v=onepage& q=make a good chase howard hawks& f=false) Pg. 625. Grove Press, 2000 ISBN 0-8021-3740-7, ISBN 978-0-8021-3740-1 [7] Friedkin recounts his casting opinions in Making the Connection: The Untold Stories (2001). Extra feature on 2001 Five Star Collection edition of DVD release. [8] This story is recounted in Making the Connection, supra. [9] Top 10 car chase movies - MOVIES - MSNBC.com (http:/ / www. msnbc. msn. com/ id/ 6091432/ ) [10] R42 cars 4572 and 4573 were chosen for the film and had no B subway rollsigns because they were normally assigned to the N subway train. Consequently, they operated during the movie with an N displayed. As of July 2009, these cars were withdrawn from service, but are preserved as part of the Transit Museum fleet. [11] IMDb trivia (http:/ / www. imdb. com/ title/ tt0067116/ trivia) [12] This account of the shooting is described in Making the Connection, supra. [13] "From 'Popeye' Doyle to Puccini: William Friedkin" with Robert Siegel (interview), NPR, 14 Sep 2006 (http:/ / www. npr. org/ templates/ story/ story. php?storyId=6070626) [14] Director's commentary on DVD [15] "Making the Connection" and "The Poughkeepsie Shuffle", documentaries on The French Connection available on the deluxe DVD. [16] "The 44th Academy Awards (1972) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 44th-winners. html). oscars.org. . Retrieved 2011-08-27. [17] Awards for The French Connection (http:/ / www. imdb. com/ title/ tt67116/ awards) at the Internet Movie Database [18] "The 20th Annual Golden Globe Awards (1972) Nominees and Winners" (http:/ / www. goldenglobes. org/ browse/ year/ 1971). goldenglobes.org. . [19] Dave Kehr (February 20, 2009). "Filmmaking at 90 Miles Per Hour" (http:/ / www. nytimes. com/ 2009/ 02/ 22/ movies/ homevideo/ 22dave. html?pagewanted=2& _r=1& sq=french connection& st=cse& scp=3). The New York Times. . Retrieved August 8, 2009. [20] Jeffrey Wells (February 25, 2009). "Atrocious...Horrifying" (http:/ / hollywood-elsewhere. com/ 2009/ 02/ atrocioushorrif. php). Hollywood Elsewhere. . Retrieved August 8, 2009.
354
External links
The French Connection (http://www.imdb.com/title/tt0067116/) at the Internet Movie Database The French Connection (http://tcmdb.com/title/title.jsp?stid=75646) at the TCM Movie Database The French Connection (http://www.allrovi.com/movies/movie/v18617) at AllRovi The French Connection (http://www.rottentomatoes.com/m/french_connection/) at Rotten Tomatoes Under the Influence: William Friedkin and The French Connection (http://www.dga.org/news/v28_2/ indie_uti-friedkin03.php3), DGA Magazine. Anatomy of a Chase (http://www.dga.org/Craft/DGAQ/All-Articles/0603-Fall-2006/ Feature-Anatomy-of-a-Chase.aspx), DGA Magazine. Filmmaking at 90 Miles Per Hour (http://www.nytimes.com/2009/02/22/movies/homevideo/22dave.html) retrospective article in The New York Times
1972 The Godfather
355
1972 The Godfather

The Godfather
Directed by Produced by Screenplay by Based on Starring Francis Ford Coppola Albert S. Ruddy Mario Puzo Francis Ford Coppola The Godfather by Mario Puzo Marlon Brando Al Pacino James Caan Richard S. Castellano Robert Duvall Sterling Hayden John Cazale Diane Keaton Nino Rota Carmine Coppola (additional music)
Music by
Cinematography Gordon Willis Editing by William H. Reynolds [1] Peter Zinner Alfran Productions Paramount Pictures
Studio Distributed by Release date(s) Running time Country Language Budget Box office
March 15, 1972 (US)
175 minutes United States English Sicilian $6.5 million

[2] [3]
$268,500,000
The Godfather is a 1972 American crime film directed by Francis Ford Coppola and produced by Albert S. Ruddy from a screenplay by Mario Puzo and Coppola. Based on Puzo's 1969 novel of the same name, the film stars Marlon Brando and Al Pacino as the leaders of a powerful New York crime family. The story, spanning the years 1945 to 1955, centers on the ascension of Michael Corleone (Pacino) from reluctant family outsider to ruthless Mafia boss while also chronicling the Corleone family under the patriarch Vito Corleone (Brando). The Godfather is widely regarded as one of the greatest films in world cinema[4] and as one of the most influential, especially in the gangster genre. Now ranked as the second greatest film in American cinema (behind Citizen Kane) by the American Film Institute,[5] it was selected for preservation in the United States National Film Registry in 1990.[6] The film's success spawned two sequels: The Godfather Part II in 1974, and The Godfather Part III in 1990. The film was for a time the highest grossing picture ever made, and remains the box office leader for 1972. It won three Oscars that year: for Best Picture, for Best Actor (Brando) and in the category Best Adapted Screenplay for
1972 The Godfather Puzo and Coppola. Its nominations in seven other categories included Pacino, James Caan and Robert Duvall for Best Supporting Actor and Coppola for Best Director.
356
Plot
On the day of his only daughter's wedding, Vito Corleone (Marlon Brando) hears requests in his role as the Godfather, the Don of his New York crime family. Vito's youngest son Michael (Al Pacino), on military leave, introduces his girlfriend, Kay Adams (Diane Keaton), to his family at the sprawling reception. Vito's godson Johnny Fontane (Al Martino), a popular singer, pleads for help securing a coveted movie role, so Vito dispatches his consigliere Tom Hagen (Robert Duvall) to the abrasive studio head, Jack Woltz (John Marley), to secure the casting. Woltz is unmoved until the morning he wakes up in bed with the severed head of his prized stud horse. Shortly before Christmas 1945, drug baron Virgil "The Turk" Sollozzo (Al Lettieri), backed by the Corleones' rivals, the Tattaglias, asks Vito for investment and protection through his political connections, but Vito disapproves of drug dealers. Instead, he sends his enforcer, Luca Brasi (Lenny Montana) to spy on them, but a fish is returned to the family wrapped in Brasi's vest, confirming he "sleeps with the fishes". Sollozzo's assassination attempt on Vito lands Vito in the hospital, so eldest son, Sonny (James Caan), takes command. Sollozzo kidnaps Hagen to pressure Sonny to accept his deal. Michael thwarts a second assassination attempt on his father at the hospital, but is accosted by corrupt police Captain McCluskey (Sterling Hayden), who breaks his jaw. Sonny retaliates by having Bruno, Tattaglia's son, killed. Michael comes up with a plan to hit Sollozzo and McCluskey that his brother approves over Hagen's objections. On the pretext of settling the dispute, Michael lures the pair to a restaurant, retrieves a planted handgun and murders them. Despite a clamp down from the authorities, the Five Families erupt in open warfare and the brothers fear for their safety. Michael takes refuge in Sicily, and Fredo (John Cazale) is sheltered by associate Moe Greene (Alex Rocco) in Las Vegas. Sonny attacks his brother-in-law Carlo on the street for abusing his sister Connie (Talia Shire). When it happens again, Sonny speeds for her home but assassins ambush him at a highway toll booth and riddle him with machine gun fire. Vito is saddened to learn that, despite his hopes, Michael has become involved in the family business. However, Michael has fallen in love with Apollonia Vitelli (Simonetta Stefanelli) and married her in Sicily. His peace is shattered when a car bomb intended for him takes the life of his new wife. To end the feuds, Vito meets with the heads of the Five Families, withdrawing his opposition to the Tattaglias' heroin business and swearing to forego revenge for Sonny's murder. He deduces that the Tattaglias were under orders of the now dominant Don Emilio Barzini (Richard Conte). With his safety guaranteed, Michael returns home and over a year later marries Kay. Seeing his father at the end of his career and his surviving brother too weak, Michael takes the reins of the family and promises his wife to make it legitimate within five years. Biding his time, Michael allows rival families to pressure Corleone enterprises and plans to move family operations to Nevada, while delegating New York operations to members who stay behind. Michael also replaces Hagen with his father as his consigliere; Vito explains to an upset Hagen that they have long range plans for him and the family. Later, Michael travels to Las Vegas, intending to buy out Greene's stake in the family's casinos. Instead, Greene derides the Corleones as a fading power, and Michael's anger is fueled when Fredo falls under Greene's sway. Vito collapses and dies in his garden in 1955 while playing with Michaels son Anthony. At the funeral, Salvatore Tessio (Abe Vigoda) arranges a meeting between Michael and Don Barzini, signalling his treachery as Vito had warned. The meeting is set for the same day as the christening of Connie and Carlo's son, to whom Michael will stand as godfather. As the christening proceeds, on Michael's orders, Corleone assassins murder the other New York dons and Moe Greene. Tessio is told that Michael is aware of his betrayal and taken off to his death. After Carlo is questioned by Michael on his involvement in setting up Sonny's murder and confesses he was contacted by Barzini, he is escorted to a car whereupon Clemenza kills him with a garrotte. Michael is confronted by Connie, who accuses him of having her husband killed. He denies killing Carlo when questioned by Kay, an answer she accepts. As Kay watches warily, Michael receives his capos, who address him as the new Don Corleone.
1972 The Godfather
357
Cast
Marlon Brando as Vito Corleone, formerly known as Vito Andolini, who is the Don (the "boss") of the Corleone family. He is a native Sicilian married to Carmela Corleone. Vito is the father of Santino (Sonny), Federico (Fredo), Michele (Michael) and Constanzia (Connie). Al Pacino as Michael Corleone, the Don's youngest son, recently returned from World War II. The only college-educated member of the family, Michael initially wants nothing to do with the "family business". He is the main protagonist of the story and his evolution from doe-eyed outsider to ruthless boss is the key plotline of the film. James Caan as Santino "Sonny" Corleone, Don Corleone's hot-headed eldest son. As underboss, he is being groomed to succeed his father as head of the Corleone family. Richard S. Castellano as Peter Clemenza, a caporegime for the Corleone family. He is also an old friend of Vito Corleone and Salvatore Tessio. Robert Duvall as Tom Hagen, Don Corleone's informally adopted son, he is the family lawyer and consigliere (counselor). Unlike the Corleones, he is of German-Irish descent, not Sicilian. Diane Keaton as Kay Adams-Corleone, Michael's non-Italian girlfriend and, ultimately, his second wife and the mother of his children. John Cazale as Fredo Corleone, the middle son of the Corleone family. Deeply insecure and not very bright, he is considered the weakest of the Corleone brothers. Talia Shire as Constanzia "Connie" Corleone, the youngest child and only daughter of the Corleone family. She marries Carlo Rizzi at the beginning of the film. Abe Vigoda as Salvatore Tessio, a caporegime for the family. He is also an old friend of Vito Corleone and Peter Clemenza. Al Lettieri as Virgil "The Turk" Sollozzo, a heroin dealer associated with the Tattaglia family. He asks Don Corleone to protect the Tattaglia family's heroin business through his political connections. Gianni Russo as Carlo Rizzi, Connie's husband. He becomes an associate of the Corleone family, and ultimately betrays Sonny to the Barzini family. Sterling Hayden as Captain McCluskey, a corrupt police captain on Sollozzo's payroll. Lenny Montana as Luca Brasi, a loyal enforcer utilized by Vito Corleone. Richard Conte as Emilio Barzini, Don of the Barzini family. Al Martino as Johnny Fontane, a world-famous popular singer and godson of Vito, loosely based on Frank Sinatra. John Marley as Jack Woltz, a powerful Hollywood producer who is implied to be a pedophile. Alex Rocco as Moe Greene, a longtime associate of the Corleone family who owns a Las Vegas hotel, based on Bugsy Siegel. Morgana King as Carmela Corleone, Vito's wife and mother of Sonny, Fredo, Michael, and Connie, and adoptive mother to Tom Hagen. Corrado Gaipa as Don Tommasino, an old friend of Vito Corleone, who shelters Michael during his exile in Sicily. Johnny Martino as Paulie Gatto, a soldier under Peter Clemenza and Vito's driver. Victor Rendina as Philip Tattaglia, Don of the Tattaglia family. Tony Giorgio as Bruno Tattaglia, son and underboss. Sonny Corleone has him assassinated in retaliation for the shooting of Vito Corleone. Simonetta Stefanelli as Apollonia Vitelli-Corleone, a young girl Michael meets and marries while in Sicily. Louis Guss as Don Zaluchi, Don of the Zaluchi family of Detroit. Tom Rosqui as Rocco Lampone, a soldier under Clemenza who eventually becomes a caporegime in the Corleone family. Joe Spinell as Willi Cicci, a soldier in the Corleone family.
1972 The Godfather Richard Bright as Al Neri, Michael Corleone's personal bodyguard who eventually becomes a caporegime. Julie Gregg as Sandra Corleone, the wife and, later, widow of Sonny. Sofia Coppola as Michael Francis Rizzi, godchild of Michael Corleone.
358
Production
Coppola and Paramount
Coppola was not Paramount Pictures' first choice to direct. Italian director Sergio Leone was offered the job first, but he declined in order to direct his own gangster opus, Once Upon a Time in America, which focused on Jewish-American gangsters.[7] Peter Bogdanovich was then approached but he also declined the offer and made What's Up, Doc? instead. According to Robert Evans, head of Paramount at the time, Coppola also did not initially want to direct the film because he feared it would glorify the Mafia and violence, and thus reflect poorly on his Sicilian and Italian heritage; on the other hand, Evans specifically wanted an Italian-American to direct the film because his research had shown that previous films about the Mafia that were directed by non-Italians had fared dismally at the box office, and he wanted to, in his own words, "smell the spaghetti".[8] When Coppola hit upon the idea of making it a metaphor for American capitalism, however, he eagerly agreed to take the helm.[9] At the time, Coppola had directed five feature films, the most notable of which was the adaptation of the stage musical Finian's Rainbow although he had also received an Academy Award for co-writing Patton in 1970.[10] Coppola was in debt to Warner Bros. for $400,000 following budget overruns on George Lucas's THX 1138, which Coppola had produced, and he took The Godfather on Lucas's advice.[11] Years later, he said that Paramount chose him because he was a young director, turning 31 just a month after shooting began.[12] There was intense friction between Coppola and Paramount, and several times Coppola was almost replaced. As early as the first week, Coppola was nearly fired when Pacino was badly injured, delaying production. Paramount maintains that its skepticism was due to a rocky start to production, though Coppola believes that the first week went extremely well. The studio thought that Coppola failed to stay on schedule, frequently made production and casting errors, and insisted on unnecessary expenses, and two producers unsuccessfully tried to convince another filmmaker to take Coppola's place. The producers scapegoated the other filmmaker when their attempt to fire Coppola became known. Because the producers told him that the other filmmaker had attempted a coup, Coppola says he was shadowed by a replacement director, who was ready to take over if Coppola was fired. Despite such intense pressure, he managed to defend his decisions and avoid being replaced.[12] Coppola would later recollect:[13] The Godfather was a very unappreciated movie when we were making it. They were very unhappy with it. They didn't like the cast. They didn't like the way I was shooting it. I was always on the verge of getting fired. So it was an extremely nightmarish experience. I had two little kids, and the third one was born during that. We lived in a little apartment, and I was basically frightened that they didn't like it. They had as much as said that, so when it was all over I wasn't at all confident that it was going to be successful, and that I'd ever get another job. Paramount was in financial trouble at the time of production and was desperate for a "big hit" to boost business, hence the pressure Coppola faced during filming. They wanted The Godfather to appeal to a wide audience and threatened Coppola with a "violence coach" to make the film more exciting. Coppola added a few more violent scenes to keep the studio happy. The scene in which Connie smashed kitchen dishes after finding out Carlo was cheating was added for this reason.[12] The film was originally budgeted for $2 million, and was scripted as a modern adaptation. However, when Coppola got his hands on the script, he was adamant that it be set in the same time period as the book, from 1945 to 1955. This required a large number of second unit shots, some of which embarrassed Coppola at the time.[12] Screenwriter Robert Towne did uncredited work on the script, in particular the Pacino-Brando tomato garden scene.[14]
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Casting
Coppola's casting choices were unpopular with studio executives at Paramount Pictures, particularly Marlon Brando as Don Vito Corleone. Coppola's first two choices for the role were both Brando and Laurence Olivier, but Olivier's agent refused the role, saying, "Lord Olivier is not taking any jobs. He's very sick. He's gonna die soon and he's not interested" (Olivier lived 18 years after the refusal). Paramount, which wanted Ernest Borgnine, originally refused to allow Coppola to cast Brando in the role, citing difficulties Brando had on recent film sets. One studio executive proposed Danny Thomas for the role citing the fact that Don Corleone was a strong "family man. " At one point, Coppola was told by Paramount president Charles Bludhorn that "Marlon Brando will never appear in this motion picture". After pleading with the executives, Coppola was allowed to cast Brando only if he appeared in the film for much less salary than his previous films, perform a screen-test, and put up a bond saying that he would not cause a delay in the production (as he had done on previous film sets).[15] Coppola chose Brando over Borgnine on the basis of his screen test, which also won over the Paramount leadership. Bludhorn in particular was captivated by Brando's screen test; when he saw it, he exclaimed, "What are we watching? Who is this old guinea?" Brando later won an Academy Award for his portrayal, which he refused to accept in order to call attention to harmful Hollywood stereotypes of Native Americans.[16][17] The studio originally wanted Robert Redford or Ryan O'Neal to play Michael Corleone, but Coppola wanted an unknown who looked like an Italian-American, whom he found in Al Pacino.[12] Pacino was not well known at the time, having appeared in only two minor films, and the studio did not consider him right for the part,[15] in part because of his height. Jack Nicholson, Dustin Hoffman, Warren Beatty, Martin Sheen, and James Caan also auditioned.[15] At one point, Caan was the first choice to play Michael, while Carmine Caridi was signed as elder brother Sonny. Pacino was given the role only after Coppola threatened to quit the production; Caan stated that Coppola envisioned Michael to be the Sicilian-looking one and Sonny was the Americanized version. The studio agreed to Pacino on the condition that Caan was cast as Sonny instead of Caridi, despite the former's Jewish heritage and the latter closely matching the character in the novel (a six-foot-four, black-haired Italian-American bull). Coppola and Puzo would subsequently create a role for Caridi in the sequels.[18] Bruce Dern, Paul Newman, and Steve McQueen were considered for the role of Tom Hagen that eventually went to Robert Duvall. Sylvester Stallone auditioned for Carlo Rizzi and Paulie Gatto, Anthony Perkins for Sonny, and Mia Farrow auditioned for Kay. William Devane was seen for the role of Moe Greene. Mario Adorf was approached for a role as well. A then-unknown Robert De Niro auditioned for the roles of Michael, Sonny, Carlo, and Paulie. He was cast as Paulie, but Coppola arranged a "trade" with The Gang That Couldn't Shoot Straight to get Al Pacino from that film. De Niro later played the young Vito Corleone in Part II, winning an Oscar for Best Supporting Actor for the role. To some extent, the film was a family affair for Francis Ford Coppola. Carmine Coppola, his father, who had a distinguished career as a composer, conductor and arranger, wrote additional music for the film and appeared in a bit part as a piano player, and Carmine's wife, Italia Coppola, was an extra. The director's sister, Talia Shire, was cast as Connie Corleone, and his infant daughter, Sofia, played Connie's and Carlo's newborn son, Michael Francis Rizzi, in the climactic baptism scene near the movie's end.[19] Coppola also cast his sons as Tom Hagen's sons, Frank and Andrew. They are seen in the Sonny-Carlo street fight scene and behind Pacino and Duvall during the funeral scene.
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Filming
Most of the principal photography took place from March 29, 1971 to August 6, 1971, although a scene with Pacino and Keaton was shot in the autumn. There were a total of 77 days of shooting, fewer than the 83 for which the production had budgeted. The opening shot is a long, slow pullback, starting with a close-up of Bonasera, who is petitioning Don Corleone, and ending with the Godfather, seen from behind, framing the picture. This move, which lasts for about three minutes, was shot with a computer-controlled zoom lens designed by Tony Karp.[20] The scene of Michael driving with McCluskey and Sollozzo avoided the cost of back-projection. Instead, technicians moved lights behind the car to create the illusion. The cat in the opening scene used to hang around the studio, and was simply dropped in Brando's lap at the last minute by the director.[21][22] One of the movie's most shocking moments involved the real severed head of a horse. Animal rights groups protested the inclusion of the scene. Coppola later stated that the horse's head was delivered to him from a dog food company; a horse had not been killed specifically for the movie.[12][15] In the novel, Jack Woltz, the movie producer whose horse's head is put in his bed, is also shown to be a pedophile as Tom Hagen sees a young girl (presumably one of Woltz's child stars) crying while walking out of Woltz's room. This scene was cut from the theatrical release but can be found on the DVD (though Woltz can still briefly be seen kissing the girl on the cheek in his studio in the film). The shooting of Moe Greene through the eye was inspired by the death of gangster Bugsy Siegel. To achieve the effect, actor Alex Rocco's glasses had two tubes hidden in their frames. One had fake blood in it, and the other had a BB and compressed air. When the gun was shot, the compressed air shot the BB through the glasses, shattering them from the inside. The other tube then released the fake blood. The equally startling scene of McCluskey's shooting was accomplished by building a fake forehead on top of actor Sterling Hayden. A gap was cut in the center, filled with fake blood, and capped off with a plug of prosthetic flesh. The plug was quickly yanked out with monofilament fishing line, making a bloody hole suddenly appear in Hayden's head. The most complicated shooting was the death of Sonny Corleone at the toll plaza. Inspired by the final scene in Bonnie and Clyde, James Caan's suit was rigged with 127 squibs of fake blood that exploded in a simulation of machine-gun hits. Locations Locations[23] around New York City were used for the film, including the then-closed flagship store of Best & Company on Fifth Avenue, which was dressed up and used for the scene in which Pacino and Keaton are Christmas shopping. At least one location in Los Angeles was used also (for the exterior of Woltz's mansion), for which neither Robert Duvall nor John Marley were available; in some shots, it is possible to see that extras are standing in for the two actors. A scene with Pacino and Keaton was filmed in the town of Ross, California. The Sicilian towns of Savoca and Forza d'Agr outside of Taormina were also used for exterior locations. Interiors were shot at Filmways Studio in New York.
The New York State Supreme Court building on Foley Square in Manhattan, New York City.
A side entrance to Bellevue Hospital was used for Michael's confrontation with police Captain McCluskey.[24] As of 2007, the steps and gate to the hospital were still there but victim to neglect. The hospital interiors, when Michael visits his father there, were filmed at the New York Eye and Ear Infirmary on 14th Street, in Manhattan, New York
1972 The Godfather City. The scene in which Don Barzini is assassinated was filmed on the steps of the New York State Supreme Court building on Foley Square in Manhattan, New York City.[25] The wedding scene at the Corleone family compound was shot at 110 Longfellow Avenue in the Todt Hill section of Staten Island. The numerous Tudor homes on the block gave the impression that they were part of the same "compound. " Paramount built a Plexiglas "stone wall" which traversed the street the same wall where Santino smashed the camera. Many of the extras in the wedding scene were local Italian-Americans who were asked by Coppola to drink homemade wine, enjoy the traditional Italian food, and participate in the scene as though it were an actual wedding. Food was catered by "Demyan's Hofbrau" a restaurant on Van Duzer Street which is no longer in existence. The wedding cake was prepared by a bakery on Port Richmond Avenue. Two churches were used to film the baptism scene. The interior shots were filmed at Old St. Patrick's in New York. For the baptism, Bach's Passacaglia and Fugue in C minor, BWV 582 was used, as were other Bach works for the pipe organ. The exterior scenes following the baptism were filmed at The Church of St. Joachim and St. Anne in the Pleasant Plains section of Staten Island. In 1973 much of the church was destroyed in a fire. Only the faade and steeple of the original church remained, and were later incorporated into a new structure. The funeral scene was filmed at Calvary Cemetery in Woodside, Queens.[26] The toll booth scene was filmed at the then construction site of Nassau Coliseum in Uniondale, New York on Long Island. It also utilized the former Mitchel Field, and the roadway used was once a runway. Music The film's famous score was composed by Nino Rota. Francis Coppola's father Carmine Coppola contributed to the music performed in the film's wedding scene.[27] Later, his son would call on him to compose additional music for the score of The Godfather Part II (1974) and most of the score for The Godfather Part III (1990).
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Reception
The Godfather was a huge financial success, breaking many box office records to become the highest grossing film of 1972. It earned at least $75 million in theatrical rentals in North America, displacing Gone with the Wind, which had earned $72.9 million, becoming the highest grossing film of all time,[28] until the debut of Jaws in 1975.[29] It was also the first film in history to reach $100 million in North America,[28] and according to an article in The Sunday Telegraph, the worldwide box office for the film was $114 million by August 1972.[28] Profits were so high for The Godfather that earnings for Gulf & Western Industries, Inc., which owned Paramount Pictures, jumped from seventy-seven cents per share to three dollars and thirty cents a share for the year, according to a Los Angeles Times article, dated December 13, 1972.[28] The film ultimately grossed nearly $135 million at the domestic box office and $133 million in international markets, bringing its worldwide earnings to $268,500,000.[3]
Critical response
Since its release, The Godfather has received universal critical acclaim.[30] Rotten Tomatoes reports that 100% of 74 critics gave the film a positive review, with an average score of 9.1/10. The website's critical consensus for the film was "The Godfather gets everything right; not only did the movie transcend expectations, it established new benchmarks for American cinema, " and the film was lauded as "one of Hollywood's greatest critical and commercial successes".[31] Metacritic, another review aggregator, assigned the film a perfect weighted average score of 100 (out of 100) based on 14 reviews from mainstream critics, considered to be "universal acclaim".[30]
1972 The Godfather Both The Godfather and The Godfather Part II were selected for preservation in the United States National Film Registry in 1990 and 1993, respectively. International critics routinely list these two among cinema's pinnacle achievements, sometimes considering them as one work. In the decennial 2002 Sight & Sound poll of film directors, the pair was ranked as the second best film of all time.[32] The critics poll separately voted it fourth. The American Film Institute[5] has listed it second in U.S. film history behind Citizen Kane. Other polls and publications have it first, as well, among them Entertainment Weekly,[33] and Empire magazine (November 2008)[34] The soundtrack's main theme by Nino Rota was also critically acclaimed; the main theme ("Speak Softly Love") is well-known and widely used (see Score Controversy for more information). Director Stanley Kubrick believed that The Godfather was possibly the greatest movie ever made, and had without question the best cast.[35] Previous Mafia movies had looked at the gangs from the perspective of an outraged outsider.[36] In contrast, The Godfather presents the gangster's perspective of the Mafia as a response to corrupt society.[36] Although the Corleone family is presented as immensely rich and powerful, no scenes depict prostitution, gambling, loan sharking or other forms of racketeering.[37] Some critics argue that the setting of a criminal counterculture allows for unapologetic gender stereotyping, and is an important part of the film's appeal ("You can act like a man!", Don Vito tells a weepy Johnny Fontane).[38] Real-life gangsters responded enthusiastically to the film, with many of them feeling it was a portrayal of how they were supposed to act.[39] Salvatore "Sammy the Bull" Gravano, the former Underboss in the Gambino crime family,[40] stated: "I left the movie stunned... I mean I floated out of the theater. Maybe it was fiction, but for me, then, that was our life. It was incredible. I remember talking to a multitude of guys, made guys, who felt exactly the same way. " According to Anthony Fiato after seeing the film, Patriarca crime family members Paulie Intiso and Nicky Giso altered their speech patterns closer to that of Vito Corleone's.[41] Intiso would frequently swear and use poor grammar; but after the movie came out, he started to articulate and philosophize more.[41] Remarking on the 40th anniversary of the film's release, film critic John Podhoretz praised The Godfather as "arguably the great American work of popular art" and "the summa of all great moviemaking before it".[42]
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Awards
The Godfather won three Academy Awards for Best Picture, Best Actor for Marlon Brando and Best Adapted Screenplay for both Mario Puzo and Francis Ford Coppola. The film had been nominated for eight other Academy Awards, including Best Supporting Actor for Al Pacino, James Caan, and Robert Duvall, Best Director for Coppola, Best Costume Design, Best Film Editing, and Best Sound.[43] The film also had a Best Original Score nomination but was disqualified when found out that Nino Rota had used a similar score in another film. Despite having three nominees for the Best Supporting Actor award, they all lost to Joel Grey in Cabaret. It also lost the Best Director, Best Sound and Best Film Editing to Cabaret. The film won five Golden Globes out of seven nominations. It won the Golden Globe for Best Picture Drama, Best Director, Best Screenplay, Best Score and Best Actor Drama for Brando. It received two nominations for Best Actor Drama for Pacino and Best Supporting Actor for Caan. Nino Rota won the Grammy Award for Best Original Score for a Motion Picture or TV Special for the film's soundtrack. At the BAFTA Awards, Nino Rota won the Anthony Asquith Award for Film Music while Brando, Duvall and Pacino received nominations for Best Actor, Best Supporting Actor and Most Promising Newcomer, respectively. Anna Hill Johnstone was also nominated for Best Costume Design.
1972 The Godfather Marlon Brando and Al Pacino boycott Marlon Brando won the Academy Award for Best Actor for his performance, but turned down the Oscar, becoming the second actor to refuse a Best Actor award (the first being George C. Scott for Patton). Brando boycotted the Academy Award ceremony, sending instead American Indian Rights activist Sacheen Littlefeather, who appeared in full Apache dress, to state Brando's reasons, which were based on his objection to the depiction of American Indians[44] by Hollywood and television. Al Pacino also boycotted the Academy Award ceremony, as he was insulted at being nominated for the Academy Award for Best Supporting Actor award, noting that he had more screen time than his co-star and Best Actor winner Marlon Brando and thus he should have received an Academy Award nomination for Best Actor.[45] Score controversy Nino Rota's score was removed at the last minute from the list of 1973 Academy Award nominees when it was discovered that he had used the theme in Eduardo De Filippo's 1958 comedy Fortunella. Although in the earlier film the theme was played in a brisk, staccato and comedic style, the melody was the same as the love theme from The Godfather, and for that reason was deemed ineligible for an Oscar.[46] Despite this, The Godfather Part II won a 1974 Oscar for Best Original Score, although it featured the same love theme that made the 1972 score ineligible. Honors
Award Academy Award Category Academy Award for Best Picture Academy Award for Best Director Academy Award for Best Actor in a Leading Role Academy Award for Best Writing Adapted Screenplay Academy Award for Best Actor in a Supporting Role Academy Award for Best Actor in a Supporting Role Academy Award for Best Actor in a Supporting Role Academy Award for Best Costume Design Academy Award for Best Film Editing Academy Award for Best Sound Albert S. Ruddy Francis Ford Coppola Marlon Brando (declined) Mario Puzo and Francis Ford Coppola Al Pacino James Caan Robert Duvall Anna Hill Johnstone William H. Reynolds and Peter Zinner Charles Grenzbach, Richard Portman and Christopher Newman Nino Rota Albert S. Ruddy Francis Ford Coppola Marlon Brando Nominee Result Won Nominated Won Won Nominated Nominated Nominated Nominated Nominated Nominated Disqualified Won Won Won
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Academy Award for Best Music, Original Dramatic Score Golden Globe Award Golden Globe Award for Best Motion Picture - Drama Golden Globe Award for Best Director - Motion Picture Golden Globe Award for Best Motion Picture Actor Drama Golden Globe Award for Best Motion Picture Actor Drama Golden Globe Award for Best Screenplay Golden Globe Award for Best Supporting Actor - Motion Picture Golden Globe Award for Best Original Score
Al Pacino
Nominated Won Nominated Won
Mario Puzo and Francis Ford Coppola James Caan
Nino Rota
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BAFTA Award for Best Actor BAFTA Award for Best Supporting Actor BAFTA Award for Most Promising Newcomer to Leading Film Roles BAFTA Award for Best Costume Design Anthony Asquith Award for Film Music Marlon Brando (also for The Nightcomers) Robert Duvall Al Pacino Nominated Nominated Nominated Nominated Won Won
BAFTA Award
Anna Hill Johnstone Nino Rota Nino Rota
Grammy Award
Grammy Award for Best Original Score for a Motion Picture or TV Special
Current rankings The film is ranked at the top of Metacritic's top 100 list,[47] and in the top 10 on Rotten Tomatoes' all time best list (100% "Certified Fresh").[48] In 2002, The Godfather and The Godfather Part II reached No. 2 on Film4's list of The 100 Greatest Films of All Time.[49] Entertainment Weekly named The Godfather the greatest film ever made.[33][50][51] The Godfather was voted in at No. 1 on Empire magazine's list of The 500 Greatest Movies of All Time in November 2008.[34] In Time Out's 2003 readers' poll, The Godfather was ranked the second best film of all time, after Some Like It Hot. American Film Institute 1998 AFI's 100 Years... 100 Movies No. 3 2001 AFI's 100 Years... 100 Thrills No. 11 2003 AFI's 100 Years... 100 Heroes and Villains: Vito Corleone Nominated Villain 2005 AFI's 100 Years... 100 Movie Quotes: "I'm going to make him an offer he can't refuse. " No. 2 "Leave the gun. Take the cannoli. " Nominated "It's a Sicilian message. It means Luca Brasi sleeps with the fishes. " Nominated 2005 AFI's 100 Years of Film Scores No. 5 2007 AFI's 100 Years... 100 Movies (10th Anniversary Edition) No. 2 2008 AFI's 10 Top 10 No. 1 Gangster film
Legacy
Cinematic influence
Although many films about gangsters had been made before The Godfather, Coppola's sympathetic treatment of the Corleone family and their associates, and his portrayal of mobsters as characters of considerable psychological depth and complexity[52] was hardly usual in the genre. This was even more the case with The Godfather Part II, and the success of those two films, critically, artistically and financially, opened the doors for more and varied depictions of mobster life, including films such as Martin Scorsese's Goodfellas and TV series such as David Chase's The Sopranos. The image of the Mafia as being a feudal organization with the Don being both the protector of the small fry and the collector of obligations from them to repay his services, which The Godfather helped to popularize, is now an easily recognizable cultural trope, as is that of the Don's family as a "royal family". (This has spread into the real world as
1972 The Godfather well cf. John Gotti the "Dapper Don", and his celebritized family.) This portrayal stands in contrast to the more sordid reality of lower level Mafia "familial" entanglements, as depicted in various post-Godfather Mafia fare, such as Scorsese's Mean Streets and Casino, and also to the grittier hard-boiled pre-Godfather films. In the 1999 film Analyze This, which starred Robert De Niro and Billy Crystal, many references are made both directly and indirectly to The Godfather. One dream scene is almost a shot by shot replica of the attempted assassination of Vito Corleone (Crystal playing the Don and De Niro playing Fredo). In the 1990 comedy The Freshman, Marlon Brando plays a role reminiscent of Don Corleone. And one of those most unlikely homages to this film came in 2004, when the PG-rated, animated family film Shark Tale was released with a storyline that nodded at this and other movies about the Mafia. Similarly, Rugrats in Paris, based on a Nickelodeon children's show, began with an extended parody of The Godfather. The 2005 Indian film Sarkar, directed by Ram Gopal Varma, with Amitabh Bachchan in the lead role as a "Don" and his son Abhishek Bachchan as the equivalent of Michael, is modeled on The Godfather with due credits appearing at the beginning of the film. In the DVD commentary for Star Wars Episode III: Revenge of the Sith, George Lucas stated that the interwoven scenes of Anakin Skywalker killing Separatist leaders and Palpatine announcing the beginning of the Galactic Empire was an homage to the christening and assassination sequence in The Godfather.
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In popular culture
The Godfather, along with the other films in the trilogy, had a strong impact on the public at large. Don Vito Corleone's line "I'm gonna make him an offer he can't refuse" was voted as the second most memorable line in cinema history in AFI's 100 Years... 100 Movie Quotes by the American Film Institute.[53] The line actually originates in the French novel Le Pre Goriot, by Honor de Balzac, where Vautrin tells Eugne that he is "making him an offer that he cannot refuse". An indication of the continuing influence of The Godfather and its sequels can be gleaned from the many references to it which have appeared in every medium of popular culture in the decades since the film's initial release. That these homages, quotations, visual references, satires and parodies continue to pop up even now shows clearly the film's enduring impact. In the television show The Sopranos, Tony Soprano's topless bar is named Bada Bing after the line in The Godfather when Sonny says, "You've gotta get up close like this and bada-bing! You blow their brains all over your nice Ivy League suit. " The Simpsons makes numerous references to The Godfather, including one scene in the episode "Strong Arms of the Ma" that parodies the Sonny-Carlo streetfight scene, with Marge Simpson beating a mugger in front of an animated version of the same New York streetscape, including using the lid of a trash can during the fight. The "All's Fair in Oven War" final scene shows James Caan being ambushed by hillbillies (Cletus relatives) at a toll booth, a parody of the scene when Sonny Corleone (portrayed by Caan) is shot and killed. The later episode "The Mook, the Chef, the Wife and Her Homer" parodies the film's ending scene, with Lisa Simpson taking Kay Adams' role and Fat Tony's son Michael standing in for Michael Corleone. The Warner Bros. animated show Animaniacs featured several segments called "Goodfeathers, " with pigeons spoofing characters from various gangster films. One of the characters is "The Godpigeon", an obvious parody of Brando's portrayal of Vito Corleone. John Belushi appeared in a Saturday Night Live sketch as Vito Corleone in a therapy session trying to properly express his inner feelings towards the Tattaglia Family, who, in addition to muscling in on his territory, "also, they shot my son Santino 56 times. " In You've Got Mail, Joe Fox, played by Tom Hanks quotes The Godfather, positing: The Godfather is the I-ching. The Godfather is the sum of all wisdom. The Godfather is the answer to any question. What should I pack for my summer vacation? "Leave the gun, take the cannoli. " What day of the
1972 The Godfather week is it? "Monday, Tuesday, Thursday, Wednesday. "
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Releases for television and video

The theatrical version of The Godfather debuted on network television in 1974 with only minor edits. The next year, Coppola created The Godfather Saga expressly for American television in a release that combined The Godfather and The Godfather Part II with unused footage from those two films in a chronological telling that, because it toned down the violent, sexual, and profane material, received a rating of TV-14 for its NBC debut on November 18, 1977. In 1981, Paramount released the Godfather Epic boxed set, which also told the story of the first two films in chronological order, again with additional scenes, but not redacted for broadcast sensibilities. Coppola returned to the film again in 1992 when he updated that release with footage from The Godfather Part III and more unreleased material. This home viewing release, under the title The Godfather Trilogy 19011980, had a total run time of 583 minutes (9 hours, 43 minutes), not including the set's bonus documentary by Jeff Werner on the making of the films, "The Godfather Family: A Look Inside". The Godfather DVD Collection was released on October 9, 2001 in a package[54] that contained all three filmseach with a commentary track by Coppolaand a bonus disc that featured a 73-minute documentary from 1991 entitled The Godfather Family: A Look Inside and other miscellany about the film: the additional scenes originally contained in The Godfather Saga; Francis Coppola's Notebook (a look inside a notebook the director kept with him at all times during the production of the film); rehearsal footage; a promotional featurette from 1971; and video segments on Gordon Willis's cinematography, Nino Rota's and Carmine Coppola's music, the director, the locations and Mario Puzo's screenplays. The DVD also held a Corleone family tree, a "Godfather" timeline, and footage of the Academy Award acceptance speeches.[55] The restoration was confirmed by Francis Ford Coppola during a question-and-answer session for The Godfather Part III, when he said that he had just seen the new transfer and it was "terrific".
Restoration
After a careful restoration of the first two movies, The Godfather movies were released on DVD and Blu-ray Disc on September 23, 2008, under the title The Godfather: The Coppola Restoration. The work was done by Robert A. Harris of Film Preserve. The Blu-ray Disc box set (four discs) includes high-definition extra features on the restoration and film. They are included on Disc 5 of the DVD box set (five discs). Other extras are ported over from Paramount's 2001 DVD release. There are slight differences between the repurposed extras on the DVD and Blu-ray Disc sets, with the HD box having more content.[56] Paramount lists the new (HD) extra features as: Godfather World The Masterpiece That Almost Wasn't ...when the shooting stopped Emulsional Rescue Revealing The Godfather The Godfather on the Red Carpet Four Short Films on The Godfather The Godfather vs. The Godfather, Part II Cannoli Riffing on the Riffing Clemenza
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Video game
In March 2006, a video game version of The Godfather was released by Electronic Arts. Before his death, Marlon Brando provided voice work for Vito; however, owing to poor sound quality from Brando's failing health, only parts of the recordings could be used. A sound-alike's voice had to be used in the "missing parts". James Caan, Robert Duvall, and Abe Vigoda lent their voices and likenesses as well, and several other Godfather cast members had their likeness in the game. However, Al Pacino's likeness and voice (Michael Corleone) was not in the game as Al Pacino sold his likeness and voice exclusively for use in the Scarface video game. Francis Ford Coppola said in April 2005 that he was not informed and did not approve of Paramount allowing the game's production, and openly criticized the move.[57]
References
Notes
[1] Marc Laub and Murray Solomon are listed as uncredited editors by some sources; see Allmovie Production credits (http:/ / www. allmovie. com/ cg/ avg. dll?p=avg& sql=1:20076~T3) [2] Francis Ford Coppola's commentary on the 2008 DVD edition "The Godfather The Coppola Restoration" [3] "The Godfather, Box Office Information" (http:/ / www. the-numbers. com/ movies/ 1972/ 0GDFT. php). The Numbers. Nash Information Services. . Retrieved January 21, 2012. [4] [5] [6] [7] BFI. "The directors top ten films" (http:/ / old. bfi. org. uk/ sightandsound/ polls/ topten/ poll/ directors. html). . Retrieved 23 July 2012. "Citizen Kane Stands the test of Time" (http:/ / www. afi. com/ Docs/ about/ press/ 2007/ 100movies07. pdf). American Film Institute. "The National Film Registry List Library of Congress" (http:/ / www. loc. gov/ film/ titles. html). loc.gov. . Retrieved March 12, 2012. Frayling, Christopher, 1981. In Spaghetti Westerns (http:/ / books. google. co. nz/ books?id=2bo9AAAAIAAJ& pg=PA215). Routledge Kegan & Paul. p. 215. ISBN 0-7100-0503-2. Google Book Search. Retrieved on January 6, 2009. [8] http:/ / www. vanityfair. com/ culture/ features/ 2009/ 03/ godfather200903 "Smell the Spaghetti" [9] The Kid Stays in the Picture (2002), documentary film about Evans' life [10] Jon E Lewis, ed. (1998). New American Cinema. Duke University Press. pp.1417. [11] Hearn, Marcus (2005). The Cinema of George Lucas. New York City: Harry N. Abrams Inc.. p.46. ISBN0-8109-4968-7. [12] The Godfather DVD commentary featuring Francis Ford Coppola, [2001] [13] "An Interview with Francis Ford Coppola" (http:/ / www. achievement. org/ autodoc/ page/ cop0int-3). . Retrieved October 18, 2010. [14] Turan, Kenneth (November 27, 1988). "Robert Towne's Hollywood Without Heroes" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=940DE1D7103AF934A15752C1A96E948260). The New York Times. . Retrieved June 15, 2012. [15] The Godfather DVD Collection documentary A Look Inside, [2001] [16] "Only the most talented actors have the nerve to tackle roles that push them to their physical and mental limits" (http:/ / www. independent. ie/ entertainment/ film-cinema/ only-the-most-talented-actors-have-the-nerve-to-tackle-roles-that-push-them-to-their-physical-and-mental-limits-2946356. html). The Irish Independent. November 26, 2011. . Retrieved December 6, 2011. [17] Pinsker, Beth. "An Offer He Could Refuse" (http:/ / www. ew. com/ ew/ article/ 0,,296481,00. html). EW.com. . Retrieved January 11, 2012. [18] Mark Seal (2009-03). "The Godfather Wars" (http:/ / www. vanityfair. com/ culture/ features/ 2009/ 03/ godfather200903). Vanity Fair. . Retrieved October 25, 2010. [19] Sofia Coppola played roles in the later Godfather movies. In Part II, she plays a nameless immigrant girl on the ship that brings Vito Corleone to New York. In Part III, she played the major speaking role of Michael Corleone's daughter Mary. [20] ""Doing the impossible Part 1 The Godfather" Art and the Zen of Design" (http:/ / www. webcitation. org/ 68934wjmw). Artzen2.com. June 24, 2007. Archived from the original (http:/ / artzen2. com/ artzen2-0027. htm) on June 3, 2012. . Retrieved June 3, 2012. [21] Cowie, Peter (1997). The Godfather Book. Faber and Faber. ISBN0-571-19011-1. [22] Lebo, Harlan (2005). The Godfather Legacy. Fireside. p.76. ISBN978-0-7432-8777-7. [23] "THE GODFATHER: Scene Locations" (http:/ / thegodfathertrilogy. com/ gf1/ gf1scene. html). Thegodfathertrilogy.com. . Retrieved March 4, 2010. [24] "Photo of Bellevue side entrance" (http:/ / douging. smugmug. com/ gallery/ 2404678/ 1/ 126035558/ Medium). Douging. smugmug.com. . Retrieved March 4, 2010. [25] "NY State Supreme Court steps" (http:/ / douging. smugmug. com/ gallery/ 2404678/ 1/ 126035612/ Medium). Douging. smugmug.com. . Retrieved March 4, 2010. [26] Jones, Jenny M. (2007). The Annotated Godfather. Black Dog & Leventhal. p.214. ISBN1-57912-811-4. [27] http:/ / www. thegodfathertrilogy. com/ gf_suite. shtml [28] "The Godfather (1972) Notes" (http:/ / www. tcm. com/ tcmdb/ title/ 443184/ The-Godfather/ notes. html). Turner Classic Movies. . Retrieved January 9, 2012.
1972 The Godfather

[29] Dirks, Tim. "Top Films of All-Time: Part 1 Box-Office Blockbusters" (http:/ / www. filmsite. org/ greatfilmssummary. html). AMC FilmSite.org. . Retrieved May 31, 2012. [30] "The Godfather" (http:/ / www. metacritic. com/ movie/ the-godfather). Metacritic. CNET Networks. . Retrieved January 11, 2009. [31] "The Godfather" (http:/ / www. rottentomatoes. com/ m/ godfather/ ) on Rotten Tomatoes [32] "'BFI Sight & Sound Top Ten Poll 2002 Critics Top Ten 2002" (http:/ / www. bfi. org. uk/ sightandsound/ topten/ poll/ critics. html). bfi.org.uk. . Retrieved January 10, 2009. [33] Burr, Ty. The 100 Greatest Movies of All Time. Time-Life Books. ISBN1-883013-68-2. [34] "Empire's The 500 Greatest Movies of All Time" (http:/ / www. empireonline. com/ 500/ 99. asp). Empire magazine. . Retrieved August 17, 2010. [35] Michael Herr for Vanity Fair (http:/ / www. visual-memory. co. uk/ sk/ memories/ mh. htm) "He watched The Godfather again the night before and was reluctantly suggesting for the tenth time that it was possibly the greatest movie ever made and certainly the best-cast". [36] De Stefano, p. 68. [37] De Stefano, p. 119. [38] De Stefano, p. 180. [39] Sifakis, Carl (1987). The Mafia Encyclopedia. New York City: Facts on File. ISBN0-8160-1856-1. [40] De Stefano, p. 114. [41] Smith, John L. (July 7, 2004). "In mob world, life often imitates art of Marlon Brando's 'Godfather'" (http:/ / www. reviewjournal. com/ lvrj_home/ 2004/ Jul-07-Wed-2004/ news/ 24256307. html). Las Vegas Review-Journal. . Retrieved December 7, 2010. [42] Podhoretz, John (March 26, 2012). "Forty Years On: Why 'The Godfather' is a classic, destined to endure". The Weekly Standard., p. 39. [43] "The 45th Academy Awards (1973) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 45th-winners. html). oscars.org. . Retrieved August 28, 2011. [44] "American Indians mourn Brando's death Marlon Brando (19242004)" (http:/ / www. msnbc. msn. com/ id/ 5354208/ ). MSNBC. February 7, 2004. . Retrieved August 29, 2010. [45] Grobel; p. xxi [46] Kris Tapley (January 21, 2008). "Jonny Greenwood's 'Blood' score disqualified by AMPAS" (http:/ / www. variety. com/ blog/ 890000489/ post/ 370020437. html). Variety. . Retrieved March 4, 2010. [47] "Metacritic: Best Reviewed Movies" (http:/ / www. metacritic. com/ film/ highscores. shtml). . Retrieved April 13, 2007. [48] "Rotten Tomatoes: Top Movies: Best of Rotten Tomatoes" (http:/ / www. rottentomatoes. com/ top/ bestofrt_year. php). . Retrieved April 13, 2007. [49] "Film Four's 100 Greatest Films of All Time" (http:/ / www. filmsite. org/ filmfour. html). Film4. Published by AMC Filmsite.org. . Retrieved August 17, 2010. [50] "Entertainment Weekly's 100 Greatest Movies of All Time" (http:/ / www. filmsite. org/ ew100. html). Entertainment Weekly. Published by AMC Filmsite.org. . Retrieved August 17, 2010. [51] "Entertainment Weekly's 100 Greatest Movies of All Time" (http:/ / www. hcpl. lib. tx. us/ watch/ entertainment-weeklys-100-greatest-movies-all-time). Entertainment Weekly. Published by Harris County Public Library. . Retrieved August 17, 2010. [52] CBSnews.com "CBS" (http:/ / web. archive. org/ web/ 20071220182910/ http:/ / www. cbsnews. com/ stories/ 2005/ 03/ 04/ entertainment/ main678113. shtml). CBS News. Archived from the original (http:/ / www. cbsnews. com/ stories/ 2005/ 03/ 04/ entertainment/ main678113. shtml) on December 20, 2007. . [53] AFI's 100 Years...100 Movie Quotes" (http:/ / www. afi. com/ 100years/ quotes. aspx) [54] "DVD review: 'The Godfather Collection'". DVD Spin Doctor. July 2007. [55] The Godfather DVD Collection [2001] [56] "Godfather: Coppola Restoration", September 23 (http:/ / dvdspindoctor. typepad. com/ dvd_spin_doctor/ 2008/ 06/ godfather-coppo. html) on DVD Spin Doctor [57] ""Coppola Angry over Godfather Video Game", April 8, 2005" (http:/ / www. showbizdata. com/ contacts/ picknews. cfm/ 38287/ COPPOLA_ANGRY_OVER_<I>GODFATHER</ I>_VIDEO_GAME). . Retrieved August 22, 2005.
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Bibliography De Stefano, George (2007). An Offer We Can't Refuse: The Mafia in the Mind of America (http://books.google. com/books?id=2482tWkpfpQC&pg=PA132&dq=). ISBN 0-86547-962-3. Further reading Nourmand, Tony (2007). The Godfather in Pictures. London: Boxtree. ISBN 978-0-7522-2637-8.
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External links
The Godfather Official site from Paramount Pictures (http://www.thegodfather.com/) The Godfather (http://www.imdb.com/title/tt0068646/) at the Internet Movie Database The Godfather (http://www.rottentomatoes.com/m/godfather/) at Rotten Tomatoes The Godfather (http://www.metacritic.com/movie/the-godfather) at Metacritic The Godfather (http://www.boxofficemojo.com/movies/?id=godfather.htm) at Box Office Mojo Interview of [[Francis Ford Coppola (http://www.cigaraficionado.com/webfeatures/show/id/6147)], The Godfather Speaks ] Fact and Fiction in The Godfather (http://www.trutv.com/library/crime/gangsters_outlaws/mob_bosses/ the_godfather/1.html) The Guardian, April 22, 2006, "Mob mentality" (http://www.guardian.co.uk/film/2006/apr/22/mafia) The Godfather Has The Greatest Mob Hits (http://blogs.amctv.com/future-of-classic/2009/08/ best-movie-gangster-hits.php)
1973 The Sting
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1973 The Sting

The Sting
Theatrical release poster by Richard Amsel
Directed by Produced by George Roy Hill Tony Bill Michael Phillips Julia Phillips David S. Ward Paul Newman Robert Redford Robert Shaw Marvin Hamlisch Robert Surtees William Reynolds Universal Pictures
Written by Starring
Music by Cinematography Editing by Distributed by Release date(s) Running time Country Language Budget Box office
December 25, 1973

[1] [2]
$159,616,327
The Sting is a 1973 American caper film set in September 1936 that involves a complicated plot by two professional grifters (Paul Newman and Robert Redford) to con a mob boss (Robert Shaw).[3] The film was directed by George Roy Hill, who previously directed Newman and Redford in the western Butch Cassidy and the Sundance Kid. Created by screenwriter David S. Ward, the story was inspired by real-life con games perpetrated by the brothers Fred and Charley Gondorff and documented by David Maurer in his book The Big Con: The Story of the Confidence Man. The title phrase refers to the moment when a con artist finishes the "play" and takes the mark's money. (Today the expression is mostly used in the context of law enforcement sting operations.) If a con game is successful, the mark does not realize he has been "taken" (cheated), at least not until the con men are long gone. The film is divided into distinct sections with old-fashioned title cards with lettering and illustrations rendered in a style reminiscent of the Saturday Evening Post. The film is noted for its musical scoreparticularly its main melody, "The Entertainer", a ragtime composition by Scott Joplin, which was lightly adapted for the movie by Marvin Hamlisch (and became a top-ten chart single for Hamlisch, when released as a single from the film's soundtrack). The film's success encouraged a surge of popularity and critical acclaim for Joplin's work.[4] The Sting was hugely successful at the 46th Academy Awards, being nominated for 10 Oscars and winning seven, including Best Picture, Best Director, and Best Original Screenplay.[5]
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Plot
Johnny Hooker, a grifter from Depression-era Joliet, Illinois, cons $11,000 in cash from an unsuspecting victim, with the aid of his partners Luther Coleman and Joe Erie. Buoyed by the windfall, Luther announces his retirement and advises Hooker to seek out an old friend, Henry Gondorff, in Chicago, to teach him the big con. Unfortunately, their victim was a numbers racket courier for vicious crime boss Doyle Lonnegan. Corrupt Joliet police Lieutenant William Snyder confronts Hooker, revealing Lonnegan's involvement and demanding part of Hookers cut. Having already spent his cut, Hooker pays Snyder in counterfeit bills. Lonnegan's men murder Luther, and Hooker flees for his life to Chicago. Gondorff, a once-great con-man now hiding out from the FBI, is initially reluctant to take on the dangerous Lonnegan. However, Gondorff relents and decides to resurrect an elaborate and supposedly obsolete scam known as "the wire", using a large number of con artists to create a phony off-track betting parlor. Aboard the opulent 20th Century Limited, Gondorff, posing as boorish Chicago bookie "Shaw", buys his way into Lonnegan's private high-stakes poker game and out-cheats Lonnegan, winning $15,000 from him and making Lonnegan furious. Hooker, posing as Shaw's disgruntled employee "Kelly", is sent to collect the winnings and instead convinces Lonnegan that he wants to take over Shaw's operation. Kelly reveals that he has a partner named Les Harmon (actually fellow con man Kid Twist) in the Chicago Western Union office, who will allow them to win bets on horse races by past-posting. Meanwhile, Snyder has tracked Hooker to Chicago, but his pursuit is thwarted when he is summoned by undercover FBI agents led by Agent Polk, who orders him to assist in their scheme to arrest Gondorff using Hooker. Additionally, Lonnegan has grown frustrated with his men's inability to find and kill Hooker. Unaware that Kelly is Hooker, he demands that "Salino," his best assassin, kill Hooker. A mysterious figure with black leather gloves is soon seen following and observing Hooker. Kelly's connection appears effective, as Harmon provides Lonnegan with the winner of one horse race and the trifecta of another race. Lonnegan agrees to finance a $500,000 bet at Shaw's parlor to break Shaw and gain revenge. Shortly thereafter, Snyder captures Hooker and brings him before FBI Agent Polk. Polk forces Hooker to betray Gondorff by threatening to incarcerate Luther Coleman's widow. The night before the sting, Hooker sleeps with Loretta, a waitress at a local restaurant. As Hooker leaves the building the next morning, he sees Loretta walking toward him. The black-gloved man appears behind Hooker and shoots Loretta dead, later revealing her to be "Loretta Salino", Lonnegan's hired killer. The black-gloved man had been hired by Gondorff to protect Hooker. Armed with Harmons tip to "place it on Lucky Dan", Lonnegan makes a $500,000 bet at Shaws parlor on Lucky Dan to win. As the race begins, Harmon arrives and expresses shock at Lonnegan's bet, explaining that when he had said "place it" he had meant, literally, that Lucky Dan would "place" (i.e., finish second). In a panic, Lonnegan rushes the teller window and demands his money back. Just then, Agent Polk, Lt. Snyder, and half a dozen FBI officers storm the parlor. Polk confronts Gondorff, then tells Hooker he is free to go. Gondorff, reacting to the betrayal, shoots Hooker in the back; Polk then shoots Gondorff and orders Snyder to get Lonnegan away from the crime scene. With Lonnegan and Snyder safely away, Hooker and Gondorff rise amid cheers and laughter. Agent Polk is actually Hickey, a con man, running a con atop Gondorff's con to divert Snyder and provide a solid "blow off" to Gondorff's con. Hooker and Gondorff depart as the other con men strip the room of its contents.
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Cast
Paul Newman as Henry "Shaw" Gondorff Robert Redford as Johnny "Kelly" Hooker Robert Shaw as Doyle Lonnegan Charles Durning as Lt. William Snyder Ray Walston as J.J. Singleton Eileen Brennan as Billie Harold Gould as Kid Twist, aka Les Harmon John Heffernan as Eddie Niles Dana Elcar as FBI Agent Polk, aka "Hickey" James Sloyan as Mottola Larry D. Mann as Mr. Clemens Sally Kirkland as Crystal ("Hooker's hooker") Jack Kehoe as Joe Erie Robert Earl Jones as Luther Coleman (credited as Robertearl Jones) Dimitra Arliss as Loretta Salino Joe Tornatore as Black-gloved gunman Charles Dierkop as Floyd, Lonnegan's Bodyguard Lee Paul as Lonnegan's bodyguard Leonard Barr as Leonard (burlesque comic) Jack Collins as Duke Boudreau
Production
In 1974 The Big Con author David Maurer filed a ten million dollar lawsuit claiming at least part of the film's story had been taken from his book. The matter was resolved out of court in 1976. The movie was filmed on the backlot of Universal Studios, with scenes also shot at the Santa Monica Pier and in Pasadena.[6] Doyle Lonnegan's limp in the film, used to great effect by actor Robert Shaw, was in fact completely authentic as Shaw had slipped on a wet handball court at the Beverly Hills Hotel just a week Filming on location in Pasadena, California. before filming began and had split all the ligaments in his knee. He Stand-ins are used to set up the shot. had to wear a leg brace during production which was kept hidden under the wide 1930s style trousers he wore. This incident was revealed by Julia Philips in her 1991 autobiography You'll Never Eat Lunch in This Town Again. She said that Shaw saved The Sting since no other actor would accept the part, that Paul Newman hand delivered the script to Shaw in London in order to ensure his participation, and that he had to be paid an extremely high salary. Philips' book also asserts that Shaw was not nominated for a Best Supporting Actor Academy Award because he demanded that his name follow those of Newman and Redford before the film's opening title. Rob Cohen, later a director, starting in the 1990s, of action films such as The Fast and the Furious, years later told of how he found the script in the slush pile when he was working as a reader for Mike Medavoy, a future studio head then an agent. He wrote in his coverage that it was "the great American screenplay and ... will make an award-winning, major-cast, major-director film." Medavoy said that he would try to sell it on that recommendation and promised to fire Cohen if he couldn't. Universal bought it that afternoon, and Cohen still has the coverage framed on the wall of his office.[7]
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Reception
The film received rave reviews and was a box office smash in 1973-74, taking in more than US$160 million. In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Awards
Wins The film won seven Academy Awards and received three other nominations.[8] At the 46th Academy Awards, Julia Phillips became the first female producer to win Best Picture.[9] Academy Award for Best Picture Academy Award for Directing - (George Roy Hill) Academy Award for Writing Original Screenplay - (David S. Ward) Academy Award for Best Art Direction - (Henry Bumstead and James W. Payne) Academy Award for Best Costume Design - (Edith Head) Academy Award for Film Editing - (William H. Reynolds) Academy Award for Best Music, Scoring Original Song Score and/or Adaptation - (Marvin Hamlisch)
Directors Guild of America Award for Outstanding Directorial Achievement in Motion Pictures - (George Roy Hill) Nominations Academy Award for Best Actor - (Robert Redford) Academy Award for Best Cinematography - (Robert Surtees) Academy Award for Sound - (Ronald Pierce & Robert R. Bertrand) Golden Globe Award for Best Screenplay - Motion Picture - (David S. Ward) WGA Award for Best Drama Written Directly for the Screen - (David S. Ward) AFI's 100 Years...100 Movies AFI's 100 Years...100 Laughs AFI's 100 Years...100 Heroes and Villains:
Doyle Lonnegan - Villain (Robert Shaw) AFI's 100 Years...100 Movies (10th Anniversary Edition)
Music
The soundtrack album, which was executive produced by Gil Rodin, contained the following selections, most of which are Scott Joplin ragtime pieces. Ragtime had just experienced a revival due to several recordings by Joshua Rifkin on Nonesuch Records starting with Scott Joplin: Piano Rags in 1970. There are some variances from the actual film soundtrack, as noted. Joplin's ragtime music was no longer popular during the 1930s, although its use in The Sting evokes a definitive 1930s gangster movie, The Public Enemy, which also featured Joplin's music. The two Jazz Age style tunes written by Hamlisch are chronologically much closer to the film's time period than are the Joplin rags: 1. "Solace" (Joplin) - orchestral version 2. "The Entertainer" (Joplin) - orchestral version 3. "The Easy Winners" (Joplin) 4. "Hooker's Hooker" (Hamlisch) 5. "Luther" - same basic tune as "Solace", re-arranged by Hamlisch as a dirge 6. "Pine Apple Rag" / "Gladiolus Rag" medley (Joplin)
1973 The Sting 7. "The Entertainer" (Joplin) - piano version 8. "The Glove" (Hamlisch) - a Jazz Age style number; only a short segment was used in the film 9. "Little Girl" (Madeline Hyde, Francis Henry) - not in the final cut of the film 10. "Pine Apple Rag" (Joplin) 11. "Merry-Go-Round Music" medley (traditional) - "Listen to the Mocking Bird" was the only portion of this track that was actually used in the film, along with the second segment of "King Cotton", a Sousa march, which was not on the album 12. "Solace" (Joplin) - piano version 13. "The Entertainer" / "The Ragtime Dance" medley (Joplin) The album sequence differs from the film sequence, a standard practice with vinyl LPs, often for aesthetic reasons. Some additional content differences: Selected snippets of Joplin's works, some appearing on the album and some not, provided linking music over the title cards that were used to introduce major scenes. (The final card, "The Sting", introducing the film's dramatic conclusion, had no music at all.) Some of the tunes in the film are different takes than those on the album. A Joplin tune used in the film but not appearing in the soundtrack album was "Cascades". The middle (fast) portion of it was played when Hooker was running away from Snyder along the 'L' train platform. The credits end with "The Rag-time Dance" (Joplin) medley which features a 'stop-time' motif similar to a later work "Stop-Time Rag" (Joplin).
374
Chart positions
Year 1974 Billboard 200 Australian Kent Music Report Albums Chart Chart Position 1
Sequel
A less-successful sequel with different players, The Sting II, appeared in 1983. In the same year a prequel was also planned, exploring the earlier career of Henry Gondorff. Famous confidence man Soapy Smith was scripted to be Gondorff's mentor. When the sequel failed, the prequel was scrapped.
Home media
A deluxe DVD, The Sting: Special Edition (part of the Universal Legacy Series) was released in September 2005, including a "making of" featurette and interviews with the cast and crew. The film was released on Blu-ray Disc in 2012, as a part of Universal's 100th anniversary string of releases.
References
[1] The Sting boxoffice/Business (http:/ / www. imdb. com/ title/ tt0070735/ business) [2] "The Sting, Box Office Information" (http:/ / www. the-numbers. com/ movies/ 1973/ 0STNG. php). The Numbers. . Retrieved January 4, 2012. [3] Variety film review; December 12, 1973, page 16. [4] Gunther Schuller, president of the New England Conservatory of Music, led a student ensemble in a performance of period orchestrations of Joplin's music. Inspired by Schuller's recording, the producer of "The Sting" had Marvin Hamlisch score Joplin's music for the film, thereby bringing Joplin to a mass, popular public, classical.net (http:/ / www. classical. net/ music/ comp. lst/ joplin. html) [5] history1900s.about.com (http:/ / history1900s. about. com/ od/ fadsfashion/ a/ 1973awards. htm) [6] Santa Monica Pier kicks off 100th birthday bash Martha Groves. Los Angeles Times. Los Angeles, Calif.: Sep 9, 2008. pg. B.2
1973 The Sting

[7] Lussier, Germaine (November 21, 2008). "Screenings: 'The Sting' as part of Paul Newman Retrospective" (http:/ / www. recordonline. com/ apps/ pbcs. dll/ article?AID=/ 20081121/ ENTERTAIN/ 811210331). Times-Herald Record (News Corporation). . Retrieved 2008-11-21. [8] "The 46th Academy Awards (1974) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 46th-winners. html). oscars.org. . Retrieved 2011-10-02. [9] "NY Times: The Sting" (http:/ / movies. nytimes. com/ movie/ 46920/ The-Sting/ awards). NY Times. . Retrieved 2008-12-29.
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External links
The Sting (http://www.imdb.com/title/tt0070735/) at the Internet Movie Database The Sting (http://www.allrovi.com/movies/movie/v46920) at AllRovi The Sting (http://www.rottentomatoes.com/m/1020130-sting/) at Rotten Tomatoes
1974 The Godfather Part II
376

The Godfather Part II[1]
Original film poster
Directed by Produced by Francis Ford Coppola Francis Ford Coppola Gray Frederickson [2] Fred Roos Francis Ford Coppola Mario Puzo The Godfather by Mario Puzo Al Pacino Robert Duvall Diane Keaton Robert De Niro Talia Shire Morgana King John Cazale Marianna Hill Lee Strasberg Michael V. Gazzo Nino Rota Carmine Coppola (additional music)
Screenplay by Based on Starring
Music by
Cinematography Gordon Willis Editing by Barry Malkin Richard Marks Peter Zinner Paramount Pictures
Distributed by Release date(s)
December 20, 1974
(US)
200 min United States English Sicilian $13 million $193,000,000
The Godfather Part II is a 1974 American epic crime film that Francis Ford Coppola produced, directed, and co-wrote with Mario Puzo, starring Al Pacino, Robert Duvall, Diane Keaton, and Robert De Niro. Partially based on Puzo's 1969 novel, The Godfather, the film is in part both a sequel and a prequel to The Godfather, presenting two parallel dramas. The main storyline, following the events of the first film, centers on Michael Corleone (Pacino), the new Don of the Corleone crime family, trying to hold his business ventures together from 1958 to 1959; the other is a series of flashbacks following his father, Vito Corleone (De Niro), from his childhood in Sicily in 1901 to his founding of the Corleone family in New York City.
1974 The Godfather Part II The film was released in 1974 to great critical acclaim, some even deeming it superior to the original.[3] Nominated for 11 Academy Awards and the first sequel to win for Best Picture, its six Oscars included Best Director for Coppola, Best Supporting Actor for De Niro and Best Adapted Screenplay for Coppola and Puzo. Pacino won the BAFTA Award for Best Actor and received a nomination for the Academy Award for Best Actor. Like its predecessor, the sequel remains a highly influential film in the gangster genre. It was ranked as the thirty-second greatest film in American cinematic history by the American Film Institute in 1997 and it kept its rank 10 years later.[4] It was selected for preservation in the United States National Film Registry in 1993.[5] A sequel, The Godfather Part III, was released 16 years later in 1990.
377
Plot
In 1901 Corleone, Sicily, nine-year-old Vito Andolinis family is killed after his father insults local Mafia chieftain Don Ciccio. He escapes to New York and is registered as "Vito Corleone" on Ellis Island. On the occasion of the 1958 first communion party for his son, Michael Corleone has a series of meetings in his role as the Don of his crime family. With Nevada Senator Pat Geary, he discusses the terms of a fourth state gaming license for the Corleones, but the two only trade insults and demand payoffs. Johnny Ola arrives to express support for Michael on behalf of Florida gangster Hyman Roth. At the same time, the Don struggles to manage his depressed sister Connie and older brother Fredo. Corleone caporegime Frank Pentangeli is very unhappy that his boss will not help him defend New York against the Rosato brothers, who work for the Jewish Roth. That night, Michael survives an assassination attempt at his home and puts consigliere Tom Hagen in charge, reassuring him of their fraternal bond. In 1917, Vito Corleone (Robert De Niro) lives in a tenement with his wife Carmela and son Sonny, and works in a New York grocery store owned by the father of a close friend. A member of the Black Hand, Don Fanucci, who extorts protection payments from local businesses, forces the store owner to fire Vito and give his job to Fanucci's nephew. As a favor to his neighbor, Peter Clemenza, Vito hides a stash of guns; in return, he is invited to the burglary of a rich apartment. His share of the loot is a plush rug, which he lays in his own living room. In Miami, Michael tells Roth that Pentangeli was behind the assassination attempt; he then tells Pentangeli that Roth ordered it and asks him to cooperate. Pentangeli meets the Rosatos but their men garrote him, saying they act on Michael's orders. Geary finds himself in Fredo's brothel with a dead prostitute and no memory of how he got there; he accepts Tom's offer of "friendship" to cover up the incident. After witnessing a rebel suicide bombing in Havana, Cuba, Michael becomes convinced of the rebels' resolve to overthrow the dictator Fulgencio Batista. Fredo brings Michael the money for a deal with Roth, but instead of turning it over to Roth, Michael asks who put out the hit on Pentangeli. Roth is reminded of his late friend Moe Greene dead in a spate of Corleone killing saying, "This is the business we've chosen. I didn't ask who gave the order because it had nothing to do with business!" At a New Year's Eve party, Fredo lets slip that he knew Johnny Ola despite his previous denial. Dismayed, Michael embraces his brother, revealing that he knows he was behind the plot on his life, and a frightened Fredo flees in the chaos. Michael's bodyguard strangles Ola but is killed by police before he can finish off the ailing Roth. Back home, Hagen informs Michael that Roth is recovering in Miami and that Kay's pregnancy has miscarried. Three years later, Vito has two more boys (Michael and Fredo). He and his partners (Clemenza and Sal Tessio) face extortion by Don Fanucci, who demands they let him "wet his beak" from their recent burglary or he will have the police ruin Vito's family. Vito persuades his partners to pay Fanucci less than he asks and promises he will "make him an offer he don't refuse" as a favor to them. During a neighborhood festa, Vito meets with Fanucci and earns his respect. He then follows Fanucci, surprises him in his apartment foyer,
1974 The Godfather Part II shoots and kills him, takes back his partners' money and escapes. In Washington, D.C., a Senate committee investigating the Corleone family cannot find evidence to implicate Michael until a surprise witness is called. Pentangeli, ensconced in FBI witness protection and ready to avenge the attempt on his life, is prepared to confirm accusations against Michael until his Sicilian brother attends the hearing at the Don's side; Pentangeli denies his sworn statements and the hearing dissolves in an uproar. Vito has become a respected figure in his New York community. He confronts a landlord who doesn't know him, offering extra money to let a widow keep her apartment. The landlord says he has already leased it and becomes angry when Vito demands that he allow her to keep her dog. A few days later the landlord returns, terrified that he may have unwittingly offended Vito, assuring him that the widow can stay, along with her dog, at a reduced rent. Michael and Hagen observe that Roth's strategy to destroy Michael is well planned. Fredo has been found and persuaded to return to Nevada, and in a private meeting he explains his betrayal to Michael; he was upset about being passed over to head the family, and helped Roth, thinking there would be something in it for him. He swears he was unaware of their plan to kill Michael. He tells Michael that the Senate Committee's chief counsel is on Roth's payroll. Michael disowns Fredo and instructs Al Neri that " nothing is to happen to him while my mother's alive." Afterwards, Michael violently prevents Kay from leaving with their children; she retaliates with the revelation that her miscarriage was actually an abortion. In 1923, Vito, together with his young family, visits Sicily for the first time since leaving for America. He is introduced to the elderly Don Ciccio by Don Tommasino as the man who imports their olive oil to America, and who wants his blessing. When Ciccio asks Vito who his father was, Vito says, "My father's name was Antonio Andolini, and this is for you!" He then plunges a large knife into the old man's stomach and carves it open. As they flee, Tommasino is shot, confining him to a wheelchair for the rest of his life. Michael's mother dies. At the funeral, a reformed Connie implores Michael to forgive Fredo. Michael relents and embraces Fredo, but glances at Neri. Roth is refused asylum and even entry to Israel. Over Hagen's dissent, Michael plans his revenge. Hagen visits Pentangeli and offers to spare his family, reminding him that failed plotters against the Roman Emperor took their own lives. Connie helps Kay visit her children, but Michael closes the door on any forgiveness. As he arrives in Miami to be taken into custody, Hyman Roth is shot in the stomach and killed by Lampone, who is immediately shot dead by FBI agents. Frank Pentangeli is dead in his bathtub with slit wrists. Neri shoots Fredo while they are fishing on Lake Tahoe. The Corleone family gathers to surprise Vito for his fiftieth birthday. Sonny introduces Carlo Rizzi to Connie. Tessio comes in with the cake, and they discuss the attack on Pearl Harbor earlier in the month. Michael announces he has left college to enlist in the Marines, leaving Sonny furious, Tom incredulous, and Fredo supportive. Vito is heard at the door and all but Michael leave the room to greet him. Michael sits alone by the lake at the family compound.
378
Cast
379
Al Pacino as Michael Corleone Robert Duvall as Tom Hagen Diane Keaton as Kay Adams-Corleone John Cazale as Fredo Corleone Talia Shire as Connie Corleone Lee Strasberg as Hyman Roth Michael V. Gazzo as Frank Pentangeli Morgana King as Carmela Corleone G. D. Spradlin as Senator Pat Geary Richard Bright as Al Neri Marianna Hill as Deanna Corleone Gastone Moschin as Don Fanucci Troy Donahue as Merle Johnson Dominic Chianese as Johnny Ola Amerigo Tot as Michael's bodyguard Joe Spinell as Willi Cicci
Bruno Kirby as Young Peter Clemenza Frank Sivero as Young Genco Abbandando Maria Carta as the mother of Vito Corleone Giuseppe Sillato as Don Francesco Ciccio Roman Coppola as Young Santino Corleone John Megna as Young Hyman Roth Julian Voloshin as Sam Roth Larry Guardino as Vito's uncle Danny Aiello as Tony Rosato John Aprea as Young Salvatore Tessio Leopoldo Trieste as Signor Roberto Salvatore Poe as Vincenzo Pentangeli Harry Dean Stanton as FBI agent James Caan as Sonny Corleone (cameo) Abe Vigoda as Salvatore Tessio (cameo) Gianni Russo as Carlo Rizzi (cameo)
Robert De Niro as Young Vito Corleone
James Caan agreed to reprise the role of Sonny in the birthday flashback sequence demanding he be paid the same amount he received for the entire previous film for the single scene in Part II, which he received. Marlon Brando initially agreed to return for the birthday flashback sequence, but the actor, feeling mistreated by the board at Paramount, failed to show up for the single day's shooting; Coppola rewrote the scene that same day. Richard Castellano, who portrayed Peter Clemenza in the first film, also declined to return, as he and the producers could not reach an agreement on his demands that he be allowed to write the character's dialogue in the film. Clemenza's role was subsequently filled by Frank Pentangeli. Troy Donahue, in a small role as Connie's boyfriend, plays a character named Merle Johnson, which was his birth name. Two actors who appear in the film played different character roles in other Godfather films; Carmine Caridi, who plays Carmine Rosato, also went on to play crime boss Albert Volpe in The Godfather Part III, and Frank Sivero, who plays a young Genco Abbandando, appears as a bystander in The Godfather scene in which Sonny beats up Carlo for abusing Connie. Among the Senators in the hearing committee are film producer/director Roger Corman, writer/producer William Bowers, producer Phil Feldman, and science-fiction writer Richard Matheson.
380
Production
The Godfather Part II was shot between October 1, 1973 and June 19, 1974, and was the last major American motion picture to be printed with Technicolor's dye imbibition process until the late 1990's and was the last major American motion picture filmed in Technicolor. The scenes that took place in Cuba were shot in Santo Domingo, Dominican Republic.[6] Charles Bluhdorn, whose Gulf+Western conglomerate owned Paramount, felt strongly about developing the Dominican Republic as a movie-making site. The Lake Tahoe house and grounds Original screenplay in the National Museum of the Cinema in Turin portrayed in the film are Fleur du Lac, the summer estate of Henry J. Kaiser on the California side of the lake. The only structures used in the movie that still remain are the complex of old native stone boathouses with their wrought iron gates. Although Fleur du Lac is private property and no one is allowed ashore there, the boathouses and multi-million dollar condominiums may be viewed from the lake. Unlike with the first film, Coppola was given near-complete control over production. In his commentary, he said this resulted in a shoot that ran very smoothly despite multiple locations and two narratives running parallel within one film.[7] Production nearly ended before it began when Pacino's lawyers told Coppola that he had grave misgivings with the script and wasn't coming. Coppola spent an entire night rewriting it before giving it to Pacino for his review. Pacino approved and the production went forward.[7] Coppola discusses his decision to make this the first major motion picture to use "Part II" in its title in the director's commentary on the DVD edition of the film released in 2002. Paramount was initially opposed because they believed the audience would not be interested in an addition to a story they had already seen. But the director prevailed, and the film's success began the common practice of numbered sequels. Still, three weeks prior to the release, film critics and journalists pronounced Part II a disaster. The cross-cutting between Vito and Michael's parallel stories were judged too frequent, not allowing enough time to leave a lasting impression on the audience. Coppola and the editors returned to the cutting room to change the film's narrative structure, but could not complete the work in time, leaving the final scenes poorly timed at the opening.[8]
381
Box office
The Godfather Part II did not surpass the original commercially, but it was very successful nonetheless, with a $193 million gross on a $13 million budget. For Paramount, it was their highest-grossing film of 1974 and was the fifth-highest-grossing picture in the US that year.
Reception
The Godfather Part II ranks among the most critically and artistically successful films in movie history, and is the most honored sequel for excellence. Whether considered separately or with its predecessor as one work, it is widely accepted as one of world cinema's greatest achievements. Many critics compare it favorably to the original although it is almost always placed below the original on lists of "greatest" movies when listed separately. The Godfather Part II: Was featured on Sight and Sound's list of the ten greatest films of all time in 1992 and 2002. Is featured on Roger Ebert's "Great Movies" list, though Ebert's original review of the film granted it only three out of four stars. Is ranked #7 on Entertainment Weekly's list of the "100 Greatest Movies of All Time." Is featured on movie critic Leonard Maltin's list of the "100 Must-See Films of the 20th Century. " Received only one negative review on Rotten Tomatoes and a "98%" approval rating, 2 points less than The Godfather (although it does hold a higher rating average of 9.2/10 compared to the predecessor's 9.1/10) but 32 points more than The Godfather Part III.[9] Is ranked #1 onTV Guide's 1998 list of the "50 Greatest Movies of All Time on TV and Video. "[10] Is ranked #3 on IMDB's Top 100 Movies of all time, with its predecessor The Godfather ranked #2. Pacino's performance in The Godfather Part II has been praised as perhaps his best, and the Academy was criticized for not awarding him the Academy Award for Best Actor, which went that year to Art Carney for his role in Harry and Tonto. It has come to be seen by some as one of the greatest performances in cinema history. In 2006, Premiere magazine issued its list of "The 100 Greatest Performances of all Time", ranking Pacino's performance at #20.[11] Later in 2009, Total Film issued "The 150 Greatest Performances Of All Time", ranking Pacino's performance at #4.[12]
Releases for television and video

Coppola created The Godfather Saga expressly for American television in a 1975 release that combined The Godfather and The Godfather Part II with unused footage from those two films in a chronological telling that, because it toned down the violent, sexual, and profane material, received a rating of TV-14 for its NBC debut on November 18, 1977. In 1981, Paramount released the Godfather Epic boxed set, which also told the story of the first two films in chronological order, again with additional scenes, but not redacted for broadcast sensibilities. Coppola returned to the film again in 1992 when he updated that release with footage from The Godfather Part III and more unreleased material. This home viewing release, under the title The Godfather Trilogy 19011980, had a total run time of 583 minutes (9 hours, 43 minutes), not including the set's bonus documentary by Jeff Werner on the making of the films, "The Godfather Family: A Look Inside". The Godfather DVD Collection was released on October 9, 2001 in a package[13] that contained all three filmseach with a commentary track by Coppolaand a bonus disc that featured a 73-minute documentary from 1991 entitled The Godfather Family: A Look Inside and other miscellany about the film: the additional scenes originally contained in The Godfather Saga; Francis Coppola's Notebook (a look inside a notebook the director kept with him at all times during the production of the film); rehearsal footage; a promotional featurette from 1971; and video segments on Gordon Willis's cinematography, Nino Rota's and Carmine Coppola's music, the director, the locations and Mario Puzo's screenplays. The DVD also held a Corleone family tree, a "Godfather" timeline, and footage of the Academy
1974 The Godfather Part II Award acceptance speeches.[14] The restoration was confirmed by Francis Ford Coppola during a question-and-answer session for The Godfather Part III, when he said that he had just seen the new transfer and it was "terrific".
382
Restoration
After a careful restoration of the first two movies, The Godfather movies were released on DVD and Blu-ray Disc on September 23, 2008, under the title The Godfather: The Coppola Restoration. The work was done by Robert A. Harris of Film Preserve. The Blu-ray Disc box set (four discs) includes high-definition extra features on the restoration and film. They are included on Disc 5 of the DVD box set (five discs). Other extras are ported over from Paramount's 2001 DVD release. There are slight differences between the repurposed extras on the DVD and Blu-ray Disc sets, with the HD box having more content.[15] Paramount lists the new (HD) extra features as: Godfather World The Masterpiece That Almost Wasn't ...when the shooting stopped Emulsional Rescue Revealing The Godfather
The Godfather on the Red Carpet Four Short Films on The Godfather The Godfather vs. The Godfather, Part II Cannoli Riffing on the Riffing Clemenza
Awards and honors

Between The Godfather and The Godfather Part II, Coppola directed The Conversation, released in 1974 and also nominated for Best Picture. Coppola was the third director in Hollywood history to have two films released in the same year, each nominated for Best Picture. The first was Victor Fleming for his 1939 films Gone With the Wind and The Wizard of Oz. This achievement was matched by Alfred Hitchcock with his 1940 films Foreign Correspondent and Rebecca. Since Coppola, two other directors have done the same: Herbert Ross in 1977 with The Goodbye Girl and The Turning Point, and Steven Soderbergh in 2000 with Erin Brockovich and Traffic. Coppola, however, is the only one to have done this with films he produced as well as directed. The film was the first sequel to win the Academy Award for Best Picture, and the only such sequel until The Return of the King won in 2003.
Honors
383
Award Academy Award
Category Academy Award for Best Picture
Nominee Francis Ford Coppola, Gray Frederickson and Fred Roos Francis Ford Coppola Al Pacino Francis Ford Coppola and Mario Puzo Robert De Niro Michael V. Gazzo Lee Strasberg Talia Shire Theadora Van Runkle Dean Tavoularis, Angelo P. Graham and George R. Nelson Nino Rota and Carmine Coppola
Result Won Won Nominated Won Won Nominated Nominated Nominated Nominated Won Won
Academy Award for Best Director Academy Award for Best Actor in a Leading Role Academy Award for Best Writing Adapted Screenplay Academy Award for Best Actor in a Supporting Role Academy Award for Best Actor in a Supporting Role Academy Award for Best Actor in a Supporting Role Academy Award for Best Actress in a Supporting Role Academy Award for Best Costume Design Academy Award for Best Art Direction-Set Decoration
Academy Award for Best Music, Original Dramatic Score Golden Globe Award Golden Globe Award for Best Motion Picture - Drama
Francis Ford Coppola, Gray Frederickson and Fred Nominated Roos Francis Ford Coppola Al Pacino Nominated Nominated Nominated Nominated Nominated Won Nominated Nominated Nominated
Golden Globe Award for Best Director - Motion Picture Golden Globe Award for Best Motion Picture Actor Drama Golden Globe Award for Best Screenplay - Motion Picture
Francis Ford Coppola and Mario Puzo
Golden Globe Award for Most Promising Newcomer - Male Lee Strasberg Golden Globe Award for Best Original Score BAFTA Award BAFTA Award for Best Actor BAFTA Award for Most Promising Newcomer to Leading Film Roles BAFTA Award for Best Film Editing Anthony Asquith Award for Film Music Nino Rota Al Pacino (also for Dog Day Afternoon) Robert De Niro
Peter Zinner, Barry Malkin and Richard Marks Nino Rota
American Film Institute 1998 AFI's 100 Years100 Movies #32 2003 AFI's 100 Years100 Heroes and Villains: Michael Corleone #11 Villain 2005 AFI's 100 Years100 Movie Quotes: "Keep your friends close, but your enemies closer. " #58 "I know it was you, Fredo. You broke my heart. You broke my heart. " Nominated "Michael, we're bigger than U. S. Steel. " Nominated 2007 AFI's 100 Years100 Movies (10th Anniversary Edition) #32 2008 AFI's 10 Top 10 #3 Gangster film Epic film Nominated
384
References
[1] "The Godfather - Official Movie Website" (http:/ / www. thegodfather. com/ ). . Retrieved 3 April 2012. [2] " Gray Frederickson (http:/ / theoscarsite. com/ whoswho5/ frederickson_g. htm)" [3] Stax (July 28, 2003). "Featured Filmmaker: Francis Ford Coppola" (http:/ / movies. ign. com/ articles/ 430/ 430301p1. html). . Retrieved 30 November 2010. [4] "Citizen Kane Stands the test of Time" (http:/ / www. afi. com/ Docs/ about/ press/ 2007/ 100movies07. pdf). American Film Institute. [5] "The National Film Registry List Library of Congress" (http:/ / www. loc. gov/ film/ titles. html). loc.gov. . Retrieved 2012-03-12. [6] " Movie Set Hotel: The Godfather II (http:/ / www. hotelchatter. com/ story/ 2006/ 12/ 5/ 113159/ 369/ hotels/ Movie_Set_Hotel_The_Godfather_II)", HotelChatter, 12052006. [7] The Godfather Part II DVD commentary featuring Francis Ford Coppola, [2005] [8] The Godfather Family: A look Inside [9] The Godfather, Part II Movie Reviewers Rotten Tomatoes (http:/ / www. rottentomatoes. com/ m/ godfather_part_ii/ ) [10] TV Guide list of 50 Best (http:/ / www. thependragon. co. uk/ TVGuides50greatestmoviesontvandvideo. htm) [11] "The 100 Greatest Performances" (http:/ / www. premiere. com/ List/ The-100-Greatest-Performances-of-All-Time/ The-100-Greatest-Performances-of-All-Time-24-1) Premiere. com [12] "The 150 Greatest Performances Of All Time" (http:/ / www. totalfilm. com/ features/ 150-greatest-movie-performances-of-all-time-5/ 4-al-pacino-michael-corleone-the-godfather-part-ii-1974) TotalFilm. com [13] "DVD review: 'The Godfather Collection'". DVD Spin Doctor. July 2007. [14] The Godfather DVD Collection [2001] [15] "Godfather: Coppola Restoration", September 23 (http:/ / dvdspindoctor. typepad. com/ dvd_spin_doctor/ 2008/ 06/ godfather-coppo. html) on DVD Spin Doctor
External links
The Godfather Official site from Paramount Pictures (http://www.thegodfather.com/) The Godfather Part II (http://www.imdb.com/title/tt0071562/) at the Internet Movie Database The Godfather Part II (http://www.rottentomatoes.com/m/godfather_part_ii/) at Rotten Tomatoes The Godfather: Part II (http://www.metacritic.com/movie/the-godfather-part-ii) at Metacritic The Godfather Part II (http://tcmdb.com/title/title.jsp?stid=76548) at the TCM Movie Database The Godfather Part II (http://www.allrovi.com/movies/movie/v20078) at AllRovi
1975 One Flew Over the Cuckoo's Nest
385

One Flew Over the Cuckoo's Nest
Directed by Produced by Screenplay by Based on Milo Forman Saul Zaentz Michael Douglas Lawrence Hauben Bo Goldman One Flew Over the Cuckoo's Nestby Ken Kesey Jack Nicholson Louise Fletcher William Redfield Brad Dourif Danny DeVito Sydney Lassick Christopher Lloyd Will Sampson Jack Nitzsche
Starring
Music by
Cinematography Haskell Wexler Editing by Richard Chew Sheldon Kahn Lynzee Klingman United Artists
[1]
November 19, 1975

[2]
One Flew Over the Cuckoo's Nest is a 1975 drama film directed by Milo Forman and based on the 1962 novel One Flew Over the Cuckoo's Nest by Ken Kesey. The film was the second to win all five major Academy Awards (Best Picture, Actor in Lead Role, Actress in Lead Role, Director, and Screenplay) following It Happened One Night in 1934, an accomplishment not repeated until 1991 by The Silence of the Lambs. The film is #20 on the American Film Institute's 100 Years... 100 Movies list. It was shot at Oregon State Hospital in Salem, Oregon, which was also the setting of the novel.[3]
386
Plot
In 1963 Oregon, Randle McMurphy, a recidivist anti-authoritarian criminal serving a short sentence on a prison farm for statutory rape of a 15-year-old girl, is transferred to a mental institution for evaluation. Although he does not show any overt signs of mental illness, he hopes to avoid hard labor and serve the rest of his sentence in a more relaxed hospital environment. McMurphy's ward is run by steely, unyielding Nurse Mildred Ratched, who employs subtle humiliation, unpleasant medical treatments and a mind-numbing daily routine to suppress the patients. McMurphy finds that they are more fearful of Ratched than they are focused on becoming functional in the outside world. McMurphy establishes himself immediately as the leader; his fellow patients include Billy Bibbit, a nervous, stuttering young man; Charlie Cheswick, a man disposed to childish fits of temper; Martini, who is delusional; Dale Harding, a high-strung, well-educated paranoid; Taber, who is belligerent and profane; and "Chief" Bromden, a silent American Indian believed to be deaf and mute. McMurphy's and Ratched's battle of wills escalates rapidly. When McMurphy's card games win away everyone's cigarettes, Ratched confiscates the cigarettes and rations them out. McMurphy calls for votes on ward policy changes to challenge her. He makes a show of betting the other patients he can escape by lifting an old hydrotherapy consolea massive marble plumbing fixtureoff the floor and sending it through the window; when he fails to do so, he turns to them and says, "But I tried goddammit. At least I did that." McMurphy steals a hospital bus, herds his colleagues aboard, stops to pick up Candy, a party girl, and takes the group deep sea fishing on a commandeered boat. He tells them: "You're not nuts, you're fishermen!" and they begin to feel faint stirrings of self-determination. Soon after, however, McMurphy learns that Ratched and the doctors have the power to keep him committed indefinitely. Sensing a rising tide of insurrection among the group, Ratched tightens her grip on everyone. During one of her group humiliation sessions, Cheswick's agitation boils over and he, McMurphy and the Chief wind up brawling with the orderlies. They are sent up to the "shock shop" for electroconvulsive therapy. While McMurphy and the Chief wait their turn, McMurphy offers Chief a piece of gum, and Chief murmurs "Thank you." McMurphy is delighted to find that Bromden is neither deaf nor mute, and that he stays silent to deflect attention. After the electroshock therapy, McMurphy shuffles back onto the ward feigning illness, before humorously animating his face and loudly greeting his fellow patients, assuring everyone that the ECT only charged him up all the more and that the next woman to take him on will "light up like a pinball machine and pay off in silver dollars." But the struggle with Ratched is taking its toll, and with his release date no longer a certainty, McMurphy plans an escape. He phones Candy to bring her friend Rose (Louisa Moritz) and some booze to the hospital late one night. They enter through a window after McMurphy bribes the night orderly, Mr. Turkle. McMurphy and Candy invite the patients into the day room for a Christmas party; the group breaks into the drug locker, puts on music, and enjoys a bacchanalian rampage. At the end of the night, McMurphy and Bromden prepare to climb out the window with the girls. McMurphy says goodbye to everyone, and invites an emotional Billy to escape with them; he declines, saying he is not yet ready to leave the hospitalthough he would like to date Candy in the future. McMurphy insists Billy have sex with Candy right then and there. Billy and Candy agree and they retire to a private room. The effects of the alcohol and pilfered medication take their toll on everyone, including McMurphy and the Chief, whose eyes slowly close in fatigue. Nurse Ratched arrives the next morning and discovers the scene: the ward completely upended and patients passed out all over the floor. She orders the attendants to lock the window, clean up, and conduct a head count. When they find Billy and Candy, the other patients applaud and, buoyed, Billy speaks for the first time without a stutter. Nurse Ratched then announces that she will tell Billy's mother what he has done. Billy panics, his stutter returns, and he starts punching himself in the face; locked in the doctor's office, he kills himself. McMurphy, enraged at Nurse Ratched, chokes her nearly to death until orderly Washington knocks him out.
1975 One Flew Over the Cuckoo's Nest Some time later, the patients in the ward play cards and gamble for cigarettes as before, only now with Harding dealing and delivering a pale imitation of McMurphy's patter. Nurse Ratched, still recovering from the neck injury sustained during McMurphy's attack, wears a neck brace and speaks in a thin, reedy voice. The patients pass a whispered rumor that McMurphy dramatically escaped the hospital rather than being taken "upstairs." Late that night, Chief Bromden sees McMurphy being escorted back to his bed, and initially believes that he has returned so they can escape togetherwhich he is now ready to do since McMurphy has made him feel "as big as a mountain." However, when he looks closely at McMurphy's unresponsive face, he is horrified to see lobotomy scars on his forehead. Unwilling to allow McMurphy to live in such a stateor be seen this way by the other patientsthe Chief smothers McMurphy to death with his pillow. He then carries out McMurphy's escape plan by lifting the hydrotherapy console off the floor and hurling the massive fixture through a grated window, climbing through and running off into the distance.
387
Cast
Jack Nicholson as Randle McMurphy Louise Fletcher as Nurse Ratched William Redfield as Dale Harding Will Sampson as "Chief" Bromden Brad Dourif as Billy Bibbit Sydney Lassick as Charlie Cheswick Danny DeVito as Martini Christopher Lloyd as Max Taber Dean R. Brooks as Dr. John Spivey William Duell as Jim Sefelt Vincent Schiavelli as Frederickson Delos V. Smith as Scanlon Michael Berryman as Ellis Nathan George as Attendant Washington Lan Fendors as Nurse Itsu Mimi Sarkisian as Nurse Pilbow Marya Small as Candy Scatman Crothers as Orderly Turkle Louisa Moritz as Rose
Title
The title is derived from an American children's folk rhyme.[4] In a detail not included in the film, the novel shows it to be a rhyme that Chief Bromden remembers from his childhood. Vintery, mintery, cutery, corn, Apple seed and apple thorn, Wire, briar, limber lock Three geese in a flock One flew East One flew West And one flew over the cuckoo's nest.
388
Reception
The film received generally positive reviews from critics; Roger Ebert said that "Milo Forman's One Flew Over the Cuckoo's Nest is a film so good in so many of its parts that there's a temptation to forgive it when it goes wrong. But it does go wrong, insisting on making larger points than its story really should carry, so that at the end, the human qualities of the characters get lost in the significance of it all. And yet there are those moments of brilliance."[5] Ebert would later put the film on his "Great Movies" list.[6] A.D. Murphy of Variety wrote a mixed review as well,[7] as did Vincent Canby: writing in The New York Times, Canby called the film "a comedy that can't quite support its tragic conclusion, which is too schematic to be honestly moving, but it is acted with such a sense of life that one responds to its demonstration of humanity if not to its programmed metaphors."[8] The film went on to win a total of five Academy Awards, including Best Actor for Jack Nicholson (who played McMurphy), Best Actress for Louise Fletcher (who played Ratched), Best Direction for Forman, Best Picture, and Best Adapted Screenplay for Laurence Hauben and Bo Goldman. The film currently has a 96% "Certified Fresh" rating at Rotten Tomatoes.[9] The film is considered to be one of the greatest American films. Ken Kesey participated in the early stages of script development, but withdrew after creative differences with the producers over casting and narrative point-of-view; ultimately he filed suit against the production and won a settlement.[10] Kesey himself claimed never to have seen the movie, but said he disliked what he knew of it,[11] a fact confirmed by Chuck Palahniuk who wrote, "The first time I heard this story, it was through the movie starring Jack Nicholson. A movie that Kesey once told me he disliked".[12] In 1993, this film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in their National Film Registry. The film was shown in Swedish cinemas for nearly 11 years between early 1976 and winter of 1986/1987 which is still a record. When Forman learned this, he said, "I'm absolutely thrilled by that... It's wonderful."
Awards and honors

One Flew Over the Cuckoo's Nest won all of the "Big Five" Academy Awards at the 48th Oscar ceremony
Award Academy Award Category Academy Award for Best Picture Academy Award for Best Director Academy Award for Best Actor Academy Award for Best Actress Academy Award for Writing Adapted Screenplay Academy Award for Best Supporting Actor Academy Award for Best Cinematography Academy Award for Film Editing Nominee Michael Douglas and Saul Zaentz Milo Forman Jack Nicholson Louise Fletcher Laurence Hauben and Bo Goldman Brad Dourif Haskell Wexler and Bill Butler Richard Chew, Lyzee Klingman and Sheldon Kahn Jack Nitzsche Result Won Won Won Won Won Nominated Nominated Nominated Nominated
Academy Award for Original Music Score
389
Michael Douglas and Saul Zaentz Milo Forman Jack Nicholson Won Won Won
Golden Globe Award
Golden Globe Award for Best Motion Picture - Drama Golden Globe Award for Best Director - Motion Picture Golden Globe Award for Best Actor - Motion Picture Drama Golden Globe Award for Best Actress - Motion Picture Drama Golden Globe Award for Best Screenplay Golden Globe Award for New Star of the Year - Actor
Louise Fletcher
Won Won Won Won Won Won Won Won Won Nominated Nominated
Laurence Hauben and Bo Goldman Brad Dourif Michael Douglas and Saul Zaentz Milo Forman Jack Nicholson Louise Fletcher Brad Dourif Richard Chew, Lynzee Klingman and Sheldon Kahn Haskell Wexler and Bill Butler Laurence Hauben and Bo Goldman
BAFTA Award
BAFTA Award for Best Film BAFTA Award for Best Direction BAFTA Award for Best Actor in a Leading Role BAFTA Award for Best Actress in a Leading Role BAFTA Award for Best Actor in a Supporting Role BAFTA Award for Best Editing
BAFTA Award for Best Cinematography BAFTA Award for Best Adapted Screenplay
Others
American Film Institute AFI's 100 Years... 100 Movies #20 AFI's 100 Years... 100 Heroes and Villains: Nurse Ratched #5 Villain Randle Patrick McMurphy Nominated Hero[13] AFI's 100 Years... 100 Cheers #17 AFI's 100 Years... 100 Movies (10th Anniversary Edition) #33
References
[1] Chew was listed as "supervising editor" in the film's credits, but was included in the nomination for an editing Academy Award. [2] "One Flew Over the Cuckoo's Nest, Box Office Information" (http:/ / boxofficemojo. com/ movies/ ?id=oneflewoverthecuckoosnest. htm). Box Office Mojo. . Retrieved January 22, 2012. [3] Oregon State Hospital - A documentary film (Mental Health Association of Portland) (http:/ / oregonstatehospital. org/ ) [4] One Flew Over The Cuckoo's Nest (http:/ / www. filmsite. org/ onef. html) [5] Suntimes.com (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19750101/ REVIEWS/ 501010348/ 1023) - Roger Ebert review, Chicago Sun-Times, January 1, 1975 [6] Suntimes.com (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20030202/ REVIEWS08/ 302020301/ 1023) - Roger Ebert review, Chicago Sun-Times, February 2, 2003. [7] Variety.com (http:/ / www. variety. com/ review/ VE1117487976) - A.D. Murphy, Variety, November 7, 1975 [8] Canby, Vincent (1975). "Critic's Pick: One Flew Over the Cuckoo's Nest." The New York Times, November 20, 1975 [9] "One Flew over the Cuckoo's Nest Movie Reviews, Pictures - Rotten Tomatoes" (http:/ / www. rottentomatoes. com/ m/ one_flew_over_the_cuckoos_nest/ ). . Retrieved 2010-08-19. [10] Carnes, Mark Christopher, Paul R. Betz, et.al. (1999). American National Biography, Volume 26. New York: Oxford University Press USA. ISBN 0-19-522202-4. p. 312, [11] Carnes, p. 312 [12] Foreword of One Flew Over the Cuckoo's Nest, Copyright 2007 by Chuck Palahniuk. Available in the 2007 Edition published by Penguin Books [13] AFI's 100 Years...100 Heroes and Villains Nominees (http:/ / www. afi. com/ Docs/ 100Years/ handv400. pdf)
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External links
One Flew Over the Cuckoo's Nest (http://www.imdb.com/title/tt0073486/) at the Internet Movie Database One Flew Over the Cuckoo's Nest (http://www.allrovi.com/movies/movie/v36363) at AllRovi One Flew Over the Cuckoo's Nest (http://www.boxofficemojo.com/movies/?id=oneflewoverthecuckoosnest. htm) at Box Office Mojo One Flew Over the Cuckoo's Nest (http://www.rottentomatoes.com/m/one_flew_over_the_cuckoos_nest/) at Rotten Tomatoes
1976 Rocky
Rocky
Directed by Produced by Written by Starring John G. Avildsen Robert Chartoff Irwin Winkler Sylvester Stallone Sylvester Stallone Burgess Meredith Talia Shire Burt Young Carl Weathers Bill Conti
Music by
Cinematography James Crabe Editing by Distributed by Release date(s) Running time Country Language Budget Box office Richard Halsey Scott Conrad United Artists

November 21, 1976 (New York City premiere) December 3, 1976 (US)

[1]
Rocky is a 1976 American sports drama film directed by John G. Avildsen and both written by and starring Sylvester Stallone. It tells the rags to riches American Dream story of Rocky Balboa, an uneducated but kind-hearted debt collector for a loan shark in the city of Philadelphia, Pennsylvania. Rocky starts out as a club fighter who later gets a shot at the world heavyweight championship. It also stars Talia Shire as Adrian, Burt Young as Adrian's brother Paulie, Burgess Meredith as Rocky's trainer Mickey Goldmill, and Carl Weathers as the champion, Apollo Creed. The film, made on a budget of less than $1 million[2][3] and shot in 28 days, was a sleeper hit; it made over $225 million[1] the highest grossing film of 1976, and won three Oscars, including Best Picture. The film received many positive reviews and turned Stallone into a major star.[4] It spawned five sequels: Rocky II, III, IV, V and Rocky Balboa.
1976 Rocky
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Plot
On November 25, 1975, Rocky Balboa (Sylvester Stallone) is introduced as a small-time boxer and collector for Anthony Gazzo (Joe Spinell), a loan shark, living in the Kensington neighborhood of Philadelphia. The World Heavyweight Championship bout is scheduled for New Year's Day 1976, the year of the United States Bicentennial. When the opponent of undefeated heavyweight champion Apollo Creed (Carl Weathers) is injured, Creed comes up with the idea of giving a local underdog a shot at the title and, because he likes Rocky's nickname, "The Italian Stallion", he selects the relatively unknown fighter. He puts it in lights by proclaiming "Apollo Creed meets 'The Italian Stallion'". The fight promoter says the decision is "very American", but Creed adds it is also "very smart". To prepare for the fight Rocky trains with a 1920s-era ex-bantamweight fighter and gym owner, Mickey Goldmill (Burgess Meredith). Mickey always considered Rocky's potential to be better than his effort, and the two conflict over Mickey's motives for training Rocky for the big fight. Rocky's good friend Paulie (Burt Young), a meat-packing-plant worker, lets him practice his punches on the carcasses hanging in the freezers. During training Rocky dates Paulie's shy, quiet sister, Adrian (Talia Shire), who works as a clerk in a local pet store. The night before the fight Rocky confides to Adrian that he does not expect to beat Creed, and that all he wants is to go the distance with Creed (which no fighter had ever done), meaning that lasting 15 rounds (the typical scheduled length of championship fights at the time) against him would mean he "... wasn't just another bum from the neighborhood". On New Year's Day the climactic boxing match begins. Apollo Creed does not initially take the fight seriously, and Rocky unexpectedly knocks him down in the first round, embarrassing Creed, and the match turns intense. The fight indeed lasts 15 rounds, with both fighters suffering many injuries; Rocky suffers his first broken nose, and Creed sustains brutal blows to his ribs. As the match progresses, Creed's superior skill is countered by Rocky's apparently unlimited ability to absorb punishment, and his dogged refusal to be knocked out. As the final round bell sounds, with both fighters locked in each other's arms, an exhausted Creed vows "Ain't gonna be no re-match," to which an equally spent Rocky replies "Don't want one." After the fight Rocky calls out for Adrian, who runs down to the ring. As the ring announcer declares the fight for Apollo Creed by virtue of a split decision (8:7, 7:8, 9:6), Adrian and Rocky embrace while they profess their love to one another, not caring about the result of the fight.
Cast
Sylvester Stallone as Rocky Balboa, an enforcer for a loan shark by day and a semi-pro boxer by night. He is given the chance at the heavyweight title. Talia Shire as Adrian Pennino, Rocky's love interest; a quiet pet store clerk who falls in love with Rocky and supports him through his training. Burt Young as Paulie Pennino, Adrian's brother; a meat-packing plant worker by trade, Paulie permits Rocky to train in the freezer. Carl Weathers as Apollo Creed, Rocky's opponent and heavyweight champion. The character was influenced by the outspoken, real-life boxing great Muhammad Ali.[5] Burgess Meredith as Mickey Goldmill: Rocky's manager and trainer, a former bantamweight fighter from the 1920s and the owner of the local boxing gym. Thayer David as George Jergens: the fight promoter who has "promoted fights all over the world". Joe Spinnell as Tony Gazzo, loan shark and Rocky's employer Tony Burton, a minor character in the film, later more prominently featured in later Rocky films. Cameo appearances Boxer Joe Frazier has a cameo appearance in the film. The character of Apollo Creed was influenced by outspoken boxer Muhammad Ali who fought Frazier three times. During the Academy Awards ceremony, Ali and Stallone staged a brief comic confrontation to show Ali was not offended by the film. Some of the plot's most memorable momentsRocky's carcass-punching scenes and Rocky running up the steps of the Philadelphia Museum of Art, as
1976 Rocky part of his training regimeare taken from the real-life exploits of Joe Frazier, for which he received no credit.[6] Due to the film's low budget, members of Stallone's family played minor roles. His father rings the bell to signal the start and end of a round, his brother Frank plays a street corner singer, and his first wife, Sasha, was stills photographer.[7] Other cameos include Los Angeles television sportscaster Stu Nahan playing himself, alongside radio and TV broadcaster Bill Baldwin and Lloyd Kaufman, founder of the independent film company Troma, appearing as a drunk. Longtime Detroit Channel 7 Action News anchor Diana Lewis has a small scene as a TV news reporter. Tony Burton appeared as Apollo Creed's trainer, Tony "Duke" Evers, a role he would reprise in the entire Rocky series, though he is not given an official name until Rocky II. Though uncredited, Michael Dorn made his acting debut as Creed's bodyguard.[8]
392
Production
United Artists liked Stallone's script, and viewed it as a possible vehicle for a well-established star such as Robert Redford, Ryan O'Neal, Burt Reynolds, or James Caan. Stallone appealed to the producers to be given a chance to star in the film. He later said that he would never have forgiven himself if the film became a success with someone else in the lead. He also knew that producers Irwin Winkler and Robert Chartoff's contract with the studio enabled them to "greenlight" a project if the budget was kept low enough. Certain elements of the story were altered during filming. The original script had a darker tone: Mickey was portrayed as racist and the script ended with Rocky throwing the fight after realizing he did not want to be part of the professional boxing world after all.[9] Although Chartoff and Winkler were enthusiastic about the script and the idea of Stallone playing the lead character, they were hesitant about having an unknown headline the film. The producers also had trouble casting other major characters in the story, with Adrian and Apollo Creed cast unusually late by production standards (both were ultimately cast on the same day). Real-life boxer Ken Norton was initially sought for the role of Apollo Creed, but he pulled out and the role was ultimately given to Carl Weathers. Norton had had three fights with Muhammad Ali, upon whom Creed was loosely based. According to The Rocky Scrapbook, Carrie Snodgress was originally chosen to play Adrian, but a money dispute forced the producers to look elsewhere. Susan Sarandon auditioned for the role but was deemed too pretty for the character. After Talia Shire's ensuing audition, Chartoff and Winkler, along with Avildsen, insisted that she play the part. Inventor/operator Garrett Brown's new Steadicam was used to accomplish smooth photography while running alongside Rocky during the film's Philadelphia street jogging/training sequences and the run up the Art Museum's flight of stairs. It was also used for some of the shots in the fight scenes and can be openly seen at the ringside during some wide shots of the final fight. (Rocky is often erroneously cited as the first film to use the Steadicam, although it was actually the third, after Bound for Glory and Marathon Man.[10]) While filming Rocky, both Stallone and Weathers suffered injuries during the shooting of the final fight; Stallone suffered bruised ribs and Weathers suffered a damaged nose, the opposite injuries of what their characters had. The poster seen above the ring before Rocky fights Apollo Creed shows Rocky wearing red shorts with a white stripe when he actually wears white shorts with a red stripe. When Rocky points this out he is told that "it doesn't really matter does it?". According to director Avildsen's DVD commentary, this was an actual mistake made by the props department that they could not afford to rectify, so Stallone wrote the brief scene to ensure the audience didn't see it as a goof. Avildsen said that the same situation arose with Rocky's robe. When it came back from the costume department, it was far too baggy for Stallone. And because the robe arrived on the day of filming the scene and there was no chance of replacing or altering it, instead of ignoring this and risk the audience laughing at it, Stallone wrote the dialogue where Rocky himself points out the robe is too big. The first date between Rocky and Adrian, in which Rocky bribes a janitor to allow them to skate after closing hours in a deserted ice skating rink, was shot that way only because of budgetary pressures. This scene was originally
1976 Rocky scheduled to be shot in a skating rink during regular business hours. However, the producers ultimately decided that they couldn't afford to hire the hundreds of extras that would have been necessary for that scene. Rocky has the 7th highest return of investment of any film ever made.[11] With a production budget of less than 1 million dollars,[2][3] it eventually earned worldwide box-office receipts exceeding $225 million.[1]
393
Stallone's inspiration
Stallone was inspired to create the film by Rocky Marciano and the famous fight between Muhammad Ali and Chuck Wepner at Richfield Coliseum in Richfield, Ohio on March 24, 1975. Wepner had been TKO'd in the 15th round by Ali, but nobody ever expected him to last as long as he did. Wepner recalls in a January 2000 interview, "Sly (Stallone) called me about two weeks after the Ali fight and told me he was gonna make the movie." Rocky Steps The famous scene of Rocky running up the steps of the Philadelphia Museum of Art has become a cultural icon. In 1982, a statue of Rocky, commissioned by Stallone for Rocky III, was placed at the top of the Rocky Steps. City Commerce Director Dick Doran claimed that Stallone and Rocky had done more for the city's image than "anyone since Ben Franklin."[12] Differing opinions of the statue and its placement led to a relocation to the sidewalk outside the Philadelphia Spectrum Arena, although the statue was temporarily returned to the top of the steps in 1990 for Rocky V, and again in 2006 for the 30th anniversary of the original Rocky (although this time it was placed at the bottom of the steps). Later that year, it was permanently moved to a spot next to the steps.[12]
Philadelphia Museum of Art.
The scene is frequently parodied in the media. In The Simpsons episode "I'm Spelling as Fast as I Can", Lisa Simpson runs up a flight of stairs wearing a tracksuit similar to the one worn by Rocky.[13] In You Don't Mess with the Zohan, Zohan's nemesis, Phantom, goes through a parodied training sequence finishing with him running up a desert dune and raising his hands in victory. In the fourth season's The statue, situated just northeast of the steps. finale of The Fresh Prince of Bel-Air, as the credits roll at the end of the episode, Will is seen running up the same steps of the Philadelphia Museum of Art; however, as he celebrates after finishing his climb, he passes out in exhaustion, and while he lies unconscious on the
1976 Rocky ground, a pickpocket steals his wallet and his wool hat. Also in The Nutty Professor, there is a scene where Eddie Murphy is running up the stairs and throwing punches at the top. In 2006, E! named the "Rocky Steps" scene #13 in its 101 Most Awesome Moments in Entertainment.[14] During the 1996 Summer Olympics torch relay, Philadelphia native Dawn Staley was chosen to run up the museum steps. In 2004, Presidential candidate John Kerry ended his pre-convention campaign at the foot of the steps before going to Boston to accept his party's nomination for President.[15]
394
Critical reception
Rocky received mixed reviews at the time of its release. Roger Ebert of the Chicago Sun-Times, however, gave Rocky 4 out of 4 stars and said that Stallone reminded him of "the young Marlon Brando.[16] " Box Office Magazine claimed that audiences would be "touting Sylvester 'Sly' Stallone as a new star".[17][18] The film, however, did not escape criticism. Vincent Canby, of the New York Times, called it "pure '30s make believe" and dismissed both Stallone's acting and Avildsen's directing, calling the latter "none too decisive".[19] Frank Rich liked the film, calling it "almost 100 per cent schmaltz," but favoring it over the cynicism that was prevalent in movies at that time, although he referred to the plot as "gimmicky" and the script "heavy-handed". He attributed all of the film's weaknesses to Avildsen, describing him as responsible for some of the "most tawdry movies of recent years", and who "has an instinct for making serious emotions look tawdry" and said of Rocky, "He'll go for a cheap touch whenever he can" and "tries to falsify material that was suspect from the beginning. ... Even by the standards of fairy tales, it strains logic." Rich also criticised the film's "stupid song with couplets like 'feeling strong now/won't be long now.'"[20] Several reviews, including Richard Eder's (as well as Canby's negative review), compared the work to that of Frank Capra. Andrew Sarris found the Capra comparisons disingenuous: "Capra's movies projected more despair deep down than a movie like Rocky could envisage, and most previous ring movies have been much more cynical about the fight scene," and, commenting on Rocky's work as a loan shark, says that the film "teeters on the edge of sentimentalizing gangsters." Sarris also found Meredith "oddly cast in the kind of part the late James Gleason used to pick his teeth." Sarris also took issue with Avildsen's direction, which he described as having been done with "an insidious smirk" with "condescension toward everything and everybody," specifically finding fault, for example, with Avildsen's multiple shots of a chintzy lamp in Rocky's apartment. Sarris also found Stallone's acting style "a bit mystifying" and his character "all rough" as opposed to "a diamond in the rough" like Terry Malloy.[21] More than 30 years later, the film enjoys a reputation as a classic and still receives positive reviews; Rocky holds a 91% "Certified Fresh" rating on Rotten Tomatoes.[22] Another positive online review came from the BBC Films website, with both reviewer Almar Haflidason and BBC online users giving it 5/5 stars.[23] In Steven J. Schneider's 1001 Movies You Must See Before You Die, Schneider says the film is "often overlooked as schmaltz."[24] In 2006, Rocky was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[25][26] In June 2008, AFI revealed its "Ten top Ten"the best ten films in ten "classic" American film genresafter polling over 1,500 people from the creative community. Rocky was acknowledged as the second-best film in the sports genre, after Raging Bull.[27][28] In 2008, Rocky was chosen by Empire magazine as one of The 500 Greatest Movies of All Time.[29]
1976 Rocky
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Academy Awards 1976

Rocky received ten Academy Awards nominations in nine categories, winning three:[30]
Award Best Picture Best Director Best Actor Best Actress Best Original Screenplay Best Supporting Actor Best Supporting Actor Best Film Editing Best Music (Original Song) for Gonna Fly Now Result Won Won Nominee Robert Chartoff and Irwin Winkler John G. Avildsen
Nominated Sylvester Stallone Nominated Talia Shire Nominated Sylvester Stallone Nominated Burgess Meredith Nominated Burt Young Won Richard Halsey and Scott Conrad
Bill Conti Nominated Carol Connors Ayn Robbins Harry Warren Tetrick (posthumous) Nominated William McCaughey Lyle J. Burbridge Bud Alper
Best Sound Mixing
Rocky has also appeared on several of the American Film Institute's 100 Years lists. AFI's 100 Years... 100 Movies (1998) - #78.[31] AFI's 100 Years... 100 Thrills (2001) - #52 AFI's 100 Years...100 Passions (2002) - Nominated AFI's 100 Years... 100 Heroes and Villains (2003)
Rocky Balboa - #7 Hero.[32] AFI's 100 Years...100 Songs (2004) "Gonna Fly Now" - #58 AFI's 100 Years... 100 Movie Quotes (2005) "Yo, Adrian!" - #80.[33] AFI's 100 Years of Film Scores (2005) - Nominated AFI's 100 Years... 100 Cheers (2006) - #4.[34] AFI's 100 Years... 100 Movies (10th Anniversary Edition) (2007) - #57 AFI's 10 Top 10 (2008) - #2 Sports Film
The Directors Guild of America awarded Rocky its annual award for best film of the year in 1976, and in 2006, Sylvester Stallone's original screenplay for Rocky was selected for the Writers Guild of America Award as the 78th best screenplay of all time.[35]
1976 Rocky
396
Home video release history

1982 CED Videodisc and VHS; VHS release is rental only; 20th Century Fox Video release October 27, 1990 (VHS and laserdisc) April 16, 1996 (VHS and laserdisc) March 24, 1997 (DVD) April 24, 2001 (DVD, also packed with the Five-Disc Boxed Set) December 14, 2004 (DVD, also packed with the Rocky Anthology box set) February 8, 2005 (DVD, also packed with the Rocky Anthology box set) December 5, 2006 (DVD and Blu-ray Disc 2-Disc Collector's Edition, the DVD was the first version released by Fox and was also packed with the Rocky Anthology box set and the Blu-ray was the first version released by Sony Pictures Home Entertainment) December 4, 2007 (DVD box set Rocky The Complete Saga. This new set contains the new Rocky Balboa, but does not include the recent 2 disc Rocky. There are still no special features for Rocky II through Rocky V, although Rocky Balboa's DVD special features are all intact.) November 3, 2009 (Blu-ray box set - Rocky The Undisputed Collection. This release included six films in a box set. Previously, only the first film and Rocky Balboa were available on the format. Those two discs are identical to their individual releases, and the set also contains a disc of bonus material, new and old alike.[36])
Other media
Soundtrack
Rocky
Soundtrack album by Bill Conti Released October 14, 1976 Label United Artists Records Capitol Records (reissue)
All music by Bill Conti. 1. "Gonna Fly Now (Theme from Rocky)" (vocals: DeEtta Little/Nelson Pigford) 2:48 2. "Philadelphia Morning" 2:22 3. "Going the Distance" 2:39 4. "Reflections" 3:19 5. "Marines' Hymn/Yankee Doodle" 1:44 6. "Take You Back (Street Corner Song from Rocky)" (vocals: Valentine) 1:49 7. "First Date" 1:53 8. "You Take My Heart Away" (vocals: DeEtta Little/Nelson Pigford) 4:46 9. "Fanfare for Rocky" 2:35 10. "Butkus" 2:12 11. "Alone in the Ring" 1:10 12. "The Final Bell" 1:56 13. "Rocky's Reward" 2:02 Rocky's soundtrack was composed by Bill Conti. The main theme song, "Gonna Fly Now", made it to number one on the Billboard magazine's Hot 100 list for one week (from July 2 to July 8, 1977) and the American Film Institute placed it 58th on its AFI's 100 Years...100 Songs.[37][38] The complete soundtrack was re-released in 1988 by EMI on CD and cassette.[39] Conti was also the composer for Rockys: II, III, V, and Rocky Balboa.[40]
1976 Rocky The version of "Gonna Fly Now" used in the film is different from the versions released on later CDs and records. The vocals and guitars are much more emphasized than the versions released. The "movie version" has yet to be released. Although the Conti version of "Gonna Fly Now" is the most recognizable arrangement, a cover of the song performed by legendary trumpeter Maynard Ferguson on his Conquistador album prior to the release of the motion picture soundtrack actually outsold the soundtrack itself.[41]
397
Novelization
A paperback novelization of the screenplay was written by Rosalyn Drexler and published by Ballantine Books in 1976[42]
Video games
Several video games have been made based on the film. The first Rocky video game was released by Coleco for ColecoVision in August 1983 titled Rocky Super Action Boxing; the principal designer was Coleco staffer B. Dennis Sustare. Another was released in 1987 for the Sega Master System. More recently, a Rocky video game was released in 2002 for the Nintendo GameCube, Game Boy Advance, PlayStation 2, and Xbox, and a sequel, Rocky Legends, was released in 2004 for the PlayStation 2 and Xbox. In 2007, a video game called Rocky Balboa was released for PSP. In 1985, Dinamic Software released a boxing game for the Sinclair ZX Spectrum (also advertised for and/or published on the Sega Master System, Amstrad CPC and MSX) called Rocky. Due to copyright reasons it was quickly renamed "Rocco".[43]
Broadway
A Broadway musical has been announced to be released in late 2013 based on the movie series. It will be written by Stephen Flaherty and Lynn Ahrens
Notes
[1] "Movie Rocky Box Office Data, News, Cast Information" (http:/ / www. the-numbers. com/ movies/ 1976/ 0RKY1. php). The Numbers. Nash Information Services. . Retrieved September 1, 2010. [2] "'Rocky'" (http:/ / www. nytimes. com/ packages/ html/ movies/ bestpictures/ rocky-ar. html). nytimes.com (The New York Times). November 1, 1976. . Retrieved January 31, 2011. [3] Nashawaty, Chris (February 19, 2002). "The Right Hook" (http:/ / www. ew. com/ ew/ article/ 0,,203553,00. html). EW.com (Entertainment Weekly). . Retrieved January 31, 2011. [4] "Inside the Actors Studio with Sylvester Stallone" (http:/ / www. bravotv. com/ Inside_the_Actors_Studio/ guests/ Sylvester_Stallone. shtml). . Retrieved 28 September 2006. [5] "Cast and Crew bios for Rocky" (http:/ / rockythemovie. com/ homevideo/ index. html). . Retrieved 15 November 2006. [6] McRae, Donald (11 November 2008). "Still smokin' over Ali but there's no time for hatred now" (http:/ / www. guardian. co. uk/ sport/ 2008/ nov/ 11/ sportinterviews-boxing). The Guardian (London). . Retrieved 3 October 2010. [7] "Czack, Sasha" (http:/ / www. imdb. com/ name/ nm0038664/ bio). Internet Movie Database. . [8] "Star Trek Database - Dorn, Michael" (http:/ / www. startrek. com/ database_article/ dorn). Star Trek Database. CBS Entertainment. . Retrieved 10 December 2011. [9] Nashawaty, Chris (2002-02-19). "EW: The Right Hook: How Rocky Nabbed Best Picture" (http:/ / www. ew. com/ ew/ article/ 0,,203553,00. html). Entertainment Weekly. . [10] "Steadicam 30th anniversary press release" (http:/ / lserv2. dtopinc. com/ tiffen/ staging_html/ tiffen_news_Steadicam30th_Anniv. html). . [11] "Movie Budgets" (http:/ / www. the-numbers. com/ movies/ records/ budgets. php). The Numbers. . Retrieved 2010-10-05. [12] "Rocky Statue" (http:/ / www. ushistory. org/ oddities/ rocky. htm). . Retrieved 2006-09-23. [13] "I'm Spelling as Fast as I Can @ TV.com" (http:/ / www. tv. com/ the-simpsons/ im-spelling-as-fast-as-i-can/ episode/ 181997/ trivia. html). . Retrieved 2006-09-25. [14] "E! Channel's 101 Most Awesome Moments in Entertainment" (http:/ / www. eonline. com/ On/ 101/ MostAwesome/ List/ index5. html). . Retrieved 23 September 2006. [15] "Philly.com" (http:/ / www. philly. com/ mld/ inquirer/ 9258078. htm). . Retrieved 2006-11-16.
1976 Rocky
[16] "Roger Ebert Rocky Review" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19760101/ REVIEWS/ 601010307/ 1023). Chicago Sun-Times. 1977-01-01. . Retrieved 2006-09-23. [17] "Box Office Magazine Rocky Review" (http:/ / www. boxoffice. com/ scripts/ fiw. dll?GetReview?& where=ID& terms=4828). 1976-11-22. . Retrieved 2006-09-23. [18] "Arizona Daily Star Review" (http:/ / www. channel4. com/ film/ reviews/ film. jsp?id=107744& section=pressQuote). . Retrieved 2006-11-14. [19] Dargis, Manohla (November 22, 1976). "Vincent Canby Rocky Review for New York Times" (http:/ / movies2. nytimes. com/ mem/ movies/ review. html?_r=1& title1=Rocky (Movie)& title2=& reviewer=VINCENT CANBY& pdate=19761122& v_id=). The New York Times. . Retrieved 23 September 2006. [20] Frank Rich. The New York Post November 22, 1976. p. 18 [21] The Village Voice November 22, 1976, p.61 [22] "Rocky @ Rotten Tomatoes" (http:/ / www. rottentomatoes. com/ m/ 1017776-rocky/ ). . Retrieved 2007-01-06. [23] "Rocky @ BBC Films" (http:/ / www. bbc. co. uk/ films/ 2001/ 03/ 12/ rocky_1976_review. shtml). . Retrieved 2006-11-14. [24] Schneider, Stephen Jay; Garrett Chaffin-Quiray (review) (2005). 1001 Movies You Must See Before You Die (Revised Edition). London, England: New Burlington Books. p.615. [25] "Librarian Adds 25 Titles to Film Preservation List: National Film Registry 2006" (http:/ / www. loc. gov/ loc/ lcib/ 07012/ film. html). Library of Congress.gov. . Retrieved June 11, 2010. [26] "Rocky, Fargo join National Film Registry" (http:/ / www. reuters. com/ article/ idUSN2745890220061229). reuters.com. 2006-12-28. . Retrieved June 11, 2010. [27] "AFI Crowns Top 10 Films in 10 Classic Genres" (http:/ / www. comingsoon. net/ news/ movienews. php?id=46072). ComingSoon.net. 2008-06-17. . Retrieved 2008-06-18. [28] "Top 10 Sports" (http:/ / www. afi. com/ 10top10/ sports. html). American Film Institute. . Retrieved 2008-06-18. [29] "Empire's The 500 Greatest Movies of All Time" (http:/ / www. empireonline. com/ 500/ 25. asp). Empire Magazine. . Retrieved June 11, 2010. [30] "The 49th Academy Awards (1977) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 49th-winners. html). oscars.org. . Retrieved 2011-10-04. [31] "AFI 100 Years" (http:/ / web. archive. org/ web/ 20060821210811/ http:/ / www. afi. com/ tvevents/ 100years/ movies. aspx). 1998. Archived from the original (http:/ / www. afi. com/ tvevents/ 100years/ movies. aspx) on 2006-08-21. . Retrieved 2006-08-24. [32] "AFI 100 Heroes and Villains" (http:/ / web. archive. org/ web/ 20061004115258/ http:/ / www. afi. com/ tvevents/ 100years/ handv. aspx). Archived from the original (http:/ / www. afi. com/ tvevents/ 100years/ handv. aspx) on 2006-10-04. . Retrieved 2006-10-11. [33] "AFI 100 Quotes" (http:/ / web. archive. org/ web/ 20060906121318/ http:/ / www. afi. com/ tvevents/ 100years/ quotes. aspx#list). 2005. Archived from the original (http:/ / www. afi. com/ tvevents/ 100years/ quotes. aspx#list) on 2006-09-06. . Retrieved 2006-09-29. [34] "AFI 100 Cheers" (http:/ / web. archive. org/ web/ 20060820112138/ http:/ / www. afi. com/ tvevents/ 100years/ cheers. aspx). June 14, 2006. Archived from the original (http:/ / www. afi. com/ tvevents/ 100years/ cheers. aspx) on 2006-08-20. . Retrieved 2006-08-24. [35] "The 101 Best Screenplays by [[Writers Guild of America, West (http:/ / www. wga. org/ subpage_newsevents. aspx?id=1807)]"]. . Retrieved 2006-08-24. [36] "MGM Preparing Rocky Collection on Blu-ray" (http:/ / www. blu-ray. com/ news/ ?id=2716). Blu-ray.com. . Retrieved 2010-10-05. [37] "Popculturemadness.com list of 1977 number ones, based on Billboards lists" (http:/ / www. popculturemadness. com/ Music/ Pop-Modern/ 1977. html). 1977-07-08. . Retrieved 2006-10-14. [38] "AFI 100 songs" (http:/ / www. afi. com/ tvevents/ 100years/ songs. aspx). 2004-06-22. . Retrieved 2006-10-14. [39] "Billboard.com Rocky Soundtrack" (http:/ / web. archive. org/ web/ 20070528071703/ http:/ / www. billboard. com/ bbcom/ discography/ index. jsp?aid=98351& cr=track& or=ASCENDING& sf=length& pid=684704& kw=Gonna+ Fly+ Now). Archived from the original (http:/ / www. billboard. com/ bbcom/ discography/ index. jsp?aid=98351& cr=track& or=ASCENDING& sf=length& pid=684704& kw=Gonna+ Fly+ Now) on 2007-05-28. . Retrieved 2006-10-14. [40] "Bill Conti @ IMDb" (http:/ / www. imdb. com/ name/ nm0006015/ ). . Retrieved 2006-10-14. [41] Liner notes of the Conquistador album [42] "Rocky (Book, 1976)" (http:/ / www. worldcat. org/ title/ rocky/ oclc/ 2851748). WorldCat.org. . Retrieved 2012-06-29. [43] Rocky (http:/ / www. worldofspectrum. org/ infoseekid. cgi?id=0004198) at World of Spectrum
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External links
Official anthology site (http://www.rocky.com/flash.html) Rocky (http://www.imdb.com/title/tt0075148/) at the Internet Movie Database Rocky (http://tcmdb.com/title/title.jsp?stid=20655) at the TCM Movie Database Rocky (http://www.allrovi.com/movies/movie/v41846) at AllRovi Rocky (http://www.boxofficemojo.com/movies/?id=rocky.htm) at Box Office Mojo Rocky (http://www.rottentomatoes.com/m/1017776-rocky/) at Rotten Tomatoes Rocky @ at the Sports Movie Guide (http://www.sportsinmovies.com/boxing/rocky.asp) ESPN.com (http://sports.espn.go.com/espn/page2/index) Page2 Articles: Reel Life Rocky (http://espn.go.com/page2/s/closer/020529.html) by Jeff Merron The Making of Rocky (http://espn.go.com/page2/s/stallone/011207.html) by Sylvester Stallone A Movie of Blood, Spit and Tears (http://espn.go.com/page2/s/webb/011207.html) by Royce Webb Six Little Known Truths about Rocky (http://espn.go.com/page2/s/wiley/011212.html) by Ralph Wiley Which Rocky is the real champ? (http://proxy.espn.go.com/espn/page2/story?page=simmons/011207) by Bill Simmons
1977 Annie Hall

Annie Hall
Directed by Produced by Written by Starring Woody Allen Charles H. Joffe Woody Allen Marshall Brickman Woody Allen Diane Keaton Tony Roberts Carol Kane Paul Simon Shelley Duvall Christopher Walken Colleen Dewhurst
Cinematography Gordon Willis Editing by Distributed by Release date(s) Running time Country Language Budget Box office Ralph Rosenblum United Artists
April 20, 1977

[1]
Annie Hall is a 1977 American romantic comedy directed by Woody Allen from his screenplay co-written with Marshall Brickman. The director co-stars as Alvy Singer, who investigates the reasons for the failure of his
1977 Annie Hall relationship with the film's eponymous female lead (Diane Keaton). Allen has described the film as "a major turning point",[2] which, unlike the farces and comedies that were his work to that point,[3] introduced a level of seriousness where, he says, he "had the courage to abandon ... just clowning around and the safety of complete broad comedy. I said to myself, 'I think I will try and make some deeper film and not be as funny in the same way. And maybe there will be other values that will emerge, that will be interesting or nourishing for the audience.'"[2] The film met widespread critical acclaim and, along with the 1978 Academy Award for Best Picture, won Oscars in three other categories: two for Allen (Best Director and, with Brickman, Best Original Screenplay), and Keaton for Best Actress. Its North American box office receipts of $38,251,425 are fourth-best in the director's oeuvre. Often listed among the greatest film comedies, it ranks 31st on AFI's list of the top feature films in American cinema, fourth on their list of top comedy films and number 28 on Bravo's "100 Funniest Movies." Film critic Roger Ebert calls it "just about everyone's favorite Woody Allen movie".[3]
400
Plot
The comedian Alvy Singer is trying to understand why his relationship with Annie Hall ended a year ago. Growing up in New York, he vexed his mother with impossible questions about the emptiness of existence, but he was precocious about his innocent sexual curiosity. While Annie and Alvy wait in a theater queue to watch The Sorrow and the Pity, another man loudly misinterprets the work of Marshall McLuhan. McLuhan himself steps in to correct the mistake. That night, Annie isnt interested in having sex with Alvy; instead they discuss his first wife, Allison, with whom there was little sexual pleasure. His second marriage was to a New York intellectual, but their sexual relationship was not enjoyable for him. With Annie, it is different. The two of them have uproarious fun making a meal of boiled lobster together. Alvy enjoys mocking the unusual men that Annie had been involved with. Alvy met Annie on the tennis court. After the game, their awkward small talk led her to offer him first a ride up town and then a glass of wine on her balcony. There, what seemed a mild exchange of trivial personal data is revealed in "mental subtitles" as an escalating flirtation. Their first date follows Annies singing audition for a night club (It Had to be You). He suggests they kiss first thing to get it out of the way. After their lovemaking that night, Alvy is "a wreck", while she relaxes with a joint. Soon Annie admits she loves him; he buys her books on death and claims his feelings for her are more than just love. When she moves in with him, it gets very tense. Alvy feels strange when they visit her family in Chippewa Falls, Wisconsin, for Easter. He has never felt more Jewish than with her Jew-hating grandmother, and his imagined conversation between their two families reveals a gulf in style, substance, and background. Finding her arm in arm with one of her college professors, Alvy argues with Annie whether this is the "flexibility" they had discussed. He searches for the truth of relationships, asking strangers on the street about the nature of love, questioning his formative years, until he becomes an animated Snow White to Annies evil queen. The love is gone. Alvy returns to dating, but the effort is marred by neurosis, bad sex, and finally an interruption from Annie, who insists he come over immediately. It turns out she needs him to kill a spider. A reconciliation follows, coupled with a vow to stay together come what may. However, their separate discussions with their therapists make it evident there is an unspoken divide. When Alvy accepts an offer to present an award on television, they fly out to Los Angeles, but on the return they agree that its not working. After losing her to her record producer, he unsuccessfully attempts to rekindle the flame with a marriage proposal. Back in New York, he stages a play of this episode but changes the ending: now she accepts. The last meeting for them is a wistful coda on New York's Upper West Side when they have both moved on to someone new. Alvys voice returns with a summation: love is essential, especially if it's neurotic. Annie torches "Seems Like Old Times" and the credits roll.
1977 Annie Hall
401
Cast
Several personal references in the film have invited speculation that it is autobiographical for the director. Both Alvy and Allen were comedians. His birthday appears on the blackboard in a school scene,[4] certain features of his childhood are found in Alvy Singer's,[5] Diane Keaton's real surname is 'Hall' and director and star were once romantically involved.[6] However, Allen is quick to dispel these suggestions. "The stuff that people insist is autobiographical is almost invariably not," Allen said. "It's so exaggerated that it's virtually meaningless to the people upon whom these little nuances are based. People got it into their heads that Annie Hall was autobiographical, and I couldn't convince them it wasn't".[7] Contrary to various interviewers and commentators, he says, Alvy is not the character that is closest to himself; he identified more with the mother in his next film, Interiors.[8] Despite this, Keaton has stated that the relationship between Alvy and Annie was partly based on her relationship with the director.[9] The role of Annie Hall was written specifically for Keaton, who had worked with Allen on Play it Again, Sam, Sleeper and Love and Death.[9] She considered the character an "affable version" of herselfboth were "semi-articulate, dreamed of being a singer and suffered from insecurity"and was surprised to win an Oscar for her performance.[9] Federico Fellini was Allen's first choice to appear in the cinema lobby scene because his films were under discussion,[10] but Allen chose cultural academic Marshall McLuhan after both Fellini and Luis Buuel declined the cameo.[11] Some cast members, Baxter claims, were aggrieved at Allen's treatment of them. The director "acted coldly" towards McLuhan, who had to return from Canada for reshooting, and Mordecai Lawner, who played Alvy's father, claimed that Allen never spoke to him.[11] However, during the production, Allen began a two-year relationship with Stacey Nelkin, who appears in a single scene.[11] Woody Allen as Alvy Singer Diane Keaton as Annie Hall Tony Roberts as Rob Carol Kane as Allison Portchnik Paul Simon as Tony Lacey Shelley Duvall as Pam Janet Margolin as Robin Colleen Dewhurst as Mrs. Hall Christopher Walken as Duane Hall Jeff Goldblum as LA party guy on phone Sigourney Weaver as Alvy's date outside theater Beverly D'Angelo as Actress in Rob's TV Show Tracey Walter as Actor in Rob's TV Show Shelley Hack as Street Stranger (as Shelly Hack) John Glover as Annie's actor ex-boyfriend Truman Capote (uncredited) as Winner of the Truman Capote Lookalike Contest Marshall McLuhan as Himself (Cameo) Laurie Bird as Tony Lacey's girlfriend Mark Lenard as Navy Officer Dick Cavett as Himself
1977 Annie Hall
402
Writing
The idea for what would become Annie Hall was developed as Allen walked around New York with co-writer Marshall Brickman. The pair discussed the project on alternate days, sometimes becoming frustrated and rejecting the idea. Allen wrote a first draft of a screenplay within a four day period, sending it to Brickman to make alterations. According to Brickman, this draft centered on a man in his forties, someone whose life consisted "of several strands. One was a relationship with a young woman, another was a concern about the banality of life we all live, and a third an obsession with proving himself and testing himself to find out what kind of character he had."[12] Allen had himself turned forty in 1975. Brickman suggests that his "advancing age" and "worries about his death" had influenced Allen's philosophical, personal approach to complement his "commercial side".[12] Allen said that he had decided to "sacrifice some of the laughs for a story about human beings".[13] He was also influenced by Federico Fellini's 1963 comedy-drama 8, which the Italian director had created at a similar turning point, and for both of which their director's psychoanalysis play a part.[14] The pair sent the screenplay back and forth between them until they were ready to ask United Artists for $4 million.[14] Many elements from the early drafts did not survive. It was originally a drama centered on a murder mystery with a comic and romantic subplot.[15] According to Allen, the murder occurred after a scene that remains in the film, the sequence in which Annie and Alvy miss the Ingmar Bergman film Face to Face.[10] Although they decided to drop the murder plot, Allen and Brickman made a murder mystery many years later: 1993's Manhattan Murder Mystery, also starring Diane Keaton. The draft that Allen presented to the film's editor, Ralph Rosenblum, concluded with the words, "ending to be shot." It was "like a first draft of a novel ... from which two or three films could possibly be assembled," Rosenblum says.[16] Allen's working title for the film was "Anhedonia", a term for the inability to experience pleasure.[17][18] However, United Artists considered this unmarketable, as were Brickman's suggested alternatives: "It Had to Be Jew", "Rollercoaster Named Desire" and "Me and My Goy".[19] An advertising agency, hired by UA, embraced Allen's choice of an obscure word by suggesting advertising in tabloid newspapers using vague slogans such as "Anhedonia Strikes Cleveland".[19] However, Allen tried several titles over five test screenings, including "Anxiety" and "Alvy and Me", before settling on "Annie Hall".[19]
Production
Principal photography began on 19 May 1976 on the South Fork of Long Island with the scene in which Alvy and Annie boil live lobsters; filming continued periodically for the next ten months.[20] The production deviated from the screenplay. There was nothing written about Alvy's childhood home lying under a roller coaster, but when Allen was scouting locations in Brooklyn with Willis and art Alvy's childhood home was located under the director Mel Bourne, he "saw this roller-coaster, and... saw the house [4] [5] Thunderbolt roller coaster at Coney Island under it. And I thought, we have to use this." In a similar vein, there is the incident where Alvy scatters a trove of cocaine with an accidental sneeze: although not in the script, the joke emerged from a rehearsal happenstance and stayed in the movie. In audience testing, this laugh was so big that a re-edit had to add a hold so that the following dialogue was not lost.[21] Rosenblum's first assembly of the film in 1976 left Brickman disappointed. At two hours and twenty minutes, Annie Hall herself was less prominent, and it dwelt "on issues just touched in passing in the version we know",[16] featuring the "surrealistic and abstract adventures of a neurotic Jewish comedian who was reliving his highly flawed life and in the process satirizing much of our culture,... a visual monologue, a more sophisticated and visual version of Take the Money and Run".[22] Brickman found it "nondramatic and ultimately uninteresting, a kind of cerebral exercise."[16]
1977 Annie Hall He suggested a more linear narrative.[23] Fortunately, the shooting schedule was budgeted for two weeks of post-production photography,[24] so even though the first cut had "some of the free-est, funniest and most sophisticated material that Woody had ever created, and it hurt him to lose it",[22] late 1976 saw three separate shoots for the final segment, two of which appear in some form. One featured Annie Hall taking her new boyfriend to The Sorrow and the Pity, which she had reluctantly seen with Alvy; the other, Alvy's monologue featuring the joke about 'we all need the eggs', was conceived during a cab journey to an early preview.[25] The title sequence of Annie Hall features a black background with white text in the Windsor Light Condensed typeface, a design that Allen would use on his subsequent films and become a trademark of his. Stig Bjrkman sees some similarity to Ingmar Bergman's simple and consistent title design, although Allen says that his own choice is a cost-saving device.[26]
403
Music
Very little background music is heard in the film, a departure for Allen influenced by Ingmar Bergman.[26] Diane Keaton performs twice in the jazz club: "It Had to be You" and "Seems Like Old Times" (the latter reprises in voiceover on the closing scene). The other exceptions include a boy's choir "Christmas Medley" played while the characters drive through Los Angeles, the Molto allegro from Mozart's Jupiter Symphony (heard as Annie and Alvy drive through the countryside), Tommy Dorsey's performance of "Sleepy Lagoon",[27] and the muzak version of the Savoy Brown song "A Hard Way to Go", playing over a party in the mansion of Paul Simon's character.
Style and technique

Technically, the film marked an advance for the director. He selected Gordon Willis as his cinematographerfor Allen "a very important teacher" and a "technical wizard," saying, "I really count Annie Hall as the first step toward maturity in some way in making films."[28] At the time, it was considered an "odd pairing" by many, Keaton among them, for Willis and Allen to work together. The director was famous for "laugh machines"[29] and hilarious farces, while Willis was known as "the prince of darkness" for work on dramatic films like The Godfather.[13] Despite this, the two became friends during the filming.[13] Willis thought the production was "relatively easy".[13] He shot in varying styles; "hot golden light for California, grey overcast for Manhattan and a forties Hollywood glossy for... dream sequences", most of which were cut.[30] It was his suggestion which led Allen to film the dual therapy scenes in one set divided by a wall instead of the usual split screen method.[13] He tried long takes, with some shots, unabridged, lasting an entire scene, which, for Ebert, add to the dramatic power of the film: "Few viewers probably notice how much of Annie Hall consists of people talking, simply talking. They walk and talk, sit and talk, go to shrinks, go to lunch, make love and talk, talk to the camera, or launch into inspired monologues like Annie's free-association as she describes her family to Alvy. This speech by Diane Keaton is as close to perfect as such a speech can likely be ... all done in one take of brilliant brinksmanship." He cites a study that calculated the average shot length of Annie Hall to be 14.5 seconds, while other films made in 1977 had an average shot length of 47 seconds.[3] Also commenting upon its "far fewer shots than the average American film feature film", Peter Cowie posits that "Allen breaks up his extended shots with more orthodox cutting back and forth in conversation pieces, so that the forward momentum of the film is sustained."[31] Other techniques reflect Allen's artistic influences. The main characters' visit to Alvys childhood echo Ingmar Bergman's Wild Strawberries and the school scenes are reminiscent of Federico Fellini's later work.[29] The Jewish humorparticularly the character of the oversexed Jewish mandraws on Philip Roth's novel Portnoy's Complaint.[32] Although the film is not essentially experimental, at several points it undermines the narrative reality. In one famous scene, Allen's character, in line to see a movie with Annie, listens to a man behind him deliver misinformed
1977 Annie Hall pontifications on the significance of Fellini and Marshall McLuhan's work. Allen pulls McLuhan himself from just off camera to personally correct the man's errors.[3] Later in the film, when we see Annie and Alvy in their first extended talk, "mental subtitles" convey to the audience the characters' nervous inner doubts.[3] An animated scenewith artwork based on the comic strip Inside Woody Allen -- depicts Alvy and Annie in the guise of the Wicked Queen from Snow White.[3] Although Allen uses each of these techniques only once, the "fourth wall" is broken several other times when characters address the camera directly. In one, Alvy stops several passers-by to ask questions about love, and in another he shrugs off writing a happy ending to his relationship with Annie in his autobiographical first play as forgivable "wish-fulfillment." Allen chose to have Alvy break the fourth wall, he explained, "because I felt many of the people in the audience had the same feelings and the same problems. I wanted to talk to them directly and confront them."[28]
404
Scholarly criticism
Scholar Thomas Schatz discusses Annie Hall in relation to modernism, arguing that the film is an unresolved "examination of the process of human interaction and interpersonal communication."[33] He suggests that the film immediately establishes [a] self-referential stance that invites the spectator to read the narrative as something other than a sequential development toward some transcendent truth. [34] Schatz argues that Alvy "is the victim of a tendency toward overdetermination of meaning -- or in modernist terms "the tyranny of the signified" -- and his involvement with Annie can be viewed as an attempt to establish a spontaneous, intellectually unencumbered relationship, an attempt which is doomed to failure."[33] Christopher Knight points out that Annie Hall is framed through Alvy's experiences. "Generally, what we know about Annie and about the relationship comes filtered through Alvy, an intrusive narrator capable of halting the narrative and stepping out from it in order to entreat the audience's interpretative favor."[35] He suggests that because Allen's films blur the protagonist with "past and future protagonists as well as with the director himself", it "makes a difference as to whether we are most responsive to the director's or the character's framing of events".[36] Knight illustrates how Alvy's quest upon meeting Annie is for sex, whereas hers is on an emotional note.[37] Despite the narrative's framing, "the joke is on Alvy."[38]
1977 Annie Hall
405
Themes
The nature of love is a repeating subject for Allen and in this film. Co-star Tony Roberts described it as "the story of everybody who falls in love, and then falls out of love and goes on".[13] Alvy's search for love's purpose comes through his effort to get over his depression about the demise of his relationship with Annie. Sometimes he sifts through his memories of the relationship,[39] at another point he stops people on the sidewalk, with one woman saying that "Its never something you do. Thats how people are. Love fades," a suggestion that it was no one's fault, they just grew apart and the end was inevitable.[40] By the end of the film, Alvy accepts this and decides that love is ultimately "irrational and crazy and absurd", but a necessity of life.[39][40] Alvy Singer is identified with the stereotypical neurotic Jewish male, and the differences between Alvy and Annie are often related to the perceptions and realities of Jewish identity. Vincent Brook notes that Alvy dines with WASP-y Hall family and imagines that they must see him as a Hasidic Jew, complete with payess (ear locks) and a large black hat.[41]
Woody Allen in New York in 2006. Annie Hall, his seventh film, introduces several themes that Allen would reprise in later films, such as Manhattan.
Annie Hall, the film, "is as much a love song to New York City as it is to the character," reflecting Allen's adoration of the island of Manhattan. It was a relationship he explored repeatedly, particularly in films like Manhattan (1979) and Hannah and Her Sisters (1986).[13] Peter Cowie argues that the film shows "a romanticized view" of the borough, with the camera "linger[ing] on the Upper East Side [... and where] the fear of crime does not trouble its characters."[42] By contrast, California is presented less positively. While Manhattan's movie theaters show classic and foreign films, Los Angeles theaters run less-prestigious fare such as House of Exorcism and Messiah of Evil.[42] Rob's demonstration of adding canned laughter to television demonstrates the "cynical artifice of the medium".[42] New York serves as a symbol of Alvy's personality ("gloomy, claustrophobic, and socially cold, but also an intellectual haven full of nervous energy") while Los Angeles is a symbol of freedom for Annie.[39]
[39]
Release
Box office
The film was first screened at the Los Angeles Film Festival in March 1977.[17] The film later received an official release date on April 20, 1977.[1] It ultimately earned $38,251,425 in the United States against a $4-million budget, making the film the 11th highest-grossing picture of that year.[1] Adjusted for inflation, it grossed $135,852,600, making it Allen's biggest box office hit.[43]
Critical reviews
Annie Hall met with widespread critical acclaim upon its release. Based on 53 reviews, Rotten Tomatoes scores the film at 98% approval rating (100% for their "Cream of the Crop" designation) and an average 8.8 on a scale of 10, saying: "filled with poignant performances and devastating humor, Annie Hall represents a quantum leap for Woody Allen and remains an American classic."[44] Tim Radford of The Guardian called the film "Allen's most closely focused and daring film to date".[45] Another Guardian critic, Peter Bradshaw, named it the best comedy film of all time, commenting that "this wonderfully
1977 Annie Hall funny, unbearably sad film is a miracle of comic writing and inspired film-making".[46] Empire magazine rated the movie five out of five stars, calling it a "classic".[47] Several critics compared the film favorably to Bergman's 1973 film, Scenes from a Marriage,[29][48][49] including Joseph McBride in Variety, who found it Allen's "most three-dimensional film to date" with an ambition equal to Bergman's best even as the co-stars become the "contemporary equivalent of... Tracy-Hepburn."[29] The New York Times' Vincent Canby preferred Annie Hall to Allen's second directorial effort, Take the Money and Run, since the former is more "humane" while the latter is more a "cartoon".[49] More critically, Peter Cowie comments that the film "suffers from its profusion of cultural references and asides".[50] Even after more than a quarter century, the film has continued to receive positive reviews. In his 2002 lookback, Roger Ebert noted with surprise that the film had "an instant familiarity" despite its age,[3] and Slant writer Jaime N. Christley found the one-liners "still gut-busting after 35 years".[48]
406
Accolades
Academy Awards 1. Best Actress in a Leading Role, Diane Keaton 2. Best Director, Woody Allen 3. Best Picture, Charles H. Joffe 4. Best Original Screenplay, Woody Allen, Marshall Brickman Golden Globe Awards 1. Best Actress Motion Picture Musical or Comedy, - Diane Keaton BAFTA Awards 1. Best Actress, Diane Keaton 2. Best Direction, Woody Allen 3. Best Editing, Ralph Rosenblum, Wendy Greene Bricmont 4. Best Film 5. Best Screenplay, Woody Allen, Marshall Brickman
Annie Hall won four Oscars at the 50th Academy Awards on April 3, 1978. Producer Charles H. Joffe won Best Picture, Allen for Best Director and, with Brickman, for Best Original Screenplay, and Keaton for Best Actress in a Leading Role. Allen was also nominated for Best Actor.[51] Many had previously expected Star Wars to win the major awards, including Brickman and Executive Producer Robert Greenhut.[13] The film was also honored four times at the BAFTA awards. Along with the top award for Best Film, Keaton won for Best Actress, Allen won for Best Direction and Best Original Screenplay alongside Brickman.[52] The film received only one Golden Globe Award, for Best Film Actress in a Musical or Comedy (Diane Keaton).[53] despite nominations for three other awards: Best Motion Picture (Musical or Comedy), Best Director, and Best Film Actor in a Musical or Comedy (Woody Allen).[53] In 1992, the United States' Library of Congress selected the film for preservation in its National Film Registry that includes "culturally, historically, or aesthetically significant" films.[54] It's often mentioned among the greatest comedies of all time. The American Film Institute lists it 31st in American cinema history.[55] The screenplay was named the sixth greatest screenplay by the Writers Guild of America, West[56] while IGN named it the seventh greatest comedy film of all time.[57] In 2000, readers of Total Film magazine voted it the forty-second greatest comedy film of all time, and the seventh greatest romantic comedy film of all time.[58] Several lists ranking Allen's best films have put Annie Hall among his greatest work.[59][60][61][62]
1977 Annie Hall In June 2008, AFI revealed its "Ten top Ten"the best ten films in ten "classic" American film genresafter polling over 1,500 people from the creative community and Annie Hall place second in the romantic comedy genre.[63] In November 2008, Annie Hall was voted in at No. 68 on Empire magazine's list of The 500 Greatest Movies of All Time.[64] It is also ranked #2 on Rotten Tomatoes' 25 Best Romantic Comedies, second only to The Philadelphia Story.[65] American Film Institute recognition 1998: AFI's 100 Years... 100 Movies - #31 2000: AFI's 100 Years... 100 Laughs - #4 2002: AFI's 100 Years... 100 Passions - #11 2004: AFI's 100 Years... 100 Songs - #90
407
"Seems Like Old Times" 2005: AFI's 100 Years... 100 Movie Quotes - #55 "La-dee-da, la-dee-da." 2007: AFI's 100 Years... 100 Movies (10th Anniversary Edition) - #35 2008: AFI's 10 Top 10 - #2 romantic comedy
Legacy and influence

Although the film received critical acclaim and several awards, Allen himself was disappointed with it, and said in an interview, "When Annie Hall started out, that film was not supposed to be what I wound up with. The film was supposed to be what happens in a guys mind.... Nobody understood anything that went on. The relationship between myself and Diane Keaton was all anyone cared about. That was not what I cared about.... In the end, I had to reduce the film to just me and Diane Keaton, and that relationship, so I was quite disappointed in that movie".[66] He says he has repeatedly declined to make a sequel,[67] admitting in a 1992 interview that for a time he considered it:
I did think onceI'm not going to do itbut I did think once that it would be interesting to see Annie Hall and the guy I played years later. Diane Keaton and I could meet now that we're about twenty years older, and it could be interesting, because we parted, to meet one day and see what our lives have become. But it smacks to me of exploitation.... Sequelism has become an annoying thing. I don't think Francis Coppola should have done Godfather III because Godfather II was quite great. When they make a sequel, it's just a thirst for more money, so I don't [68] like that idea so much.
The film also had an influence on the fashion world during the late-70s, with many women adopting Keaton's distinctive look, layering oversized, mannish blazers over vests, billowy trousers or long skirts, and boots. Keaton's wardrobe also included a tie by Ralph Lauren. The look was often referred to as the "Annie Hall look". Allen recalled that Keaton's natural fashion sense (the outfits that Keaton wore in the film were her own clothes) almost did not end up in the film. "She came in," he recalled in 1992, "and the costume lady on Annie Hall said, 'Tell her not to wear that. She can't wear that. It's so crazy.' And I said, 'Leave her. She's a genius. Let's just leave her alone, let her wear what she wants.'"[69] Since its release, other romantic comedies have inspired comparison. When Harry Met Sally... and (500) Days of Summer are two,[70][71][72] while film director Rian Johnson said in an interview for the book, The Film That Changed My Life, that Annie Hall inspired him to become a film director.[73]
1977 Annie Hall
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Home release
Annie Hall was first released on Blu-ray on January 24, 2012 alongside Allen's 1979 film Manhattan.[74] Both releases included the films original theatrical trailer.[74]
References
[1] "Annie Hall, Box Office Information" (http:/ / boxofficemojo. com/ movies/ ?id=anniehall. htm). Box Office Mojo. . Retrieved January 29, 2012. [2] Bjrkman 1995, p.75 [3] Ebert, Roger (2002-05-12). "Great Movies: Annie Hall" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20020512/ REVIEWS08/ 205120301/ 1023). The Chicago Sun-Times. Archived (http:/ / web. archive. org/ web/ 20061230002344/ http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20020512/ REVIEWS08/ 205120301/ 1023) from the original on 30 December 2006. . Retrieved 2007-01-23. [4] Spignesi 1992, p.185 [5] Bjrkman 1995, p.78 [6] Bjrkman 1995, p.83 [7] A 1987 interview with William Geist in Rolling Stone, cited in (Baxter 1999, p.244) and in (Spignesi 1992, p.188) [8] Bjrkman 1995, p.86 [9] Honan, Corinna (November 16, 2011). "Diane Keaton's Woody Allen affair was blighted by bulimia: Doomed flings left her loveless" (http:/ / www. dailymail. co. uk/ tvshowbiz/ article-2061520/ Diane-Keatons-Woody-Allen-affair-blighted-bulimia-Doomed-flings-left-loveless. html). Daily Mail. . Retrieved July 19, 2012. [10] Bjrkman 1995, p.79 [11] Baxter 1999, p.249 [12] Rosenblum & Karen 1986, p.274 [13] Weide, Robert B. (Director) (2011) (in English). Woody Allen: A Documentary (Television). PBS. [14] Baxter 1999, p.241 [15] Lax 2000, p.283 [16] Rosenblum & Karen 1986, p.278 [17] Baxter 1999, p.245 [18] Gussow, Mel (April 20, 1977). "Woody Allen Fights Anhedonia" (http:/ / www. nytimes. com/ packages/ html/ movies/ bestpictures/ annie-ar. html). New York Times. . [19] Rosenblum & Karen 1986, p.289 [20] Baxter 1999, p.247 [21] Rosenblum & Karen 1986, p.284-284 [22] Rosenblum & Karen 1986, p.275 [23] Rosenblum & Karen 1986, p.283 [24] Rosenblum & Karen 1986, p.262 [25] Rosenblum & Karen 1986, p.287 [26] Bjrkman 1995, p.76 [27] "Tommy Dorsey" (http:/ / www. imdb. com/ name/ nm0234186/ ). IMDb. . Retrieved 4 March 2012. [28] Bjrkman 1995, p.77 [29] McBride, Joseph (March 29, 1979). "Variety Reviews - Annie Hall" (http:/ / www. variety. com/ review/ VE1117789122?refcatid=31). Variety. . Retrieved July 19, 2012. [30] Baxter 1999, p.2487 [31] Cowie 1996, p.47 [32] Girgus 1993, pp.12230 [33] Schatz 1982, p.186 [34] Schatz 1982, p.183 [35] Knight 2004, p.214 [36] Knight 2004, p.215 [37] Knight 2004, p.217 [38] Knight 2004, p.221 [39] "Annie Hall: Themes, Motifs, and Symbols" (http:/ / www. sparknotes. com/ film/ anniehall/ themes. html). SparkNotes. . Retrieved July 20, 2012. [40] SparkNotes Editors. "Annie Hall: Important Quotations Explained" (http:/ / www. sparknotes. com/ film/ anniehall/ quotes. html). SparkNotes. . Retrieved July 20, 2012. [41] Brook 2006, p.22 [42] Cowie 1996, p.21
1977 Annie Hall

[43] "Woody Allen Movie Box Office Results" (http:/ / www. boxofficemojo. com/ people/ chart/ ?view=Director& id=woodallen. htm). Box Office Mojo. . Retrieved 2012-07-20. [44] "Annie Hall" (http:/ / www. rottentomatoes. com/ m/ annie_hall/ ). Rotten Tomatoes. . Retrieved 24 June 2012. [45] Radford, Tim (Setpember 29, 1977). "Annie Hall: Archive review" (http:/ / www. guardian. co. uk/ film/ 2010/ oct/ 18/ annie-hall-archive-review). The Guardian. . Retrieved July 18, 2012. [46] Bradshaw, Peter (October 17, 2010). "Annie Hall: the best comedy film of all time" (http:/ / www. guardian. co. uk/ film/ 2010/ oct/ 18/ annie-hall-comedy?intcmp=239). The Guardian. . Retrieved July 18, 2012. [47] Kennedy, Colin. "Empire's Annie Hall Movie Review" (http:/ / www. empireonline. com/ reviews/ reviewcomplete. asp?DVDID=5999). Empire. . Retrieved July 18, 2012. [48] Christley, Jaime (June 17, 2012). "Annie Hall | Film Review" (http:/ / www. slantmagazine. com/ film/ review/ annie-hall/ 6348). Slant Magazine. . Retrieved July 19, 2012. [49] Canby, Vincent (April 21, 1977). "Movie Review - Annie Hall" (http:/ / movies. nytimes. com/ movie/ review?res=EE05E7DF173AE562BC4951DFB266838C669EDE). The New York Times. . Retrieved July 19, 2012. [50] Cowie 1996, p.49 [51] Cowie 1996, p.9 [52] "Awards Database - The BAFTA site" (http:/ / www. bafta. org/ awards-database. html?year=1977& category=Film& award=false). Bafta.org. . Retrieved July 19, 2012. [53] (HFPA - Awards Search) (http:/ / cdn. goldenglobes. org/ browse/ film/ 23622) [54] "The National Film Registry List Library of Congress" (http:/ / www. loc. gov/ film/ titles. html). loc.gov. . Retrieved July 18, 2012. [55] "AFI's Top Ten Epic" (http:/ / web. archive. org/ web/ 20110716071851/ http:/ / connect. afi. com/ site/ DocServer/ TOP10. pdf?docID=441). American Film Institute. Archived from the original (http:/ / connect. afi. com/ site/ DocServer/ TOP10. pdf?docID=441) on 2011-07-16. . Retrieved January 19, 2010. [56] "101 List" (http:/ / www. wga. org/ subpage_newsevents. aspx?id=1807). Wga.org. . Retrieved July 20, 2012. [57] IGN Staff (March 13, 2012). "Top 25 Comedies of All-Time" (http:/ / movies. ign. com/ articles/ 674/ 674712p19. html). IGN. . Retrieved July 20, 2012. [58] Winning, Josh (January 12, 2009). "Best & Worst: Romantic Comedies" (http:/ / www. totalfilm. com/ features/ best-worst-romantic-comedies/ the-best-annie-hall). Total Film. . Retrieved July 18, 2012. [59] May 17, 2011 (May 17, 2011). "Ranked: Woody Allen Films from Worst to Best - Page 5" (http:/ / www. nerve. com/ entertainment/ ranked/ ranked-woody-allen-films-from-worst-to-best?page=5). Nerve.com. . Retrieved July 28, 2012. [60] Published at 7:00 AM on January 27, 2009 By Jeremy Medina (January 27, 2011). "He Adored New York City: Woody Allen's 10 Finest Films :: Blogs :: List of the Day :: Paste" (http:/ / www. pastemagazine. com/ blogs/ lists/ 2009/ 01/ he-adored-new-york-city-woody-allens-10-finest-films. html). Paste. . Retrieved July 28, 2012. [61] http:/ / kenlevine. blogspot. com/ 2010/ 07/ woody-allens-best-six-movies. html [62] "5 Best Woody Allen Movies" (http:/ / www. screenjunkies. com/ movies/ movie-lists/ 5-best-woody-allen-movies/ ). Screen Junkies. July 14, 2010. . Retrieved July 28, 2012. [63] "AFI's 10 Top 10" (http:/ / www. afi. com/ 10top10/ romanticcomedy. html). American Film Institute. June 17, 2008. . Retrieved July 18, 2012. [64] "Empire's The 500 Greatest Movies of All Time" (http:/ / www. empireonline. com/ 500/ 85. asp). Empire magazine. . Retrieved July 18, 2012. [65] "BEST ROMANTIC COMEDIES/Rank 2" (http:/ / www. rottentomatoes. com/ guides/ best_romantic_comedies/ annie_hall/ ). Rotten Tomatoes. . Retrieved 24 June 2012. [66] Eisenberg, Eric (June 22, 2012). "Woody Allen Explains Why Annie Hall And Hannah And Her Sisters Were Disappointments" (http:/ / www. cinemablend. com/ new/ Woody-Allen-Explains-Why-Annie-Hall-Hannah-Her-Sisters-Were-Disappointments-31531. html). Cinema Blend. . Retrieved July 18, 2012. [67] Biskind, Peter (2005-12). "Reconstructing Woody" (http:/ / www. vanityfair. com/ culture/ features/ 2005/ 12/ woodyallen200512?currentPage=1). Vanity Fair. . Retrieved 2007-01-23. [68] Bjrkman 2004, p.51 [69] Bjrkman 1995, p.85 [70] Buchanan, Jason. "500 Days of Summer > Overview" (http:/ / www. allmovie. com/ work/ 500-days-of-summer-451495). Allmovie. . Retrieved 2010-01-07. [71] Puig, Claudia (2009-07-19). "Bask in the warmth of delightful 'Psuedo intellectual Hipster Trash'" (http:/ / www. usatoday. com/ life/ movies/ reviews/ 2009-07-16-500-days-of-summer_N. htm). USA Today. . Retrieved 19 July 2009. [72] James, Caryn (July 12, 1989). "It's Harry (Loves) Sally in a Romance Of New Yorkers and Neuroses" (http:/ / www. nytimes. com/ 1989/ 07/ 12/ movies/ review-film-it-s-harry-loves-sally-in-a-romance-of-new-yorkers-and-neuroses. html). The New York Times. . Retrieved 2007-09-23. [73] Johnson 2011, p.17 [74] Nashawaty, Chris (January 24, 2012). "Annie Hall Review" (http:/ / www. ew. com/ ew/ article/ 0,,20562561,00. html). Entertainment Weekly. . Retrieved July 19, 2012.
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Bibliography
Baxter, John (1999). Woody Allen: A Biography (Revised paperback ed.). London: Harper Collins. ISBN0-00-638794-2. Bjrkman, Stig (1995) [1993]. Woody Allen on Woody Allen. London: Faber and Faber. ISBN0-571-17335-7. Brook, Vincent (2006). You Should See Yourself: Jewish Identity in Postmodern Jewish Culture. New Brunswick, NJ: Rutgers University Press. Cowie, Peter (1996). Annie Hall. London: British Film Institute. ISBN0-85170-580-4. Girgus, Sam B. (1993). "Philip Roth and Woody Allen: Freud and the Humor of the Repressed". In Ziv, Avner; Zajdman, Anat. Semites and stereotypes: characteristics of Jewish humor. Greenwood Publishing Group. ISBN0-313-26135-0. Johnson, Rian (2011). "Annie Hall (Interview by Robert K. Elder.)". In Robert K. Elder. The Film That Changed My Life. Chicago: Chicago Review Press. ISBN1556528256. Knight, Christopher J (2004). "Woody Allen's Annie Hall: Galatea's Triumph Over Pygmalion". Literature/Film Quarterly 32 (3): 213-221. Lax, Eric (2000). Woody Allen: A Biography (New ed.). Da Capo Press. ISBN0-306-80985-0. Rosenblum, Ralph; Karen, Robert (1986). When the Shooting Stops... The Cutting Begins. DaCapo Press. ISBN0-306-80272-4. Schatz, Thomas (1982). "Annie Hall and the Issue of Modernism". Literature/Film Quarterly 10 (3): 180-187. Spignesi, Stephen J. (1992). The Woody Allen Companion. London: Plexus Publishing. ISBN0-85965-205-X.
External links
Annie Hall (http://www.imdb.com/title/tt0075686/) at the Internet Movie Database Annie Hall (http://www.allrovi.com/movies/movie/v2547) at AllRovi Annie Hall (http://tcmdb.com/title/title.jsp?stid=16636) at the TCM Movie Database Annie Hall (http://www.boxofficemojo.com/movies/?id=anniehall.htm) at Box Office Mojo Annie Hall (http://www.rottentomatoes.com/m/annie_hall/) at Rotten Tomatoes Good Small Films (http://goodsmallfilms.blogspot.com) (Unofficial Woodypedia and blog)
1978 The Deer Hunter
411

The Deer Hunter
Directed by Produced by Michael Cimino Barry Spikings Michael Deeley Michael Cimino John Peverall Deric Washburn Michael Cimino Deric Washburn Louis Garfinkle Quinn K. Redeker Robert De Niro Christopher Walken John Cazale John Savage Meryl Streep See Full Cast Stanley Myers
[1]
Screenplay by Story by
Starring
Music by
Cinematography Vilmos Zsigmond Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Peter Zinner EMI Films Universal Pictures (US) EMI Films (Worldwide Sales)
December 8, 1978
[2]
183 minutes
United States United Kingdom English $15 million

[3] [4]
$50,000,000
The Deer Hunter is a 1978 drama film directed and co-written by Michael Cimino about a trio of Russian American steel worker friends and their infantry service in the Vietnam War. The film stars Robert De Niro, Christopher Walken, John Savage, John Cazale, Meryl Streep and George Dzundza. The story takes place in Clairton, a small working class town on the Monongahela River south of Pittsburgh and then in Vietnam, somewhere in the woodland and in Saigon, during the Vietnam War. The film was based in part on an unproduced screenplay called The Man Who Came to Play by Louis Garfinkle and Quinn K. Redeker about Las Vegas and Russian Roulette. Producer Michael Deeley, who bought the script, hired writer/director Michael Cimino who, with Deric Washburn, rewrote the script, taking the Russian Roulette element and placing it in the Vietnam War. The film went over-budget and over-schedule and ended up costing $15 million. The scenes of Russian roulette were highly controversial on release.
1978 The Deer Hunter The film won five Academy Awards, including Best Picture and Best Director, and was named by the American Film Institute as the 53rd Greatest Movie of All Time on the 10th Anniversary Edition of the AFI's 100 Years...100 Movies list.
412
Plot
Critics and film historians have often noted how the film is divided into three equal thirds or acts.[5] Act I - In Clairton, a small working class town in western Pennsylvania, in late 1967, Russian American steel workers Michael (De Niro), Steven (Savage), and Nick (Walken), with the support of their friends Stanley (Cazale), John (Dzundza) and Axel (Chuck Aspegren, his only movie role; he was a steel worker from Gary, Indiana), prepare for two rites of passage: marriage and military service. The opening scenes set the character traits of the three main characters. Michael is the no-nonsense, serious but unassuming leader, Steven the loving, near-groom, pecked at by his mother for not wearing a scarf with his tuxedo and Nick is the quiet, introspective man who loves hunting because, "I like the trees... you know... the way the trees are..." The recurring theme of "one shot", which is how Michael prefers to take down a deer, is introduced. Before the trio ships out, Steven and his girlfriend Angela (who is pregnant by another man but loved by Steven nonetheless) marry in an Orthodox wedding. In the meantime, Michael contains his feelings for Nick's girlfriend Linda (Streep). At the wedding reception held at the local VFW bar, the guys get drunk, dance, sing and have a good time, but then notice a soldier in a US Army's Special Forces uniform. Michael buys him a drink and tries to start a conversation with him to find out what Vietnam is like, but he ignores Michael. After Michael explains that he, Steven and Nick are going to Vietnam, the Green Beret raises his glass and says "fuck it" to everyone's shock and amazement. Obviously disturbed and under mental anguish, the soldier again toasts them with "fuck it". After being restrained by the others from starting a fight, Michael goes back to the bar and in a mocking jest to the soldier, raises his glass and toasts him with "fuck it". The soldier then glances over at Michael and grins smugly. Later, during the Russian Orthodox traditional wedding toast to Steven and Angela, which is believed to be good luck for a couple who drink from conjoined goblets without spilling a drop, a drop of blood-red wine unknowingly spills on her wedding gown, foreshadowing the coming events. Near the end of the reception, Nick asks Linda to marry him, and she agrees. Later that night, after a drunk and naked Michael runs through the streets of town, Nick chases him down and begs Michael not to leave him "over there" if anything happens. The next day, Michael and the remaining friends go deer hunting one last time, and Michael again scores a deer with "one shot". Act II - The film then jumps abruptly to a war-torn village, where U.S. helicopters attack a communist occupied Vietnamese village with napalm. A North Vietnamese soldier throws a stick grenade into a hiding place full of civilians. An unconscious Mike (now a staff sergeant in the Army Special Forces) wakes up to see the NVA soldier shoot a woman carrying a baby. In revenge Mike kills him. Meanwhile a unit of UH-1 "Huey" helicopters drops off several US infantrymen, Nick and Steven among them. Michael, Steven, and Nick unexpectedly find each other just before they are captured and held together in a riverside prisoner of war camp with other US Army and ARVN prisoners. For entertainment, the sadistic guards force their prisoners to play Russian roulette and gamble on the outcome. All three friends are forced to play. Steven aims the gun above his head, grazing himself with the bullet, and is punished by incarceration to an underwater cage, full of rats and the bodies of others who earlier faced the same fate. Michael and Nick end up playing against each other, and Michael convinces the guards to let them play with three bullets in the gun. After a tense match, they kill their captors and escape. Mike had earlier argued with Nick about whether Steven could be saved, but after killing their captors he rescues Steven. The three float downriver on a tree branch. An American helicopter accidentally finds them, but only Nick is able to climb aboard. The weakened Steven falls back into water and Mike plunges in the water to rescue him. Unluckily, Steven breaks both legs in the fall. Mike helps him to reach the river bank, and then carries him through the jungle to friendly lines. Approaching a caravan of locals escaping the war zone, he stops a South Vietnamese military truck and places the wounded Steven on it, asking the soldiers to take care of him. Nick, who is psychologically damaged apparently
1978 The Deer Hunter suffering amnesia, recuperates in a military hospital in Saigon with no knowledge on the status of his friends. At night, he aimlessly stumbles through the red-light district. At one point, he encounters Julien Grinda (Pierre Segui), a champagne-drinking friendly Frenchman outside a gambling den where men play Russian roulette for money. Grinda entices the reluctant Nick to participate, and leads him into the den. Mike is present in the den, watching the game, but the two friends do not notice each other at first. When Mike does see Nick, he is unable to get his attention. When Nick is introduced into the game he instead grabs the gun, fires it at the current contestant and then again at his own temple, causing the audience to riot in protest. Grinda hustles Nick outside to his car to escape the angry mob. Mike cannot catch up with Nick and Grinda as they speed away. Act III - Back in the U.S., Mike returns home but maintains a low profile. He tells the cab driver to pass by the house where all his friends are assembled, as he is embarrassed by the fuss made over him by Linda and the others. Mike goes to a motel and struggles with his feelings, as he thinks both Nick and Steven are dead or missing. He eventually visits Linda and grows close to her, but only because of the friend they both think they have lost. Mike is eventually told about Angela, whom he goes to visit at the home of Steven's mother. She is lethargic and barely responsive. She writes a phone number on a scrap of paper, which leads Mike to the local veterans' hospital where Steven has been for several months. Mike goes hunting with Axel, John and Stanley one more time, and after tracking a beautiful deer across the woods, takes his "one shot" but pulls the rifle up and fires into the air, unable to take another life. He then sits on a rock escarpment and yells out, "OK?", which echoes back at him from the opposing rock faces leading down to the river, signifying his fight with his mental demons over losing Steven and Nick. He also berates Stanley for carrying around a small revolver and waving it around, not realizing it is still loaded. He knows the horror of war and wants no part of it anymore. Steven has lost both his legs and is partially paralyzed. Mike visits Steven, who reveals that someone in Saigon has been mailing large amounts of cash to him, and Mike is convinced that it is Nick. Mike brings Steven home to Angela and then travels to Saigon just before its fall in 1975. He tracks down the Frenchman Grinda, who has made a lot of money from the Russian-roulette-playing American. He finds Nick in a crowded roulette club, but Nick appears to have no recollection of his friends or his home in Pennsylvania. Mike sees the needle tracks on his arm, a sign of drug abuse. He realizes that Nick thinks he (Michael) and Steven are dead, since he is the only one who made it back on the helicopter. Mike enters himself in a game of Russian roulette against Nick, hoping to jar Nick's memory and persuade him to come home, but Nick's mind is gone. In the last moment, after Mike's attempts to remind him of their trips hunting together, he finally breaks through, and Nick recognizes Mike and smiles. Nick then tells Mike, "one shot", raises the gun to his temple, and pulls the trigger. The bullet is in the gun's top chamber, and Nick kills himself. Horrified, Michael tries to revive him, but to no avail. Epilogue - Back home in 1975, there is a funeral for Nick, whom Michael brings home, good to his promise. The film ends with the whole cast at their friend's bar, singing "God Bless America" and toasting in Nick's honor.
413
Pre-production
There has been considerable debate, controversy, and conflicting stories about how The Deer Hunter was initially developed and written.[6] Director and co-writer Michael Cimino, writer Deric Washburn, producers Barry Spikings and Michael Deeley all have different versions of how the film came to be.
Development
In 1968, the record company EMI formed a new company called EMI Films, headed by producers Barry Spikings and Michael Deeley.[6] Deeley purchased the first draft of a spec script called "The Man Who Came To Play", written by Louis Garfinkle and Quinn K. Redeker, for $19,000.[7] The spec script was about people who go to Las Vegas to play Russian Roulette.[6] "The screenplay had struck me as brilliant," wrote Deeley, "but it wasn't complete. The trick would be to find a way to turn a very clever piece of writing into a practical, realizable film."[7] When the movie was being planned during the mid-1970s, Vietnam was still a taboo subject with all major Hollywood
1978 The Deer Hunter studios.[7] According to producer Michael Deeley, the standard response was "no American would want to see a picture about Vietnam".[7] After consulting various Hollywood agents, Deeley found writer-director Michael Cimino, represented by Stan Kamen at the William Morris Agency.[7] Deeley was impressed by Cimino's TV commercial work and Thunderbolt and Lightfoot.[7][7] Cimino himself was confident that he could further develop the principal characters of The Man Who Came To Play without losing the essence of the original. After Cimino was hired, he was called into a meeting with Garfinkle and Redeker at the EMI office. According to Deeley, Cimino questioned the need for the Russian roulette element of the script and Redeker made such a passionate case for it that he ended up literally on his knees. Over the course of further meetings, Cimino and Deeley discussed the work needed at the front of the script and Cimino believed he could develop the stories of the main characters in twenty minutes of film.[7]
414
Screenplay
Cimino worked for six weeks with Deric Washburn on the script.[8] Cimino and Washburn had previously collaborated with Stephen Bochco on the screenplay for Silent Running. According to producer Spikings, Cimino said he wanted to work again with Washburn.[6] According to producer Deeley, he only heard from office rumor that Washburn was contracted by Cimino to work on the script. "Whether Cimino hired Washburn as his sub-contractor or as a co-writer was constantly being obfuscated," wrote Deeley, "and there were some harsh words between them later on, or so I was told."[7] There are still questions as to whether Washburn/Cimino's script was entirely fiction. Cimino's claim According to Cimino, he would call Washburn while on the road scouting for locations and feed him notes on dialogue and story. Upon reviewing Washburn's draft, Cimino said, "I came back, and read it and I just could not believe what I read. It was like it was written by some body who was... mentally deranged." Cimino confronted Washburn at the Sunset Marquis in LA about the draft and Washburn supposedly replied that he couldn't take the pressure and had to go home. Cimino then fired Washburn. Cimino would later claim to have written the entire screenplay himself.[8] Washburn's response to Cimino's comments were, ""It's all nonsense. It's lies. I didn't have a single drink the entire time I was working on the script."[6] Washburn's claim According to Washburn, he and Cimino spent three days together in L.A. at the Sunset Marquis, hammering out the plot. The script eventually went through several drafts, evolving into a story with three distinct acts. Washburn didn't interview any vets to write The Deer Hunter and didn't do any research. "I had a month, that was it," he explains. "The clock was ticking. Write the fucking script! But all I had to do was watch TV. Those combat cameramen in Vietnam were out there in the field with the guys. I mean, they had stuff that you wouldn't dream of seeing about Iraq." When Washburn was finished, he says, Cimino and Joann Carelli, an associate producer on The Deer Hunter who would go on to produce two more of Cimino's films, took him to dinner at a cheap restaurant off the Sunset Strip. He recalls, "We finished, and Joann looks at me across the table, and she says, 'Well, Deric, it's fuck-off time.' I was fired. It was a classic case: you get a dummy, get him to write the goddamn thing, tell him to go fuck himself, put your name on the thing, and he'll go away. I was so tired, I didn't care. I'd been working 20 hours a day for a month. I got on the plane the next day, and I went back to Manhattan and my carpenter job."[6] Deeley's reaction to the revised script Deeley felt the revised script, now called The Deer Hunter, broke fresh ground for the project. The protagonist in the Redeker/Garfinkle script, Merle, was an individual who sustained a bad injury in active service and had been damaged psychologically by his violent experiences, but was nevertheless a tough character with strong nerves and guts. Cimino and Washburn's revised script distilled the three aspects of Merle's personality and separated them out into three distinct characters. They became three old friends who had grown up in the same small industrial town and
1978 The Deer Hunter worked in the same steel mill, and in due course would be drafted together to Vietnam.[7] In the original script, the roles of Merle (later renamed Mike) and Nick were reversed in the last half of the film. Nick returns home to Linda, while Mike remains in Vietnam, sends money home to help Steven, and meets his tragic fate at the Russian roulette table.[9] A Writers Guild arbitration process awarded Washburn sole "Screenplay By" credit.[6] Garfinkle and Redeker were given a shared "Story By" credit with Cimino and Washburn. Deeley felt the story credits for Garfinkle and Redeker "did them less than justice."[7] Cimino contested the results of the arbitration. "In their Nazi wisdom," added Cimino, "[they] didn't give me the credit because I would be producer, director and writer."[10] All four writers, Cimino, Washburn, Garfinkle and Redeker received an Oscar nomination for Best Original Screenplay for this film.[11]
415
Casting
While producer Deeley was pleased with the revised script, he was still concerned about being able to sell the film. "We still had to get millions out of a major studio," wrote Deeley, "as well as convince our markets around the world that they should buy it before it was finished. I needed someone with the calibre of Robert De Niro."[7] De Niro was one of the biggest stars at that time, coming off Mean Streets, The Godfather Part II, and Taxi Driver. In addition to attracting buyers, Deeley felt De Niro was "the right age, apparently tough as hell, and immensely talented."[7] Hiring De Niro turned out to be a casting coup because he knew nearly every actor in New York. De Niro brought Meryl Streep to the attention of Cimino and Deeley. With Streep came John Cazale, Streep's lover at the time.[7] De Niro also accompanied Cimino to scout locations for the steel-mill sequence as well as rehearse with the actors to use the workshops as a bonding process.[7] Each of the six principal male characters in the movie carried a photo in their back pocket of them all together as children so as to enhance the sense of camaraderie amongst them. As well as this, director Cimino had the props department fashion complete Pennsylvania IDs for each of them, complete with driver's licenses, medical cards and various other pieces of paraphernalia, so as to enhance each actor's sense of their character.[12] Full cast Robert De Niro as S/Sgt. Michael "Mike" Vronsky. Producer Deeley pursued De Niro for The Deer Hunter because he felt that he needed De Niro's star power to sell a film with a "gruesome-sounding storyline and a barely known director".[7] "I liked the script, and [Cimino] had done a lot of prep," said De Niro. "I was impressed."[6] De Niro prepared by socializing with steelworkers in local bars and by visiting their homes. Cimino would introduce De Niro as his agent, Harry Ufland. No one recognized him.[8] De Niro claims this was his most physically exhausting film. He explained that the scene where Michael visits Steve in the hospital for the first time was the most emotional scene that he was ever involved with.[13] Christopher Walken as Cpl. Nikanor "Nick" Chevotarevich. His performance garnered his first Academy Award, for Best Supporting Actor. John Savage as Cpl. Steven Pushkov. Savage was a last-minute replacement for Roy Scheider, who dropped out of the production two weeks before the start of filming due to "creative differences"; Universal managed to keep Scheider to his three-picture contract by forcing him into doing Jaws 2.[14] Meryl Streep as Linda. Prior to Deer Hunter, Streep was seen briefly in Fred Zinnemann's Julia and the eight-hour miniseries Holocaust.[7] In the screenplay, Streep's role was negligible. Cimino explained the set-up to Streep and suggested that she write her own lines.[15] John Cazale as Stanley ("Stosh"). All scenes involving Cazale, who had terminal cancer, had to be filmed first. Because of his illness, the studio initially wanted to get rid of him, but Streep, whom he was dating at the time, and Cimino threatened to walk away if they did.[15][16] He was also uninsurable, and according to Streep, De Niro paid for his insurance because he wanted him in the film. This was his last film, as he died shortly after filming wrapped. Cazale never saw the finished film.[15]
1978 The Deer Hunter George Dzundza as John Welsh Chuck Aspegren as Peter "Axel" Axelrod. Aspegren was not an actor, he was the foreman at an East Chicago steel works visited early in pre-production by De Niro and Cimino. They were so impressed with him that they offered him the role. He was the second person to be cast in the film, after De Niro.[8] Shirley Stoler as Steven's mother Rutanya Alda as Angela Ludhjduravic-Pushkov Amy Wright as Bridesmaid Joe Grifasi as Bandleader
416
Filming
The Deer Hunter began principal photography on June 20, 1977.[6] This was the first feature film depicting the Vietnam War to be filmed on location in Thailand. All scenes were shot on location (no sound stages). "There was discussion about shooting the film on a back lot, but the material demanded more realism," says Spikings.[6] The cast and crew viewed large amounts of news footage from the war to ensure authenticity. The film was shot over a period of six months. The Clairton scenes comprise footage shot in eight different towns in four states: West Virginia, Pennsylvania, Washington, and Ohio.[6] The initial budget of the film was $8.5 million.[7] Before the beginning of principal photography began, Deeley had a meeting with the film's appointed line producer Robert Relyea. Deeley hired Relyea after meeting him on the set of Bullitt and was impressed with his experience. However Relyea told Deeley that he would not be able to be the producer on Deer Hunter. Relyea refused to disclose the reasons why.[7] Deeley suspected that Relyea had sensed in director Cimino something that would have made production difficult. As a result, Cimino was acting without day-to-day supervision of a producer.[7] Because Deeley was busy overseeing in the production of Sam Peckinpah's Convoy, he hired John Peverall to oversee Cimino's shoot. Peverall's expertise with budgeting and scheduling made him a natural successor to Relyea and knew enough about the picture to be elevated to producer status. "John is a straightforward Cornishman who had worked his way up to become a production supervisor," wrote Deeley, "and we employed him as EMI's watchman on certain pictures."[7]
The wedding scenes

The wedding scenes were filmed at the historic St. Theodosius Russian Orthodox Cathedral in the Tremont neighborhood of Cleveland, Ohio.[6] The wedding took five days to film. An actual priest was cast as the priest at the wedding.[12] The reception scene was filmed at nearby Lemko Hall. The amateur extras lined up for the crowded wedding-dance sequences drank real liquor and beer.[7] The scenes were filmed in the summer, but were set in the fall.[12] To accomplish a look of fall, individual leaves were removed from deciduous trees.[17][7] Zsigmond also had to desaturate the colors of the exterior shots, partly in camera and in the laboratory processing.[7][7] The production manager asked each of the Russian immigrant extras to bring to St. Theodosius Russian Orthodox the location a gift-wrapped box to double for wedding presents. The manager Cathedral in Cleveland. Site of the figured if the extras did this, not only would the production save time and money, wedding scene. but the gifts would also look more authentic. Once the unit had wrapped and the extras disappeared, the crew discovered to their amusement that the boxes weren't empty but filled with real presents, from china to silverware. "Who got to keep all these wonderful offerings," wrote Deeley "is a mystery I never quite fathomed."[7]
1978 The Deer Hunter Cimino had originally claimed that the wedding scene would take up 21 minutes of screentime. In the end, it took 51 minutes. Deeley believes that Cimino had always planned to make this prologue last for an hour, and "the plan was to be advanced by stealth rather than straight dealing."[7] At this point in the production, nearly halfway through principal photography, Cimino was already overbudget, and producer Spikings could tell from the script that shooting the extended scene could sink the project.[6]
417
The bar and the steel mill

The bar was specially constructed in an empty storefront in Mingo Junction, Ohio for $25,000; it later became an actual saloon for local steel mill workers.[12] U.S. Steel allowed filming inside its Cleveland mill, including placing the actors around the furnace floor, only after securing a $5 million insurance policy.[12][15] Other filming took place in Pittsburgh. [18]
Hunting the deer

The first deer to be shot was not actually harmed, despite the "gruesome close-up", but hit with a tranquilizer dart.[7][7] The stag which Michael allows to get away later was actually the same one used on TV commercials for the Connecticut Life Insurance Company.[7]
Vietnam and the Russian roulette scenes

The Viet Cong Russian roulette scenes were shot in real circumstances, with real rats and mosquitoes, as the three principals (De Niro, Walken, and Savage) were tied up in bamboo cages that had been erected along the River Kwai. The woman tasked with casting the extras out in Thailand had much difficulty finding a local to play the vicious individual who runs the Russian roulette game. The first actor hired turned out to be incapable of slapping De Niro in the face. The female caster thankfully knew a local Thai man with a particular dislike of Americans, and cast him accordingly. De Niro suggested that Walken be slapped for real from one of the guards without any forewarning to Walken. The reaction on Walken's face was genuine. Producer Deeley has said that Cimino shot the brutal Vietcong Russian roulette scenes brilliantly and more efficiently than any other part of the film.[7][7] De Niro and Savage performed their own stunts in the fall into the river, filming the 30ft drop 15 times in two days. During the helicopter stunt, the runners caught on the ropes of the suspension bridge and as the helicopter rose, it threatened to seriously injure De Niro and Savage. The actors gestured and yelled furiously to the crew in the helicopter to warn them. Footage of this is included in the film.[19] According to Cimino, De Niro requested a live cartridge in the revolver for the scene in which he subjects John Cazale's character to an impromptu game of Russian roulette, to heighten the intensity of the situation. Cazale agreed without protest,[8] but obsessively rechecked the gun before each take to make sure that the live round wasn't next in the chamber.[12] While appearing later in the film, the first scenes shot upon arrival in Thailand are the hospital sequences between Walken and the military doctor. Deeley believes that this scene was "the spur that would earn him an Academy Award."[7][20] In the final scene in the gambling den between Mike and Nick, Cimino had Walken and De Niro improvise in one take. His direction to his actors: "You put the gun to your head, Chris, you shoot, you fall over and Bobby cradles your head."[7]
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Filming locations
St. Theodosius Russian Orthodox Cathedral, in the Tremont neighborhood of Cleveland, Ohio. The name plaque is clearly visible in one scene.[21] Lemko Hall, Cleveland, Ohio. Also located in Tremont, the wedding banquet was filmed here. The name is clearly visible in one scene.[22] US Steel Central Furnaces in Cleveland, Ohio. Opening sequence steel mill scenes.[23] Patpong, Bangkok, Thailand, the area used to represent Saigon's red light district. Sai Yok, Kanchanaburi Province, Thailand North Cascades National Park, Washington, mountain scenes.[24] Steubenville, Ohio, for some mill and neighborhood shots. Struthers, Ohio, for external house and long-range road shots. Also including, the town's bowling alley is the Bowladrome Lanes, located at 56 State Street, Struthers, Ohio. Weirton, West Virginia, for mill and trailer shots.[25] River Kwai, Thailand, Prison camp and initial Russian roulette scene.
[26] Lemko Hall
Post-production
By this point, The Deer Hunter had cost $13 million.[7] The film still had to go through an arduous post-production. Film editor Peter Zinner was given 600,000feet of printed film to edit, a monumental task at the time.[27] Producers Spikings and Deeley were pleased with the first cut, which ran for three-and-a-half hours. "We were thrilled by what we saw," wrote Deeley, "and knew that within the three and a half hours we watched there was a riveting film."[7] Executives from Universal, including Lew Wasserman and Sid Sheinberg, were not very enthusiastic.[6][7] "I think they were shocked," recalled Spikings. "What really upset them was 'God Bless America.' Sheinberg thought it was anti-American. He was vehement. He said something like 'You're poking a stick in the eye of America.' They really didn't like the movie. And they certainly didn't like it at three hours and two minutes."[6] Thom Mount, president of Universal at the time, said, "This was just a fucking continuing nightmare from the day Michael finished the picture to the day we released it. That was simply because he was wedded to everything he shot. The movie was endless. It was The Deer Hunter and the Hunter and the Hunter. The wedding sequence was a cinematic event all unto its own."[6] Deeley wasn't surprised by the Universal response: "The Deer Hunter was a United Artists sort of picture, whereas Convoy was more in the style of Universal. I'd muddled and sold the wrong picture to each studio."[7] Deeley did agree with Universal that the film needed to be shorter, not just because of pacing but also to ensure commercial success.[7] "A picture under two and a half hours can scrape three shows a day," wrote Deeley, "but at three hours you've lost one third of your screenings and one third of your income for the cinemas, distibutors and profit participants."[7] Mount says he turned to Verna Fields, then Universal's head of post-production. "I sicked Verna on Cimino," Mount says. "Verna was no slouch. She started to turn the heat up on Michael, and he started screeching and yelling."[6] Zinner eventually cut the film down to 18,000feet.[27] Zinner was later fired by Cimino when he discovered that Zinner was editing down the wedding scenes.[17][7] Zinner eventually won Best Editing Oscar for The Deer Hunter. Regarding the clashes between him and Cimino, Zinner replied "Michael Cimino and I had our differences at the end, but he kissed me when we both got Academy Awards."[27] Cimino would later comment in The New York Observer, "[Zinner] was a moron... I cut Deer Hunter myself."[10]
419
Previews
Both the long and short versions were previewed to midwestern audiences, although there are different accounts among Cimino, Deeley and Spikings as to how the previews panned out.[6] Director Cimino claims he bribed the projectionist to interrupt the shorter version, in order to obtain better reviews of the longer one.[8] According to producer Spikings, Wasserman let EMI's C.E.O. Delfont decide between the two and chose the Cimino's longer cut.[6] Deeley claims that the two-and-a-half hour version tested had a better response.[7]
Soundtrack
The Deer Hunter
Soundtrack album by Stanley Myers Released Recorded Genre Label 1990 1978 Film score Capitol
The soundtrack to The Deer Hunter was released on audio CD on October 25, 1990.[28]
Selected tracks
Stanley Myers's "Cavatina" (also known as "He Was Beautiful"), performed by classical guitarist John Williams, is commonly known as "The Theme from The Deer Hunter". According to producer Deeley, he discovered that the song was originally written for a film called The Walking Stick (1970) and, as a result, had to pay the original purchaser an undisclosed sum.[7] "Can't Take My Eyes Off You", a 1967 hit song, sung by Frankie Valli.[29] It is played in John's bar when all of the friends sing along and at the wedding reception. According to Cimino, the actors sang along to a recording of the song as it was played instead of singing to a beat track, a standard filmmaking practice. Cimino felt that would make the sing-along seem more real.[12] During the wedding ceremonies and party, the Eastern Orthodox Church songs such as "Slava" and Russian folk songs such as "Korobushka" and "Katyusha" are played. Russian Orthodox funeral music is also employed during Nick's funeral scene, mainly "Vechnaya Pamyat", which means "eternal memory".[30]
Release
Deer Hunter debuted at one theater each in New York and Los Angeles for a week on December 8, 1978.[6][31][32] The release strategy was to qualify the film for Oscar consideration and close after a week to build interest.[7] After the Oscar nominations, Universal widened the distribution to include major cities, building up to a full-scale release on February 23, 1979, just following the Oscars.[31][7] This film was important for helping massage release patterns for so-called prestige pictures that screen only at the end of the year to qualify for Academy Award recognition.[33] The film eventually grossed $50,000,000 at the US box office.[4] CBS paid $3.5 million for three runs of the film. The network later cancelled the acquisition on the contractually permitted grounds of the film containing too much violence for US network transmission.[7]
420
Analysis
Controversy over Russian roulette
Robert De Niro pulls the trigger to his gun in one of the more tense scenes of Russian roulette in the film.
One of the most talked-about sequences in the film, the Vietcong's use of Russian roulette with POWs, was criticized as being contrived and unrealistic since there were no documented cases of Russian roulette in the Vietnam War.[34][6][35] Associated Press reporter Peter Arnett, who had won a Pulitzer Prize for his coverage of the war, wrote in the Los Angeles Times, "In its 20 years of war, there was not a single recorded case of Russian roulette... The central metaphor of the movie is simply a bloody lie."[6] Director Cimino was also criticized for one-sidedly portraying all the North Vietnamese as despicable, sadistic racists and killers. Cimino countered that his film was not political, polemical, literally accurate, or posturing for any particular point of view.[34] He further defended his position by saying that he had news clippings from Singapore that confirm Russian roulette was used during the war (without specifying which article).[8] During the 29th Berlin International Film Festival in 1979, the Soviet delegation expressed its indignation with the film which, in their opinion, insulted the Vietnamese people in numerous scenes. The socialist states felt obliged to voice their solidarity with the "heroic people of Vietnam". They protested against the screening of the film and insisted that it violated the statutes of the festival, since it in no way contributed to the "improvement of mutual understanding between the peoples of the world". The ensuing domino effect led to the walk-outs of the Cubans, East Germans, Bulgarians, Poles and Czechoslovakians, and two members of the jury resigned in sympathy.[36] Critics' response In his review, Roger Ebert defended the artistic license of Russian roulette, arguing "it is the organizing symbol of the film: Anything you can believe about the game, about its deliberately random violence, about how it touches the sanity of men forced to play it, will apply to the war as a whole. It is a brilliant symbol because, in the context of this story, it makes any ideological statement about the war superfluous."[37] Film critic and biographer David Thomson also agrees that the film works despite the controversy: "There were complaints that the North Vietnamese had not employed Russian roulette. It was said that the scenes in Saigon were fanciful or imagined. And it was suggested that De Niro, Christopher Walken, and John Savage were too old to have enlisted for Vietnam (Savage, the youngest of the three, was 28). Three decades later, 'imagination' seems to have stilled those worries... and The Deer Hunter is one of the great American films."[38] In her review, Pauline Kael wrote, "The Vietcong are treated in the standard inscrutable-evil Oriental style of the Japanese in the Second World War movies... The impression a viewer gets is that if we did some bad things there we did them ruthlessly but impersonally; the Vietcong were cruel and sadistic."[6] In his Vanity Fair article "The Vietnam Oscars", Peter Biskind wrote that the political agenda of The Deer Hunter was something of a mystery: "It may have been more a by-product of Hollywood myopia, the demands of the war-film genre, garden-variety American parochialism, and simple ignorance than it was the pre-meditated right-wing road map it seemed to many."[6] Cast and crew response According to Christopher Walken, the historical context wasn't paramount: "In the making of it, I don't remember anyone ever mentioning Vietnam!" De Niro added to this sentiment: "Whether [the film's vision of the war] actually happened or not, it's something you could imagine very easily happening. Maybe it did. I don't know. All's fair in love and war." Producer Spikings, while proud of the film, regrets the way the Vietnamese were portrayed. "I don't think any of us meant it to be exploitive," Spikings said. "But I think we were... ignorant. I can't think of a better
1978 The Deer Hunter word for it. I didn't realize how badly we'd behaved to the Vietnamese people..."[6] Producer Deeley, on the other hand, was quick to defend Cimino's comments on the nature and motives of the film: "The Deer Hunter wasn't really 'about' Vietnam. It was something very different. It wasn't about drugs or the collapse of the morale of the soldiers. It was about how individuals respond to pressure: different men reacting quite differently. The film was about three steel workers in extraordinary circumstances. Apocalypse Now is surreal. The Deer Hunter is a parable... Men who fight and lose an unworthy war face some obvious and unpalatable choices. They can blame their leaders.. or they can blame themselves. Self-blame has been a great burden for many war veterans. So how does a soldier come to terms with his defeat and yet still retain his self-respect? One way is to present the conquering enemy as so inhuman, and the battle between the good guys (us) and the bad guys (them) so uneven, as to render defeat irrelevant. Inhumanity was the theme of The Deer Hunter's portrayal of the North Vietnamese prison guards forcing American POWs to play Russian roulette. The audience's sympathy with prisoners who (quite understandably) cracked thus completes the chain. Accordingly, some veterans who suffered in that war found the Russian roulette a valid allegory."[7]
421
Director Cimino's autobiographical intent

Cimino frequently referred to The Deer Hunter as a "personal" and "autobiographical" film, although later investigation by journalists like Tom Buckley of Harper's revealed inaccuracies in Cimino's accounts and reported background.[7]
Coda of "God Bless America"

The final scene in which all the main characters gather and sing "God Bless America" became a subject of heated debate among critics when the film was released.[6]
Reception
The film's initial reviews were largely enthusiastic. It was hailed by many critics as the best American epic since Francis Ford Coppola's The Godfather.[39][7][40] The film was praised for its depiction of working-class settings and environment; Cimino's direction of the performances by De Niro, Walken, Streep, Savage, Dzundza and Cazale; the symphonic shifts of tone and pacing in moving from America to Vietnam; the tension during the Russian roulette scenes; and the themes of American disillusionment.[41][42] Roger Ebert of the Chicago Sun-Times gave the film four stars and called it "one of the most emotionally shattering films ever made."[37] Gene Siskel from the Chicago Tribune praised the film, saying, "This is a big film, dealing with big issues, made on a grand scale. Much of it, including some casting decisions, suggest inspiration by The Godfather."[43] Leonard Maltin also gave the film four stars, calling it a "sensitive, painful, evocative work".[44] Vincent Canby of the New York Times called The Deer Hunter "a big, awkward, crazily ambitious motion picture that comes as close to being a popular epic as any movie about this country since The Godfather. Its vision is that of an original, major new filmmaker."[40] David Denby of New York called it "an epic" with "qualities that we almost never see any more range and power and breadth of experience."[32][32] Jack Kroll of Time asserted it put director Cimino "right at the center of film culture."[32] Stephen Farber pronounced the film in New West magazine as "the greatest anti-war movie since La Grande Illusion."[32] However, The Deer Hunter was not without critical backlash, especially in light of the film's controversial use of Russian roulette at its center. Pauline Kael of The New Yorker wrote a positive review with some reservations: "[It is] a small minded film with greatness in it... with an enraptured view of common life... [but] enraging, because, despite its ambitiousness and scale, it has no more moral intelligence than the Eastwood action pictures."[32] Andrew Sarris wrote that the film was "massively vague, tediously elliptical, and mysteriously hysterical... It is perhaps significant that the actors remain more interesting than the characters they play."[6] John Simon of New York wrote: "For all its pretensions to something newer and better, this film is only an extension of the old Hollywood war-movie
1978 The Deer Hunter lie. The enemy is still bestial and stupid, and no match for our purity and heroism; only we no longer wipe up the floor with him -- rather, we litter it with his guts."[45] The film holds a metascore of 73 on Metacritic, based on 7 reviews,[46] and 91% fresh rating on Rotten Tomatoes, based on 43 reviews.[42] The RT summary reads: Its greatness is blunted by its length and one-sided point of view, but the film's weaknesses are overpowered by Michael Cimino's sympathetic direction and a series of heartbreaking performances from Robert De Niro, Meryl Streep, and Christopher Walken.[42]
422
Top-ten lists
3rd - Roger Ebert, Chicago Sun-Times.[47] Ebert also placed Deer Hunter on his list of the best films of the 1970s.[48] 3rd - Gene Siskel, Chicago Tribune[49] Academy Award winning film director Milos Forman and Academy Award nominated actor Mickey Rourke consider The Deer Hunter to be one of the greatest films of all time.[50][51]
Revisionism following Heaven's Gate

Cimino's next film, Heaven's Gate, debuted to lacerating reviews and took in only $3 million in ticket sales, effectively leaving United Artists bankrupt. The failure of Heaven's Gate led several critics to revise their positions on The Deer Hunter. Canby said in his famous review of Heaven's Gate, "[The film] fails so completely that you might suspect Mr. Cimino sold his soul to the Devil to obtain the success of The Deer Hunter, and the Devil has just come around to collect."[52] Andrew Sarris wrote in his review of Heaven's Gate, "I'm a little surprised that many of the same critics who lionized Cimino for The Deer Hunter have now thrown him to the wolves with equal enthusiasm."[32] Sarris added, "I was never taken in... Hence, the stupidity and incoherence in Heaven's Gate came as no surprise since very much the same stupidity and incoherence had been amply evident in The Deer Hunter."[32] In his book Final Cut: Dreams and Disaster in the Making of Heaven's Gate, Steven Bach wrote, "critics seemed to feel obliged to go on the record about The Deer Hunter, to demonstrate that their critical credentials were un-besmirched by having been, as Sarris put it, 'taken in.'"[32] More recently, BBC film critic Mark Kermode challenged the film's status among generally praised film classics: "There is an unwritten rule in film criticism that certain films are beyond rebuke. Citizen Kane, Some Like It Hot, 2001, The Godfather Part II...all these are considered to be classics of such universally accepted stature... At the risk of being thrown out of the 'respectable film critics' circle, may I take this opportunity to declare officially that in my opinion The Deer Hunter is one of the worst films ever made, a rambling self indulgent, self aggrandising barf-fest steeped in manipulatively racist emotion, and notable primarily for its farcically melodramatic tone which is pitched somewhere between shrieking hysteria and somnambulist somberness."[53] However, many critics maintain that The Deer Hunter is still a great film whose power hasn't diminished, including David Thomson[41] and A.O. Scott.[54]
Awards
423
Academy Awards record 1. Best Supporting Actor, Christopher Walken 2. Best Director, Michael Cimino 3. Best Editing, Peter Zinner 4. Best Picture, Barry Spikings, Michael Deeley, Michael Cimino, John Peverall 5. Best Sound, Richard Portman, William L. McCaughey, Aaron Rochin, C. Darin Knight Golden Globe Awards record 1. Best Director, Michael Cimino BAFTA Awards record 1. Best Cinematography, Vilmos Zsigmond 2. Best Editing, Peter Zinner
Lead up to Awards Season

Allan Carr, film producer and "old-fashioned mogul", used his networking abilities to promote The Deer Hunter. "Exactly how Allan Carr came into The Deer Hunter's orbit I can no longer remember," recalled producer Deeley, "but the picture became a crusade to him. He nagged, charmed, threw parties, he created word-of-mouth everything that could be done in Hollywood to promote a project. Because he had no apparent motive for this promotion, it had an added power and legitimacy and it finally did start to penetrate the minds of the Universal's sales people that they actually had in their hands something a bit more significant than the usual."[7] Deeley added that Carr's promotion of the film was influential in positioning The Deer Hunter for Oscar nominations.[7] On the Sneak Previews special "Oscar Preview for 1978", Roger Ebert correctly predicted that The Deer Hunter would win for Best Picture while Gene Siskel predicted that Coming Home would win. However, Ebert incorrectly guessed that Robert De Niro would win for Best Actor for Deer Hunter and Jill Clayburgh would win for Best Actress for An Unmarried Woman while Siskel called the wins for Jon Voight as Best Actor and Jane Fonda as Best Actress, both for Coming Home. Both Ebert and Siskel called the win for Christopher Walken receiving the Oscar for Best Supporting Actor.[39] According to producer Deeley, orchestrated lobbying against The Deer Hunter was led by Warren Beatty, whose own picture Heaven Can Wait had multiple nominations.[7] Beatty also used ex-girlfriends in his campaign: Julie Christie, serving on the jury at the Berlin Film Festival where Deer Hunter was screened, had joined the walkout of the film by the Russian jury members. Jane Fonda also criticized The Deer Hunter in public. Deeley suggested that her criticisms partly stemmed from the competition between her film Coming Home vying with The Deer Hunter for Best Picture. According to Deeley, he planted a friend of his in the Oscar press area behind the stage to ask Fonda if she had seen The Deer Hunter.[7] Fonda replied she had not seen the film, and to this day she still has not.[6][7] As the Oscars drew near, the backlash against The Deer Hunter gathered strength. When the limos pulled up to the Dorothy Chandler Pavilion on April 9, 1979, they were met by demonstrators, mostly from the Los Angeles chapter of Vietnam Veterans Against the War. The demonstrators waved placards covered with slogans that read "No Oscars for racism" and "The Deer Hunter a bloody lie" and thrust pamphlets berating Deer Hunter into long lines of limousine windows.[6][7] Washburn, nominated for Best Original Screenplay, claims his limousine was pelted with stones. According to Variety, "Police and The Deer Hunter protesters clashed in a brief but bloody battle that resulted in 13 arrests."[6] De Niro was so anxious that he did not attend the Oscars ceremony. He asked the Academy to sit out the show backstage, but when the Academy refused, De Niro stayed home in New York.[7] Producer Deeley made a deal with fellow producer David Puttnam, whose film Midnight Express was nominated, that each would take $500 to the
1978 The Deer Hunter ceremony so if one of them won, the winner would give the loser the $500 to "drown his sorrows in style."[7]
424
51st Academy Awards

The Deer Hunter won five Oscars at the 51st Academy Awards in 1979: Best Picture (John Wayne's final public appearance was to present the award).[11] Best Director (Michael Cimino) Best Actor in a Supporting Role (Christopher Walken) Best Film Editing Best Sound (Richard Portman, William McCaughey, Aaron Rochin, Darin Knight).[34][11][55]
In addition, the film was nominated in four other categories: Best Actor in a Leading Role (Robert De Niro) Best Actress in a Supporting Role (Meryl Streep) Best Cinematography (Vilmos Zsigmond) Best Writing, Screenplay Written Directly for the Screen (Michael Cimino, Deric Washburn, Louis Garfinkle and Quinn Redeker).[34][11]
Golden Globes
Cimino won the film's only Golden Globe for Best Director. Other nominations the film included Best Motion Picture - Drama, De Niro for Best Motion Picture Actor - Drama, Walken for Best Motion Picture Actor in a Supporting Role, Streep for Best Motion Picture Actress in a Supporting Role, and Washburn for Best Screenplay Motion Picture.[56]
Legacy
The Deer Hunter was one of the first, and most controversial, major theatrical films to be critical of the American involvement in Vietnam following 1975 when the war officially ended. While the film opened the same year as Hal Ashby's Coming Home, Sidney Furie's The Boys in Company C, and Ted Post's Go Tell the Spartans, it was the first film about Vietnam to reach a wide audience and critical acclaim, culminating in the winning of the Oscar for Best Picture. Other films released in the late 1970s and 1980s that illustrated the 'hellish', futile conditions of bloody Vietnam War combat included:[34] Francis Ford Coppola's Apocalypse Now (1979) Oliver Stone's Platoon (1986) Stanley Kubrick's Full Metal Jacket (1987) John Irvin's Hamburger Hill (1987) Oliver Stone's Born on the Fourth of July (1989) Brian De Palma's Casualties of War (1989) Robert Zemeckis's Forrest Gump (1994)
David Thomson wrote in an article titled "The Deer Hunter: Story of a scene" that the film changed the way war-time battles had been portrayed on film: "The terror and the blast of firepower changed the war film, even if it only used a revolver. More or less before the late 1970s, the movies had lived by a Second World War code in which battle scenes might be fierce but always rigorously controlled. The Deer Hunter unleashed a new, raw dynamic in combat and action, paving the way for Platoon, Saving Private Ryan and Clint Eastwood's Iwo Jima films."[57] The deaths of approximately twenty-five people who died playing Russian roulette were reported as having been influenced by scenes in the movie.[58]
425
Honors and recognitions

In 1996, The Deer Hunter was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[56][59] The film ranks 467th in the Empire magazine's 2008 list of the 500 greatest movies of all time,[60] noting: Cimino's bold, powerful 'Nam epic goes from blue-collar macho rituals to a fiery, South East Asian hell and back to a ragged singalong of America The Beautiful. De Niro holds it together, but Christopher Walken, Meryl Streep and John Savage are unforgettable.[60] Jan Scruggs, a Vietnam veteran who became a counselor with the U.S. Department of Labor, thought of the idea of building a National Memorial for Vietnam Veterans after seeing a screening of the film in March 1979, and he established and operated the memorial fund which paid for it.[61] Director Cimino was invited to the memorial's opening.[8]
American Film Institute recognition

AFI's 100 Years... 100 Movies #79[62] AFI's 100 Years... 100 Thrills #30[63] AFI's 100 Years... 100 Movies (10th Anniversary Edition) #53[64]
Home media release

The Deer Hunter has twice been released on DVD in America. The first 1998 issue was by Universal, with no extra features and a non-anamorphic transfer, and has since been discontinued.[65] A second version, part of the "Legacy Series", was released as a two-disc set on September 6, 2005, with an anamorphic transfer of the film. The set features a cinematographer's commentary by Vilmos Zsigmond, deleted and extended scenes, and production notes.[66] The Region 2 version of The Deer Hunter, released in the UK and Japan, features a commentary track from director Michael Cimino.[67] The film was released on HD DVD on December 26, 2006.[68] StudioCanal released the film on the Blu-ray format in countries other than the United States on March 11, 2009.[69] It was released on Blu-ray in the U.S. on March 6, 2012.[70]
References
Annotations
[1] [2] [3] [4] [5] [6] [7] [8] [9] "The Deer Hunter Poster #1" (http:/ / www. impawards. com/ 1978/ deer_hunter. html). IMP Awards. Retrieved 2010-10-10. The 2006 DVD release of The Deer Hunter clocks in at 3 hours, 3 minutes and 22 seconds. "The Deer Hunter (1978)" (http:/ / www. boxofficemojo. com/ movies/ ?id=deerhunter. htm). Box Office Mojo. Retrieved 2010-05-26. "The Deer Hunter, Box Office Information" (http:/ / www. the-numbers. com/ movies/ 1979/ 0DRHN. php). The Numbers. . Retrieved June 25, 2012. Roger Ebert: "Michael Cimino's The Deer Hunter is a three-hour movie in three major movements." Tim Dirks: "The overlong film is roughly divided into equal thirds or acts, spanning the time period 19681975". Biskind, Peter (March 2008). "The Vietnam Oscars" (http:/ / www. vanityfair. com/ culture/ features/ 2008/ 03/ warmovies200803). Vanity Fair. Retrieved 2010-09-17. Deeley, p. 163 Realizing The Deer Hunter: An Interview with Michael Cimino. Blue Underground. Interview on the The Deer Hunter UK Region 2 DVD and the StudioCanal Blu-Ray. First half of video on YouTube (http:/ / www. youtube. com/ watch?v=3Fy2ukXfVVY) Wasburn, Deric The Deer Hunter script (http:/ / www. dailyscript. com/ scripts/ deer_hunter. html) (Unspecified draft). DailyScript.com. Retrieved 2011-05-30.
[10] Griffin, Nancy (February 10, 2002). "Last Typhoon Cimino Is Back" (http:/ / www. observer. com/ node/ 45582). The New York Observer 16 (6): pp. 1+15+17. Retrieved 2010-09-18. [11] "All the Oscars: 1979 - 51st Annual Academy Awards" (http:/ / theoscarsite. com/ 1978. htm). theOscarSite.com. Retrieved 2010-05-26.

[12] DVD commentary by director Michael Cimino and film critic F. X. Feeney. Included on The Deer Hunter UK region 2 DVD release and the StudioCanal Blu-Ray. [13] De Niro, Robert (actor) (June 12, 2003). AFI Life Achievement Award: A Tribute to Robert De Niro. [Television Production] American Film Institute. [14] Kachmar 2002, p.73 [15] Parker, p. 128 [16] "Richard Shepard Talks John Cazale Doc, Plus The Trailer For 'I Knew It Was You'" (http:/ / theplaylist. blogspot. com/ 2010/ 06/ richard-shepard-talks-john-cazale-doc. html). The Playlist. June 1, 2010. Retrieved 2010-09-24. [17] Shooting The Deer Hunter: An interview with Vilmos Zsigmond. Blue Underground. Interview with the cinematographer, located on The Deer Hunter UK Region 2 DVD and StudioCanal Blu-Ray. First half of video on YouTube (http:/ / www. youtube. com/ watch?v=XUdifNdwO1g). [18] http:/ / news. google. com/ newspapers?id=V19cAAAAIBAJ& sjid=s1YNAAAAIBAJ& dq=sharon-stone%20pittsburgh& pg=1397%2C300980 [19] Playing The Deer Hunter: An interview with John Savage. Blue Underground. Interview with the actor Savage, located on the UK Region 2 DVD and StudioCanal Blu-Ray. First half of video on YouTube (http:/ / www. youtube. com/ watch?v=l1ovPVUa5HA) [20] A clip from the scene between Walken and the military doctor was shown on an Sneak Previews special "Oscar Preview for 1978", in which critics Gene Siskel and Roger Ebert correctly predicted that Walken would win the Oscar for Best Supporting Actor. [21] The Deer Hunter (1978) - Filming locations (http:/ / www. imdb. com/ title/ tt0077416/ locations) [22] http:/ / ech. cwru. edu/ ech-cgi/ article. pl?id=LH1 [23] The Deer Hunter (1978) - Filming locations (http:/ / www. imdb. com/ title/ tt0077416/ locations) [24] http:/ / filminglocationsdetectives. com/ films/ Deer_Hunter_page3. htm [25] http:/ / www. wvculture. org/ history/ entertainment/ deerhunter01. html [26] http:/ / www. movie-locations. com/ movies/ d/ deerhunter. html [27] "Peter Zinner - Times Online Obituary" (http:/ / www. timesonline. co. uk/ tol/ comment/ obituaries/ article2903128. ece). The Times. November 20, 2007. Retrieved 2010-09-18. [28] "The Deer Hunter: Original Motion Picture Soundtrack" (http:/ / www. amazon. com/ dp/ B00000DR9S). Amazon.com. Retrieved 2010-12-25. [29] While featured prominently in the film, "Can't Take My Eyes Off Of You" does not appear on The Deer Hunter's soundtrack. [30] "Researching the Brothers Karamazov - Guest lectures/ Sheehan" (http:/ / www. dartmouth. edu/ ~karamazo/ sheehan. html). Dartmouth.edu. Retrieved 2010-05-17. [31] "The Deer Hunter (1978) - Release dates" (http:/ / www. imdb. com/ title/ tt0077416/ releaseinfo). IMDb. Retrieved 2010-07-25. [32] Bach, p. 166 [33] Chaffin-Quiray, Garrett (writer); Schnider, Steven Jay (general editor) (2003). 1001 Movies You Must See Before You Die (2003 ed.). London, England: Quintet Publishing. p. 642. ISBN 0-7641-5701-9. [34] Dirks, Tim. "The Deer Hunter (1978)" (http:/ / www. filmsite. org/ deer. html). Greatest Films. Retrieved 2010-05-26. [35] Auster, Albert; Quart, Leonard (2002). "The seventies". American film and society since 1945. Greenwood Publishing Group. pp. 1201. ISBN 978-0-275-96742-0. [36] "1979 Yearbook" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1979/ 01_jahresblatt_1979/ 01_Jahresblatt_1979. html). Berlin International Film Festival. Retrieved 2011-12-17. [37] Ebert, Roger (March 9, 1979). "The Deer Hunter" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19790309/ REVIEWS/ 903090301/ 1023). Chicago Sun-Times. Retrieved 2010-04-30. [38] Thomson, David (October 14, 2008). "Have You Seen... ?": A Personal Introduction to 1,000 Films. New York, NY: Random House. p. 209. ISBN 978-0-307-26461-9. [39] Ebert, Roger & Siskel, Gene (hosts); Flaum, Thea & Solley, Ray (producers); Denny, Patterson (director). (1979). Sneak Previews: Oscar Preview for 1978. [Television Production]. Chicago, IL: WTTW. [40] Canby, Vincent (December 15, 1978). "Movie Review: The Deer Hunter (1978)" (http:/ / movies. nytimes. com/ movie/ review?_r=2& res=9F00E1DB1E30E632A25756C1A9649D946990D6CF). The New York Times. Retrieved 2010-09-20. [41] Thomson, David (October 26, 2010). The New Biographical Dictionary of Film: Fifth Edition, Completely Updated and Expanded (Hardcover ed.). Knopf. p. 178. ISBN 978-0-307-27174-7. [42] "The Deer Hunter (1978)" (http:/ / www. rottentomatoes. com/ m/ deer_hunter). Rotten Tomatoes. Retrieved 2009-09-23. [43] Siskel, Gene (March 9, 1979). "The Deer Hunter". Chicago Tribune. [44] Maltin, Leonard (August 2008). Leonard Maltin's Movie Guide (2009 ed.). New York, NY: Penguin Group p. 338. ISBN 978-0-452-28978-9. [45] Simon, John (February 16, 1979). New York. Anthologized in the collection Reverse Angle (1982). [46] "The Deer Hunter Reviews" (http:/ / www. metacritic. com/ movie/ the-deer-hunter). Metacritic. Retrieved 2010-04-30. [47] Ebert, Roger (December 15, 2004). "Ebert's 10 Best Lists: 1967-present" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20041215/ COMMENTARY/ 41215001/ 1023). RogerEbert.com. Retrieved 2010-10-20. [48] Ebert, Roger (host); Siskel, Gene (host) (December 20, 1979) Sneak Previews: Best Films of the 1970s (http:/ / siskelandebert. org/ video/ 8RORMWR2Y8ON/ Sneak-Previews-Best-of-the-1970s). [Television Production] Chicago, IL: WTTW. Retrieved 2011-04-28.
426

[49] "Siskel and Ebert Top Ten Lists (19691998)" (http:/ / www. innermind. com/ misc/ s_e_top. htm). Innermind.com. Retrieved 2010-04-30. [50] "Top Ten Poll 2002 - Milos Forman" (http:/ / www. bfi. org. uk/ sightandsound/ topten/ poll/ voter. php?forename=Milos& surname=Forman). Sight & Sound. "5. The Deer Hunter (Cimino)". Retrieved 2010-10-06. [51] Presentation of the film by Mickey Rourke. Video located on The Deer Hunter Blu-ray. [52] Canby, Vincent (November 19, 1980). "'Heaven's Gate,' A Western by Cimino" (http:/ / movies. nytimes. com/ movie/ review?res=940CE4D61638F93AA25752C1A966948260). The New York Times. Retrieved 2010-09-24. [53] Kermode, Mark. "Oh deer, oh deer, oh deer" (http:/ / www. film4. com/ features/ article/ oh-deer-oh-deer-oh-deer). Film4. Retrieved 2010-05-27. [54] Critics' Picks: The Deer Hunter (http:/ / www. youtube. com/ watch?v=jonkduDdc5k) by New York Times film critic A.O. Scott on YouTube. [55] "The 51st Academy Awards (1979) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 51st-winners. html). oscars.org. . Retrieved 2011-10-06. [56] "The Deer Hunter (1978) - Awards" (http:/ / www. imdb. com/ title/ tt0077416/ awards). IMDb. Retrieved 2010-05-27. [57] Thomson, David (October 19, 2010). "The Deer Hunter: Story of a scene" (http:/ / www. guardian. co. uk/ film/ 2010/ oct/ 19/ deer-hunter-action-scene). Guardian.co.uk. Retrieved 2010-12-07. [58] "The Deer Hunter and Suicides" (http:/ / www. snopes. com/ movies/ films/ deerhunter. asp). Snopes.com. Retrieved 2010-06-12. [59] "Films Selected to The National Film Registry 19892008" (http:/ / www. loc. gov/ film/ nfrchron. html). Library of Congress. Retrieved 2010-06-11. [60] "The 500 Greatest Movies Of All Time" (http:/ / www. empireonline. com/ 500/ 7. asp). Empire. Retrieved 2010-06-02. [61] Scruggs, Jan C.; Swerdlow, Joel L. (April 1985). To Heal a Nation: The Vietnam Veterans Memorial. New York, NY: Harpercollins. p. 7. ISBN 978-0-06-015404-2. [62] "AFI's 100 Years... 100 Movies" (http:/ / www. afi. com/ 100Years/ movies. aspx). American Film Institute. "79. The Deer Hunter 1978". Retrieved 2010-12-25. [63] "AFI's 100 Years... 100 Thrills" (http:/ / www. afi. com/ 100Years/ thrills. aspx). American Film Institute. "30. The Deer Hunter 1978". Retrieved 2010-12-25. [64] "AFI'S 100 Years... 100 Movies - 10th Anniversary Edition" (http:/ / www. afi. com/ 100years/ movies10. aspx). American Film Institute. "53. The Deer Hunter 1978". Retrieved 2010-09-18. [65] "The Deer Hunter (1978) - DVD details" (http:/ / www. imdb. com/ title/ tt0077416/ dvd). IMDb. Retrieved 2010-08-12. [66] "The Deer Hunter (Universal Legacy Series)" (http:/ / www. amazon. com/ dp/ B000AABCU2/ ). Amazon.com. Retrieved 2010-08-12. [67] "View topic - The Deer Hunter (DVD vs. BD Scandinavia) ADDED" (http:/ / www. dvdcompare. net/ forums/ phpbb3/ viewtopic. php?f=28& t=25999). The Rewind Forums. Retrieved 2010-09-18. [68] "The Deer Hunter HD-DVD" (http:/ / www. amazon. com/ dp/ B000K7VHUA). Amazon.com. Retrieved 2010-05-18. [69] "Achetez le Blu-Ray Voyage au bout de l'enfer" (http:/ / www. studiocanaldvd. com/ fr/ produit_6_scv_53855_acheter_Blu-Ray_Voyage_au_bout_de_l'enfer_en_stock. php) (in French). StudioCanal.com. Retrieved 2011-12-17. [70] "The Deer Hunter Blu-ray" (http:/ / www. amazon. com/ dp/ B006TTC5DQ). Amazon.com. Retrieved 2012-03-09.
427
Notes Bibliography
Bach, Steven (September 1, 1999). Final Cut: Art, Money, and Ego in the Making of Heaven's Gate, the Film That Sank United Artists (Updated 1999 ed.). New York, NY: Newmarket Press. ISBN 1-55704-374-4. Deeley, Michael (April 7, 2009). Blade Runners, Deer Hunters, & Blowing the Bloody Doors Off: My Life in Cult Movies (Hardcover ed.). New York, NY: Pegasus Books. ISBN 978-1-60598-038-6. Kachmar, Diane C. (2002). Roy Scheider: a film biography. McFarland. ISBN0-7864-1201-1. Parker, John (2009). Robert De Niro: Portrait of a Legend. London, England: John Blake Publishing ISBN 978-1-84454-639-8.
428
Further reading
McKee, Bruce (1997). Story (Hardcover ed.). New York, NY: HarperCollins Publishers. pp.126, 296-7, 308. ISBN 0-06-039168-5. Mitchell, Robert (writer); Magill, Frank N. (editor) (1980). "The Deer Hunter". Magill's Survey of Cinema: A-Eas. 1. Englewood Cliffs, New Jersey: Salem Press pp.427431. ISBN 0-89356-226-2.
External links
The Deer Hunter (http://www.imdb.com/title/tt0077416/) at the Internet Movie Database The Deer Hunter (http://www.allrovi.com/movies/movie/v13060) at AllRovi
1979 Kramer vs. Kramer
429

Kramer vs. Kramer
Original film poster
Directed by Produced by Written by Starring Robert Benton Richard Fischoff Stanley R. Jaffe Avery Corman (novel) Robert Benton Dustin Hoffman Meryl Streep Justin Henry Jane Alexander Paul Gemignani Herb Harris John Kander Erma E. Levin Roy B. Yokelson Antonio Vivaldi
Music by
Cinematography Nstor Almendros Editing by Gerald B. Greenberg Ray Hubley Bill Pankow Columbia Pictures
Distributed by Release date(s) Running time Country Language Box office
December 17, 1979
105 minutes United States English $106,260,000

[1]
Kramer vs. Kramer is a 1979 American drama film adapted by Robert Benton from the novel by Avery Corman, and directed by Benton. The film tells the story of a married couple's divorce and its impact on everyone involved, including the couple's young son. It received five Academy Awards in 1979 in the categories of Best Picture, Best Director, Best Actor, Best Supporting Actress, and Best Adapted Screenplay.
Plot
Ted Kramer (Dustin Hoffman) is a workaholic advertising executive who has just been assigned a new and very important account. Ted arrives home and shares the good news with his wife Joanna (Meryl Streep) only to find that she is leaving him. Saying that she needs to find herself, she leaves Ted to raise their son Billy (Justin Henry) by himself. Ted and Billy initially resent one another as Ted no longer has time to carry his increased workload and Billy misses his mother's love and attention. After months of unrest, Ted and Billy learn to cope and gradually bond as father and son. Ted befriends his neighbor Margaret (Jane Alexander), who had initially counseled Joanna to leave Ted if she was that unhappy. Margaret is a fellow single parent, and she and Ted become kindred spirits. One day, as the two sit in the park watching their children play, Billy falls off the jungle gym, severely cutting his face. Ted sprints several
1979 Kramer vs. Kramer blocks through oncoming traffic carrying Billy to the hospital, where he comforts his son during treatment. Fifteen months after she walked out, Joanna returns to New York to claim Billy, and a custody battle ensues. During the custody hearing, both Ted and Joanna are unprepared for the brutal character assassinations that their lawyers unleash on the other. Margaret is forced to testify that she had advised an unhappy Joanna to leave Ted, though she also attempts to tell Joanna on the stand that her husband has profoundly changed. Eventually, the damaging facts that Ted was fired because of his conflicting parental responsibilities, forcing him to take a lower-paid job, come out in court, as do the details of Billy's accident. The court awards custody to Joanna, a decision mostly based on the assumption that a child is best raised by his mother. Ted discusses appealing the case, but his lawyer warns that Billy himself would have to take the stand in the resulting trial. Ted cannot bear the thought of submitting his child to such an ordeal and decides not to contest custody. On the morning that Billy is to move in with Joanna, Ted and Billy make breakfast together, mirroring the meal that Ted tried to cook the first morning after Joanna left. They share a tender hug knowing that this is their last daily breakfast together. Joanna calls on the intercom, asking Ted to come down to the lobby. She tells Ted how much she loves and wants Billy, but she knows his true home is with Ted. She will therefore not take him. As she enters the elevator to go and talk to Billy, she asks her ex-husband "How do I look?" The movie ends with the elevator doors closing on the emotional Joanna, right after Ted answers, "You look terrific."
430
Cast
Dustin Hoffman as Ted Kramer Meryl Streep as Joanna Kramer Justin Henry as Billy Kramer Jane Alexander as Margaret Phelps Petra King as Petie Phelps Melissa Morell as Kim Phelps Howard Duff as John Shaunessy George Coe as Jim O'Connor JoBeth Williams as Phyllis Bernard Howland Chamberlain as Judge Atkins Dan Tyra as Court Clerk
Production
Kate Jackson was originally offered the role played by Meryl Streep but was forced to turn it down. At the time, Jackson was appearing in the TV series Charlie's Angels, and producer Aaron Spelling told her that they were unable to rearrange the shooting schedule to give her time off to do the film.[2] At the time, Streep was cast as Phyllis (the one-night stand Ted has); this role was eventually given to JoBeth Williams when Streep was cast as Joanna.
Reception
The film received positive impact from critics, receiving 88% positive reviews on Rotten Tomatoes.[3] Roger Ebert of the Chicago Sun-Times gave the film four stars, giving praise to the screenplay by Robert Benton: "His characters aren't just talking to each other, they're revealing things about themselves and can sometimes be seen in the act of learning about their own motives. That's what makes Kramer vs. Kramer such a touching film: We get the feeling at times that personalities are changing and decisions are being made even as we watch them."[4]
431
Cultural impact
Kramer vs. Kramer reflected a cultural shift which occurred during the 1970s, when ideas about motherhood and fatherhood were changing. The film was widely praised for the way in which it gave equal weight and importance to both Joanna and Ted's points of view.[5]. In 1995, Akele Hum Akele Tum, a Hindi musical drama film was released which has been directly lifted from Kramer vs. Kramer. [6] The Mad Magazine spoof of the movie was titled "Crymore vs. Crymore".

The film won 5 Oscars, another 31 wins and 15 nominations. American Film Institute Lists AFI's 100 Years...100 Movies - Nominated[7] AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated[8] AFI's 10 Top 10 - #3 Courtroom Drama

Award Category Recipients and nominees Stanley R. Jaffe Robert Benton Dustin Hoffman Robert Benton Result
52nd Academy Awards
Academy Award for Best Picture Academy Award for Best Director Academy Award for Best Actor Academy Award for Best Writing, Screenplay Based on Material from Another Medium Academy Award for Best Supporting Actor Academy Award for Best Supporting Actress
Won Won Won Won Nominated Nominated Won Nominated Nominated Nominated Nominated Nominated Nominated Nominated Nominated Nominated Won Won Nominated
Justin Henry Jane Alexander Meryl Streep
Academy Award for Best Cinematography Academy Award for Best Film Editing 34th British Academy Film Awards BAFTA Award for Best Film BAFTA Award for Best Direction BAFTA Award for Best Actor in a Leading Role BAFTA Award for Best Actress in a Leading Role BAFTA Award for Best Screenplay BAFTA Award for Best Editing Csar Awards 1981 David di Donatello Awards Csar Award for Best Foreign Film David di Donatello for Best Foreign Film David di Donatello for Best Foreign Actor Special David
Nestor Almendros Jerry Greenberg Stanley R. Jaffe Robert Benton Dustin Hoffman Meryl Streep Robert Benton Jerry Greenberg Robert Benton Robert Benton Dustin Hoffman Justin Henry
432
Golden Globe Award for Best Motion Picture Drama Golden Globe Award for Best Director Golden Globe Award for Best Motion Picture Actor - Drama Golden Globe Award for Best Screenplay Golden Globe Award for Best Supporting Actor Golden Globe Award for Best Supporting Actress Stanley R. Jaffe Robert Benton Dustin Hoffman Robert Benton Justin Henry Jane Alexander Meryl Streep Golden Globe Award for New Star of the Year in a Motion Picture Justin Henry Male Won Won Won Won Nominated Nominated Won Nominated Won Won Won Won Won Won Won Won Won Won Won Won Won Won Nominated Won Won Nominated Won Won Nominated Won Nominated Won Nominated Won
37th Golden Globe Awards
Japan Academy Prize Blue Ribbon Awards Directors Guild of America
Japan Academy Prize for Outstanding Foreign Language Film Best Foreign Language Film Directors Guild of America Award for Outstanding Directing Feature Film Best International Picture Kansas City Film Critics Circle Award for Best Film Kansas City Film Critics Circle Award for Best Director Kansas City Film Critics Circle Award for Best Actor Kansas City Film Critics Circle Award for Best Supporting Actress
Robert Benton Robert Benton Robert Benton
Hochi Film Award Kansas City Film Critics Circle Awards 1979
Robert Benton Robert Benton Robert Benton Dustin Hoffman Meryl Streep Robert Benton Robert Benton Dustin Hoffman Meryl Streep
Los Angeles Film Critics Association Awards 1979
Los Angeles Film Critics Association Award for Best Film Los Angeles Film Critics Association Award for Best Director Los Angeles Film Critics Association Award for Best Actor Los Angeles Film Critics Association Award for Best Supporting Actress
National Board of Review Awards 1979 National Board of Review: Top Ten Films National Board of Review Award for Best Supporting Actress National Society of Film Critics Awards National Society of Film Critics Award for Best Film 1979 National Society of Film Critics Award for Best Director National Society of Film Critics Award for Best Actor National Society of Film Critics Award for Best Supporting Actress
Robert Benton Meryl Streep Robert Benton Robert Benton Dustin Hoffman Jane Alexander Meryl Streep
1979 New York Film Critics Circle Awards
New York Film Critics Circle Award for Best Film New York Film Critics Circle Award for Best Director New York Film Critics Circle Award for Best Actor New York Film Critics Circle Award for Best Supporting Actress
Robert Benton Robert Benton Dustin Hoffman Jane Alexander Meryl Streep
Writers Guild of America Award 2nd Youth in Film Awards
Writers Guild of America Award for Best Adapted Screenplay Young Artist Award for Best Leading Young Actor in a Feature Film
Robert Benton Justin Henry
433
Adaptation
Later remade in India as Akele Hum Akele Tum, starring Aamir Khan and Manisha Koirala.
References
[1] "Kramer vs Kramer (1979)" (http:/ / www. boxofficemojo. com/ movies/ ?id=kramervskramer. htm). Box Office Mojo. . Retrieved 2008-11-17. [2] Spelling, Aaron; Graham, Jefferson (1996). A Prime-Time Life: An Autobiography. New York: St. Martin's Press. p.112. ISBN0-312-14268-4. [3] "Kramer vs. Kramer (1979)" (http:/ / www. rottentomatoes. com/ m/ kramer_vs_kramer/ ). . Retrieved April 29, 2010. [4] "Kramer vs. Kramer (1979)" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19791201/ REVIEWS/ 41004001/ 1023). Chicago Sun-Times. . Retrieved April 29, 2010. [5] "Kramer vs. Kramer" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19791201/ REVIEWS/ 41004001/ 1023). Chicago Sun-Times. . [6] "Top 10 Bollywood movies copied from Hollywood" (http:/ / topyaps. com/ top-10-bollywood-movies-copied-from-hollywood/ ). 13 August 2012. . [7] AFI's 100 Years...100 Movies Nominees (http:/ / www. afi. com/ Docs/ 100Years/ movies400. pdf) [8] AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot (http:/ / www. afi. com/ Docs/ 100Years/ Movies_ballot_06. pdf)
External links
Kramer vs. Kramer (http://www.imdb.com/title/tt0079417/) at the Internet Movie Database Kramer vs. Kramer (http://www.allrovi.com/movies/movie/v27688) at AllRovi Kramer vs. Kramer (http://tcmdb.com/title/title.jsp?stid=4665) at the TCM Movie Database Kramer vs. Kramer (http://www.rottentomatoes.com/m/kramer_vs_kramer/) at Rotten Tomatoes
1980 Ordinary People
434

Ordinary People
Directed by Produced by Written by Based on Starring Robert Redford Ronald L. Schwary Alvin Sargent Nancy Dowd
Ordinary People by Judith Guest
Donald Sutherland Mary Tyler Moore Timothy Hutton Judd Hirsch Elizabeth McGovern Marvin Hamlisch
Music by
Cinematography John Bailey Editing by Distributed by Release date(s) Running time Country Language Budget Box office Jeff Kanew Paramount Pictures
September 19, 1980
Ordinary People is a 1980 American drama film that marked the directorial debut of Robert Redford. It stars Donald Sutherland, Mary Tyler Moore, Judd Hirsch and Timothy Hutton. The story concerns the disintegration of an upper-middle class family in Lake Forest, Illinois, following the death of one of their two sons in a boating accident. The screenplay by Alvin Sargent was based upon the 1976 novel Ordinary People by Judith Guest. The film was a critical and commercial success, winning that year's Academy Award for Best Picture as well as three other Oscars, including one for Timothy Hutton.
Plot
The Jarretts are an upper-middle-class family trying to return to normal life after the death of one teenage son and the attempted suicide of their surviving son, Conrad (Timothy Hutton). Conrad has recently returned home from a four-month stay in a psychiatric hospital. He feels alienated from his friends and family, and begins seeing a psychiatrist, Dr. Berger (Judd Hirsch). Berger learns that Conrad was involved in a sailing accident in which his older brother, Buck (whom everyone idolized), died. Conrad now deals with post-traumatic stress disorder and survivor's guilt. Conrad's father, Calvin (Donald Sutherland), awkwardly tries to connect with his surviving son and understand his wife. Conrad's mother, Beth (Mary Tyler Moore) denies her loss, hoping to maintain her composure and restore her family to what it once was. She appears to have loved her elder son more (though perhaps more what he
1980 Ordinary People represented), and because of the suicide attempt, has now grown cold toward Conrad. She is determined to maintain the appearance of perfection and normality. Conrad works with Dr. Berger, and learns to try to deal with, rather than control his emotions. He starts dating a fellow student, Jeannine (Elizabeth McGovern), who helps him to begin to regain a sense of optimism. Conrad, however, still struggles to communicate and re-establish a normal relationship with his parents and schoolmates including Stillman (Adam Baldwin) with whom he gets into a fist fight. He cannot seem to allow anyone, especially Beth, to get close. Beth makes several constrained attempts to appeal to Conrad for some semblance of normality, but Conrad again rebuffs her. Mother and son often argue while Calvin tries to referee, generally taking Conrad's side for fear of pushing him over the edge again. Things come to a climax near Christmas, when Conrad becomes furious at Beth for not wanting to take a photo with him, swearing at her in front of his grandparents. Afterward, Beth discovers Conrad has been lying about his after-school whereabouts. This leads to a heated argument between Conrad and Beth in which Conrad points out that Beth never visited him in the hospital. He says "You would have visited Buck if he was in the hospital", to which she replies "Buck would have never been in the hospital". Beth and Calvin take a trip to see Beths brother in Houston where Calvin confronts Beth, calling her out on her attitude. In a moment of utter rage, Beth shouts at Calvin, "Why can't you see my side?" and "what kind of mother doesnt love her son?" It is a public outburst underlining the depth of what a normally, overtly repressed Beth is suffering. Conrad suffers a setback when he learns that Karen, a friend of his from the psychiatric hospital (Dinah Manoff) has committed suicide. However, a cathartic breakthrough session with Dr. Berger allows Conrad to stop blaming himself for Buck's death and accept his mother's frailties. Calvin, however, emotionally confronts Beth one last time. He questions their love, and asks whether she is capable of truly loving anyone. Stunned, Beth decides to flee her family rather than deal with her own, or their, emotions. Calvin and Conrad are left to come to terms with their new family situation.
435
Cast
Donald Sutherland as Calvin Jarrett Mary Tyler Moore as Beth Jarrett Timothy Hutton as Conrad Jarrett Judd Hirsch as Dr. Tyrone C. Berger Elizabeth McGovern as Jeannine Pratt M. Emmet Walsh as Coach Salan Dinah Manoff as Karen Aldrich Fredric Lehne as Lazenby James B. Sikking as Ray Hanley Basil Hoffman as Sloan Quinn Redeker as Ward Mariclare Costello as Audrey Meg Mundy as Grandmother Elizabeth Hubbard as Ruth Adam Baldwin as Stillman Richard Whiting as Grandfather Scott Doebler as Jordan "Buck" Jarrett (in flashback)
436
Production
Robert Redford was looking for his first job as a director. He read the novel, was immediately stunned by its plot and knew this was the film to start his directing career. After meeting with the author, Judith Guest, he bought the rights to the novel to adapt it into a film. After that, he looked for a distributor. He met with Paramount Pictures, which offered to distribute the film and bankroll production on a very short budget ($6 million). He also acquired Academy Award-nominated producer Ronald L. Schwary. Redford hired Alvin Sargent to adapt the novel into a screenplay. Sargent won an Oscar in 1978 for the screen adaptation of Julia and had been nominated previously for the screen adaptation of Paper Moon. Sargent kept the Ordinary People script faithful to the book, though he did somewhat augment the rather minimal character development found in the novel. The film was shot in Lake Forest, Illinois, where the story took place, and nearby Highland Park and Lake Bluff. One scene was shot along the Chicago River in The Loop. The golf scene was shot in Apple Valley, California, and interior shots were filmed in Fort Sheridan, Illinois. The high school scenes were shot at Lake Forest High School (with the swimming pool scenes done at Lake Forest College). The shopping mall was Northbrook Court in Northbrook, Illinois. One scene of the storm sequence, where Conrad's brother is killed, was filmed on a soundstage at Paramount Studios. The film was shot in 1.85:1 on 35mm stock.
Reception
Robert Redford and Timothy Hutton both won Academy Awards for their respective debuts: Redford as Best Director and Hutton as Best Supporting Actor. The film marked Mary Tyler Moore's career breakout from the personality of her other two famous roles as Laura Petrie on The Dick Van Dyke Show and Mary Richards on The Mary Tyler Moore Show. Moore's role was well received and obtained a nomination for Best Actress. The film also won Best Picture for 1980. Judd Hirsch's portrayal of Dr. Berger was likewise a departure from his work on the sitcom Taxi, and has drawn praise from many in the psychiatric community as one of the rare times their profession is shown in a positive light in film,[1] although some consider his portrayal to be too positive, thus lending an air of one-dimensionality.[2] Hirsch was also nominated for Best Supporting Actor, losing out to co-star Hutton. Donald Sutherland's performance in the film was also well received and was nominated for a Golden Globe Award. He was not nominated for an Academy Award along with his co-stars, however, which today is considered one of the worst acting snubs in the history of the Academy Awards.[3] Ordinary People launched the career of Elizabeth McGovern, who received special permission to film while attending Juilliard. 1980 was also a break-out year for Adam Baldwin, who had a small role in Ordinary People while starring in My Bodyguard the same year. Ordinary People received very positive reviews from critics. Roger Ebert gave it four stars,[4] calling it "one of the year's best films, probably of the decade" and later named it the fifth best film of the year 1980. Pachelbel's Canon, used as thematic and background music, enjoyed a surge in popularity as a result. It has remained popular since then. The film was a box office success, grossing $54 million at theaters and $23 million in rentals.
437
Awards
Wins Academy Award for Best Picture Academy Award for Directing - Robert Redford Academy Award for Best Supporting Actor - Timothy Hutton Academy Award for Writing Adapted Screenplay - Alvin Sargent Golden Globe Award for Best Motion Picture Drama Golden Globe Award for Best Director - Robert Redford Golden Globe Award for Best Actress Motion Picture Drama Mary Tyler Moore Golden Globe Award for Best Supporting Actor - Timothy Hutton Golden Globe Award for New Star of the Year in a Motion Picture Male - Timothy Hutton WGA Award for Best Screenplay Based on Material from Another Medium - Alvin Sargent Directors Guild of America Award for Outstanding Directorial Achievement in Motion Pictures - Robert Redford New York Film Critics Circle Award for Best Picture
Nominations Academy Award for Best Actress - Mary Tyler Moore Academy Award for Best Supporting Actor - Judd Hirsch Golden Globe Award for Best Actor Motion Picture Drama - Donald Sutherland Golden Globe Award for Best Supporting Actor - Judd Hirsch Golden Globe Award for Best Screenplay - Motion Picture - Alvin Sargent BAFTA Award for Best Actress - Mary Tyler Moore
References
[1] Martin, Linda B.; January 25, 1981; The Psychiatrist in Today's Movies: He's Everywhere and He's in Deep Trouble (http:/ / query. nytimes. com/ gst/ fullpage. html?sec=health& res=9901EFD8153BF936A15752C0A967948260); The New York Times; retrieved September 13, 2006 [2] Pies, Ron; 2001 Psychiatry in the Media: The Vampire, The Fisher King, and The Zaddik (http:/ / www. mundanebehavior. org/ issues/ v2n1/ pies. htm); Journal of Mundane Behavior; retrieved September 14, 2006. [3] Entertainment Weekly. "25 Biggest Oscar Snubs Ever: Donald Sutherland, Ordinary People" (http:/ / www. ew. com/ ew/ gallery/ 0,,20007870_20164474_20179544_10,00. html). . Retrieved 2010-02-13. [4] Ordinary People review (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19800101/ REVIEWS/ 1010325/ 1023) from Roger Ebert
External links
Ordinary People (http://www.imdb.com/title/tt0081283/) at the Internet Movie Database Ordinary People (http://www.allrovi.com/movies/movie/v36600) at AllRovi Ordinary People (http://www.boxofficemojo.com/movies/?id=ordinarypeople.htm) at Box Office Mojo Ordinary People (http://www.rottentomatoes.com/m/ordinary_people/) at Rotten Tomatoes
1981 Chariots of Fire
438

Chariots of Fire
Film poster
Directed by Produced by Written by Starring Hugh Hudson David Puttnam Colin Welland Ben Cross Ian Charleson Nigel Havers Cheryl Campbell Alice Krige Ian Holm Vangelis
Music by
Cinematography David Watkin Editing by Studio Distributed by Terry Rawlings Allied Stars Ltd Enigma Productions The Ladd Company (Warner Bros.) (US) 20th Century Fox (international)
Release date(s) Running time Country Language Budget Box office
30 March 1981 (Royal Command Film Performance)
124 minutes United Kingdom English 3 million

[1]
$58,972,904
Chariots of Fire is a 1981 British historical drama film. It tells the fact-based story of two athletes in the 1924 Olympics: Eric Liddell, a devout Scottish Christian who runs for the glory of God, and Harold Abrahams, an English Jew who runs to overcome prejudice. The film was written by Colin Welland and directed by Hugh Hudson. It was nominated for seven Academy Awards and won four, including Best Picture. It is ranked 19th in the British Film Institute's list of Top 100 British films. The film's title was inspired by the line, "Bring me my chariot of fire," from the William Blake poem adapted into the popular British hymn "Jerusalem"; the hymn is heard at the end of the film.[2] The original phrase "chariot(s) of fire" is from 2 Kings 2:11 and 6:17 in the Bible.
Plot
In 1919, Harold Abrahams (Ben Cross) enters the University of Cambridge, where he experiences anti-Semitism from the staff, but enjoys participating in the Gilbert and Sullivan club. He becomes the first person to ever complete the Trinity Great Court Run running around the college courtyard in the time it takes for the clock to strike 12. Abrahams achieves an undefeated string of victories in various national running competitions. Although focused on his running, he falls in love with a leading Gilbert and Sullivan soprano, Sybil (Alice Krige).
1981 Chariots of Fire Eric Liddell (Ian Charleson), born in China of Scottish missionary parents, is in Scotland. His devout sister Jennie (Cheryl Campbell) disapproves of Liddell's plans to pursue competitive running. But Liddell sees running as a way of glorifying God before returning to China to work as a missionary. When they first race against each other, Liddell beats Abrahams. Abrahams takes it extremely badly, but Sam Mussabini (Ian Holm), a professional trainer whom he had approached earlier, offers to take him on to improve his technique. This attracts criticism from the Cambridge college masters (John Gielgud and Lindsay Anderson). They allege it is ungentlemanly for an amateur to "play the tradesman" by employing a professional coach. Abrahams realizes this is a cover for their anti-Semitism and class-based sense of superiority, and dismisses their concern. When Eric Liddell accidentally misses a church prayer meeting because of his running, his sister Jennie upbraids him and accuses him of no longer caring about God. Eric tells her that though he intends to eventually return to the China mission, he feels divinely inspired when running, and that not to run would be to dishonour God: "I believe that God made me for a purpose. But He also made me fast, and when I run, I feel His pleasure." The two athletes, after years of training and racing, are accepted to represent Great Britain in the 1924 Olympics in Paris. Also accepted are Abrahams' Cambridge friends, Lord Andrew Lindsay (Nigel Havers), Aubrey Montague (Nicholas Farrell), and Henry Stallard (Daniel Gerroll). While boarding the boat to Paris for the Olympics, Liddell learns the news that the heat for his 100 metre race will be on a Sunday. He refuses to run the race despite strong pressure from the Prince of Wales and the British Olympic committee because his Christian convictions prevent him from running on the Sabbath. Hope appears in the form of Liddell's teammate Lord Andrew Lindsay. Having already won a silver medal in the 400 metres hurdles, Lindsay proposes to yield his place in the 400 metre race on the following Thursday to Liddell, who gratefully agrees. His religious convictions in the face of national athletic pride make headlines around the world. Liddell delivers a sermon at the Paris Church of Scotland that Sunday, and quotes from Isaiah 40, ending with: But they that wait upon the Lord shall renew their strength; they shall mount up with wings as eagles; they shall run, and not be weary; and they shall walk, and not faint. Abrahams is badly beaten by the heavily favoured United States runners in the 200 metre race. He knows his last chance for a medal will be the 100 metres. He competes in the race, and wins. His coach Sam Mussabini is overcome that the years of dedication and training have paid off with an Olympic gold medal. Now Abrahams can get on with his life and reunite with his girlfriend Sybil, whom he had neglected for the sake of running. Before Liddell's race, the American coach remarks dismissively to his runners that Liddell has little chance of doing well in his now far longer 400 metre race. But one of the American runners, Jackson Scholz, hands Liddell a note of support for his convictions. Liddell defeats the American favourites and wins the gold medal. The British team returns home triumphant. As the film ends, onscreen text explains that Abrahams married Sybil, and became the elder statesman of British athletics. Eric Liddell went on to missionary work in China. All of Scotland mourned his death in 1945 in Japanese-occupied China.
439
Cast
Ben Cross as Harold Abrahams, a Jewish student at Cambridge University Ian Charleson as Eric Liddell, the son of Scottish missionaries to China Nicholas Farrell as Aubrey Montague, a runner and friend of Harold Abrahams Nigel Havers as Lord Andrew Lindsay, a Cambridge student runner partially based on David Burghley and Douglas Lowe Ian Holm as Sam Mussabini, Britain's greatest running coach John Gielgud as Master of Trinity College at Cambridge University Lindsay Anderson as Master of Caius College at Cambridge University Cheryl Campbell as Jennie Liddell, Eric's devout sister (Janet Lillian "Jenny" Liddell)
1981 Chariots of Fire Alice Krige as Sybil Gordon, Abrahams' fiance (his actual fiance was Sybil Evers) Struan Rodger as Sandy McGrath, Liddell's friend and running coach Nigel Davenport as Lord Birkenhead, member of the British Olympic Committee, who counsels the athletes Patrick Magee as Lord Cadogan, chairman of the British Olympics Committee, who is unsympathetic to Liddell's religious plight David Yelland as the Prince of Wales, who tries to get Liddell to change his mind about running on Sunday Peter Egan as the Duke of Sutherland, president of the British Olympic Committee, who is sympathetic to Liddell Daniel Gerroll as Henry Stallard, a Cambridge student and runner Dennis Christopher as Charley Paddock, American Olympic runner Brad Davis as Jackson Scholz, American Olympic runner
440
Historical accuracy
Characters
The film depicts Abrahams as attending Gonville and Caius College, Cambridge with three other Olympic athletes: Henry Stallard, Aubrey Montague, and Lord Andrew Lindsay. Abrahams and Stallard were in fact students there and competed in the 1924 Olympics. Montague also competed in the Olympics as depicted, but he attended Oxford, not Cambridge.[3] Aubrey Montague sent daily letters to his mother about his time at Oxford and the Olympics; these letters were the basis of Montague's narration in the film. The character of Lindsay was based partially on Lord Burghley, a significant figure in the history of British athletics. Although Burghley did attend Cambridge, he was not a contemporary of Harold Abrahams, as Abrahams was an undergraduate from 1919 to 1923 and Burghley was at Cambridge from 1923 to 1927. One scene in the film depicts the Burghley-based "Lindsay" as practising hurdles on his estate with full champagne glasses placed on each hurdle this was something the wealthy Burghley did, although he used matchboxes instead of champagne glasses.[4] The fictional character of Lindsay was created when Douglas Lowe, who was Britain's third athletics gold medallist in the 1924 Olympics, was not willing to be involved with the film.[5] Another scene in the film recreates the Great Court Run, in which the runners attempt to run around the perimeter of the Great Court at Trinity College, Cambridge in the time it takes the clock to strike 12 at midday. The film shows Abrahams performing the feat for the first time in history. In fact, Abrahams never attempted this race, and at the time of filming the only person on record known to have succeeded was Lord Burghley, in 1927. In Chariots of Fire, Lindsay, who is based on Lord Burghley, runs the Great Court Run with Abrahams in order to spur him on, and crosses the finish line just a moment too late. Since the film's release, the Great Court Run has also been successfully run by Trinity undergraduate Sam Dobin, in October 2007.[6] In the film, Eric Liddell is tripped up by a Frenchman in the 400 metre event of a ScotlandFrance international athletic meeting. He recovers, makes up a 20 metre deficit, and wins. This was based on fact; the actual race was the 440 yards at a Triangular Contest meet between Scotland, England, and Ireland at Stoke-on-Trent in England in July 1923. His achievement was remarkable as he had already won the 100- and 220-yard events that day.[7] Also unmentioned with regard to Liddell is that it was he who introduced Abrahams to Sam Mussabini.[8] This is alluded to: In the film Abrahams first encounters Mussabini while he is watching Liddell race. The film, however, suggests that Abrahams himself sought Mussabini's assistance. Abrahams' fiancee is misidentified as Sybil Gordon, a soprano at the D'Oyly Carte Opera Company. In fact, in 1936, Abrahams married Sybil Evers, a mezzo-soprano in the D'Oyly Carte, but they did not meet until 1935.[9] Also, in the film, Sybil is depicted as singing the role of Yum-Yum in The Mikado, but neither Sybil Gordon nor Sybil Evers ever sang that role with D'Oyly Carte.[10][11] Harold Abrahams' love of and heavy involvement with Gilbert and Sullivan, as depicted in the film, is factual.[12]
1981 Chariots of Fire Liddell's sister was several years younger than she was portrayed in the film. Her disapproval of Liddell's track career was creative licence; she actually fully supported his sporting work. Jenny Liddell Somerville cooperated fully with the making of the film and has a brief cameo in the Paris Church of Scotland during Liddell's sermon.[13] At the memorial service for Harold Abrahams, which opens the film, Lord Lindsay mentions that he and Aubrey Montague are the only members of the 1924 Olympic team still alive. However Montague had died in 1948, 30 years before Abrahams' death.
441
1924 Olympics
The film takes some liberties with the events at the 1924 Olympics, including the events surrounding Liddell's refusal to race on a Sunday. In the film, he doesn't learn that the 100 metre heat is to be held on the Christian Sabbath until he is boarding the boat to Paris. In fact, the schedule was made public several months in advance. Liddell did however face immense pressure to run on that Sunday and to compete in the 100 metres, getting called before a grilling by the British Olympic Committee, the Prince of Wales, and other grandees;[12] and his refusal to run made headlines around the world.[14] The decision to change races was, even so, made well before embarking to Paris, and Liddell spent the intervening months training for the 400 metres, an event in which he had previously excelled. It is true, nonetheless, that Liddell's success in the Olympic 400m was largely unexpected. The film depicts Lindsay, having already won a medal in the 400 metre hurdles, giving up his place in the 400 metre race for Liddell. In fact Burghley, on whom Lindsay is loosely based, was eliminated in the heats of the 110 hurdles (he would go on to win a gold medal in the 400 hurdles at the 1928 Olympics), and was not entered for the 400 metres. The film reverses the order of Abrahams' 100m and 200m races at the Olympics. In reality, after winning the 100 metres race, Abrahams ran the 200 metres but finished last, Jackson Scholz taking the gold medal. In the film, before his triumph in the 100m, Abrahams is shown losing the 200m and being scolded by Mussabini. And during the following scene in which Abrahams speaks with his friend Montague while receiving a massage from Mussabini, there is a French newspaper clipping showing Scholz and Charlie Paddock with a headline which states that the 200 metres was a triumph for the United States. In the same conversation, Abrahams laments getting "beaten out of sight" in the 200. The film thus has Abrahams overcoming the disappointment of losing the 200 by going on to win the 100, a reversal of the real order. In the film the Canadian Flag is shown with a maple leaf however in the 1920s it was either the Red Ensign or the Union Jack. The Maple Leaf only became the national flag in 1965 Eric Liddell actually also ran in the 200m race, and finished third, behind Paddock and Scholz. This was the only time in reality that Liddell and Abrahams competed in the same race. Their meeting in the 1923 AAA Championship in the film was fictitious, though Liddell's record win in that race did spur Abrahams to train even harder.[15] Abrahams also won a silver medal as an opening runner for the 4 x 100 metres relay team, not shown in the film. Aubrey Montague placed sixth in the steeplechase, as depicted.[3] Personal inaccuracies at the Olympics In the film, the 100m bronze medallist is a character called "Tom Watson"; the real medallist was Arthur Porritt of New Zealand, who refused permission for his name to be used in the film, allegedly out of modesty. His wish was accepted by the film's producers, even though his permission was not necessary.[16] However, the brief back-story given for Watson, who is called up to the New Zealand team from the University of Oxford, substantially matches Porritt's history. With the exception of Porritt, all the runners in the 100m final are identified correctly when they line up for inspection by the Prince of Wales. Jackson Scholz is depicted as handing Liddell an inspirational Bible-quotation message before the 400 metres final: "It says in the good Book, 'He that honors me, I will honor.' Good luck."[17] In reality, the note was from members of the British team, and was handed to Liddell before the race by his attending masseur at the team's Paris hotel.[18] For
1981 Chariots of Fire dramatic purposes, screenwriter Welland asked Scholz if he could be depicted handing the note, and Scholz readily agreed, saying "Yes, great, as long as it makes me look good."[12][19]
442
Production details
Script and direction
Producer David Puttnam was looking for a story in the mould of A Man for All Seasons (1966), regarding someone who follows their conscience, and felt sports provided clear situations in this sense.[20] He discovered Eric Liddell's story by accident in 1977, when he happened upon a reference book on the Olympics while housebound from the flu in a rented house in Los Angeles.[21][22] Screenwriter Colin Welland, commissioned by Puttnam, did an enormous amount of research for his Academy Award-winning script. Among other things, he took out advertisements in London newspapers seeking memories of the 1924 Olympics, went to the National Film Archives for pictures and footage of the 1924 Olympics, and interviewed everyone involved who was still alive. Welland just missed Abrahams, who died 14 January 1978, but he did attend Abrahams' February 1978 memorial service, which inspired the present-day framing device of the film.[4] Aubrey Montague's son saw Welland's newspaper ad and sent him copies of the letters his father had sent home which gave Welland something to use as a narrative bridge in the film. Except for changes in the greetings of the letters from "Darling Mummy" to "Dear Mum" and the change from Oxford to Cambridge, all of the readings from Montague's letters are from the originals.[12] Welland's original script also featured, in addition to Eric Liddell and Harold Abrahams, a third protagonist, 1924 Olympic gold medallist Douglas Lowe, who was presented as a privileged aristocratic athlete. However, Lowe refused to have anything to do with the film, and his character was written out and replaced by the fictional character of Lord Andrew Lindsay.[23] Ian Charleson himself wrote Eric Liddell's speech to the post-race workingmen's crowd at the Scotland v. Ireland races. Charleson, who had studied the Bible intensively in preparation for the role, told director Hugh Hudson that he didn't feel the portentous and sanctimonious scripted speech was either authentic or inspiring. Hudson and Welland allowed him to write words he personally found inspirational instead.[24] The film was slightly altered for the U.S. audience. A brief scene depicting a pre-Olympics cricket game between Abrahams, Liddell, Montague, and the rest of the British track team appears shortly after the beginning of the original film. For the American audience, this brief scene was deleted. In the U.S., to avoid the initial child's G rating, which might have hindered box office sales, a different scene was used one depicting Abrahams and Montague arriving at a Cambridge railway station and encountering two World War I veterans who use an obscenity in order to be given a PG rating.[25] Puttnam chose Hugh Hudson, a multiple award-winning advertising and documentary filmmaker who had never helmed a feature film, to direct Chariots of Fire. Hudson and Puttnam had known each other since the 1960s, when Puttnam was an advertising executive and Hudson was making films for ad agencies. In 1977, Hudson had also been second-unit director on the Puttnam-produced film Midnight Express.[26]
Music
Although the film is a period piece, set in the 1920s, the Academy Award-winning original soundtrack composed by Vangelis uses a modern 1980s electronic sound, with a strong use of synthesizer and piano among other instruments. This was a bold and significant departure from earlier period films, which employed sweeping orchestral instrumentals. The title theme of the film has become iconic, and has been used in subsequent films and television shows during slow-motion segments.
1981 Chariots of Fire Vangelis, a Greek-born electronic composer who moved to Paris in the late 1960s, had been living in London since 1974.[27] Director Hugh Hudson had collaborated with him on documentaries and commercials, and was also particularly impressed with his 1979 albums Opera Sauvage and China.[28] David Puttnam also greatly admired Vangelis's body of work, having originally selected his compositions for his previous film Midnight Express.[29] Hudson made the choice for Vangelis and for a modern score: "I knew we needed a piece which was anachronistic to the period to give it a feel of modernity. It was a risky idea but we went with it rather than have a period symphonic score."[26] The soundtrack had a personal significance to Vangelis: After composing the iconic theme tune he told Puttnam, "My father is a runner, and this is an anthem to him."[4][27] Hudson originally wanted Vangelis's 1977 tune "L'Enfant",[30] from his Opera Sauvage album, to be the title theme of the film, and the beach running sequence was actually filmed with "L'Enfant" playing on loudspeakers for the runners to pace to. Vangelis finally convinced Hudson he could create a new and better piece for the film's main theme and when he played the now-iconic "Chariots of Fire" theme for Hudson, it was agreed the new tune was unquestionably better.[31] The "L'Enfant" melody still made it into the film: When the athletes reach Paris and enter the stadium, a brass band marches through the field, and first plays a modified, acoustic performance of the piece.[32] Vangelis's electronic "L'Enfant" track eventually was used prominently in the 1982 film The Year of Living Dangerously. Some pieces of Vangelis's music in the film did not end up on the film's soundtrack album. One of them is the background music to the race Eric Liddell runs in the Scottish highlands. This piece is a version of "Hymn", the original version of which appears on Vangelis's 1979 album, Opra sauvage. Various versions are also included on Vangelis's compilation albums Themes, Portraits, and Odyssey: The Definitive Collection, though none of these include the version used in the film. Five lively Gilbert and Sullivan tunes also appear in the soundtrack, and serve as jaunty period music which nicely counterpoints Vangelis's modern electronic score. These are: "He is an Englishman" from H.M.S. Pinafore, "Three Little Maids from School Are We" from The Mikado, "With Catlike Tread" from The Pirates of Penzance, "The Soldiers of Our Queen" from Patience, and "There Lived a King" from The Gondoliers. The film also incorporates a major traditional work: "Jerusalem", sung by a British choir at the 1978 funeral of Harold Abrahams. The hymn, which was written during World War I as a celebration of England and which has become "England's unofficial national anthem",[33] concludes the film and inspired its title.[34] A handful of other traditional anthems and hymns and period-appropriate instrumental ballroom-dance music round out the film's soundtrack.
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Casting
Director Hugh Hudson was determined to cast young, unknown actors in all the major roles of the film, and to back them up by using veterans like John Gielgud, Lindsay Anderson, and Ian Holm as their supporting cast. Hudson and producer David Puttnam did months of fruitless searching for the perfect actor to play Eric Liddell. They then saw Scottish stage actor Ian Charleson performing the role of Pierre in the Royal Shakespeare Company's production of Piaf, and knew immediately they had found their man. Unbeknownst to them, Charleson had heard about the film from his father, and desperately wanted to play the part, feeling it would "fit like a kid glove".[35] Ben Cross, who plays Harold Abrahams, was discovered while playing Billy Flynn in Chicago. In addition to having a natural pugnaciousness, he had the desired ability to sing and play the piano.[12][36] Cross was thrilled to be cast, and said he was moved to tears by the film's script.[37] 20th Century Fox, which put up half of the production budget in exchange for distribution rights outside of North America,[38] insisted on having a couple of notable American names in the cast.[22] Thus the small parts of the two American champion runners, Jackson Scholz and Charlie Paddock, were cast with recent headliners: Brad Davis had recently starred in Midnight Express (also produced by Puttnam), and Dennis Christopher had recently starred, as a young bicycle racer, in the popular indie film Breaking Away.[37]
1981 Chariots of Fire All of the actors portraying runners underwent a gruelling three-month training intensive, with renowned running coach Tom McNab. This training and isolation of the actors also created a strong bond and sense of camaraderie among them.[37]
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Filming locations
The famous beach scenes associated with the theme tune were filmed at West Sands, St. Andrews. A plaque commemorating the filming can be found there today. The very last scene of the opening titles crosses the 1st and 18th holes of the Old Course at St. Andrews Links.[39][40] All of the Cambridge scenes were actually filmed at Hugh Hudson's alma mater Eton College, because Cambridge refused filming rights, fearing depictions of anti-Semitism. The Cambridge administration greatly regretted the decision after the film's enormous success.[12] Liverpool Town Hall was the setting for the scenes depicting the British Embassy in Paris.[12] The Colombes Olympic Stadium in Paris was represented by The Oval Sports Centre, Bebington, Merseyside.[41] The nearby Woodside ferry terminal was used to represent the embarkation scenes set in Dover.[41] The railway station scenes were filmed at the National Railway Museum in York.[12] The scene depicting a performance of The Mikado was filmed in the Savoy Theatre with members of the D'Oyly Carte Opera Company.[42] The dinner scene between Harold and Sybil was filmed at the Caf Royal Oyster Bar in Edinburgh.[43]
Revival for the 2012 Olympics

Chariots of Fire is a recurring theme in promotions for the 2012 Summer Olympics in London. The film's theme tune was featured at the opening of the 2012 London New Years fireworks celebrating the Olympics,[44] and the film's iconic beach-running scene and theme tune were utilized in The Sun's "Let's Make It Great, Britain" Olympic ads.[45] The runners who first tested the new Olympic Park were spurred on by the Chariots of Fire theme tune,[46] and the iconic music was also used to fanfare the carriers of the Olympic flame on parts of its route through the UK.[47][48] The film's theme was also performed by the London Symphony The Chariots of Fire stage adaptation: Stars Jack Lowden and James McArdle flank Orchestra, conducted by Simon Rattle, Vangelis, watching the Olympic Torch Relay set to the iconic tune, from the Gielgud Theatre, July 2012. during the Opening Ceremony of the games; the performance was accompanied by a comedic skit by Rowan Atkinson which included the opening beach-running footage from the film.[49] The film's theme tune is also played during each medal ceremony of the 2012 Olympics.
Stage adaptation
A stage adaptation of Chariots of Fire has been mounted in honour of the 2012 Olympics. The play, Chariots of Fire, which was adapted by playwright Mike Bartlett and includes the iconic Vangelis score, ran 9 May to 16 June
1981 Chariots of Fire 2012 at London's Hampstead Theatre, and transferred to the Gielgud Theatre in the West End on 23 June, where it runs through 10 November 2012.[50] It stars Jack Lowden as Eric Liddell and James McArdle as Harold Abrahams, and Edward Hall directs. Stage designer Miriam Buether transformed each theatre into an Olympic stadium, and composer Jason Carr composed additional music.[51][52][53] Vangelis also created several new pieces of music for the production.[54][55] The stage version for the London Olympic year was the idea of the film's director, Hugh Hudson, who is co-producing the play; he stated, "Issues of faith, of refusal to compromise, standing up for one's beliefs, achieving something for the sake of it, with passion, and not just for fame or financial gain, are even more vital today."[56] Another play, Running for Glory, written by Philip Dart, based on the 1924 Olympics, and focusing on Abrahams and Liddell, toured parts of Britain from 25 February through 1 April 2012. It starred Nicholas Jacobs as Harold Abrahams, and Tom Micklem as Eric Liddell.[57][58]
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UK cinematic re-release, Blu-ray

As an official part of the London 2012 Festival celebrations, a new digitally re-mastered version of the film screened in 150 cinemas throughout the UK. The re-release began 13 July 2012, two weeks before the opening ceremony of the London Olympics.[59] A Blu-ray of the film was released 10 July 2012 in North America,[60] and was released 16 July 2012 in the UK.[61] The release includes nearly an hour of special features, a CD sampler, and a 32-page "digibook".[62][63]
Awards and recognition

Academy Awards (1981)
Chariots of Fire was very successful at the 54th Academy Awards. When he accepted his Oscar for Best Original Screenplay Colin Welland famously announced "The British are coming". Best Picture David Puttnam, producer won Original Music Score Vangelis won Writing Original Screenplay Colin Welland won Costume Design Milena Canonero won Best Supporting Actor Ian Holm nominated Directing Hugh Hudson nominated Film Editing Terry Rawlings nominated
Cannes Film Festival (1981)

At the 1981 Cannes Film Festival the film won two awards and competed for the Palme d'Or.[64] Best Supporting Actor Ian Holm won Prize of the Ecumenical Jury Special Mention Hugh Hudson won Palme d'Or (Golden Palm) Hugh Hudson nominated
BAFTA Awards (1981)

BAFTA Award for Best Film (1981) won
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Popular lists
BFI Top 100 British films (1999) rank 19 Hot 100 No. 1 Hits of 1982 (USA) (8 May) Vangelis, Chariots of Fire theme AFI's 100 Years... 100 Cheers (2006) rank 100
References
Chapman, James. "The British Are Coming: Chariots of Fire (1981)" [65]. In: Past and Present: National Identity and the British Historical Film. London: I.B. Tauris & Co, 2005. pp.270298. Ryan, Mark. Running with Fire: The True Story of Chariots of Fire Hero Harold Abrahams [66]. Robson Press, 2012 (paperback). (Original hardback: JR Books Ltd, 2011.)
Notes
[1] Alexander Walker, Icons in the Fire: The Rise and Fall of Practically Everyone in the British Film Industry 1984-2000, Orion Books, 2005 p28 [2] Dans, Peter E. Christians in the Movies: A Century of Saints and Sinners. (http:/ / books. google. co. uk/ books?id=52GpN0Hzxd8C& pg=PA222& dq=colin+ welland+ jerusalem+ "chariots+ of+ fire"& hl=en& ei=3EdJTPqqKovSsAP97PFI& sa=X& oi=book_result& ct=result& resnum=2& ved=0CDEQ6AEwAQ#v=onepage& q=colin welland jerusalem "chariots of fire"& f=false) Rowman & Littlefield, 2009. p. 223. [3] Aubrey Montague biography (http:/ / www. sports-reference. com/ olympics/ athletes/ mo/ evelyn-montague-1. html) at SportsReference.com [4] McLaughlin, John. "In Chariots They Ran" (http:/ / www. runnersworld. com/ article/ printer/ 1,7124,s6-243-297--14187-0,00. html). Runner's World. February 2012. [5] Chapman, pp. 275, 295. [6] "Modern-day hero runs away with Chariots of Fire challenge." (http:/ / www. dailymail. co. uk/ news/ article-490027/ Modern-day-hero-runs-away-Chariots-Fire-challenge. html) Daily Mail 27 October 2007. [7] Ramsey, Russell W. (1987). God's Joyful Runner. Bridge Publishing, Inc. p.54. ISBN0-88270-624-1. [8] "A Sporting Nation: Eric Liddell" (http:/ / www. bbc. co. uk/ scotland/ sportscotland/ asportingnation/ article/ 0019/ ). BBC.co.uk. . Retrieved 13 March 2012. [9] Rosen, Karen. "The Real Chariots of Fire: Hollywood Took Liberties with Gold Medalist's Life." Atlanta Journal-Constitution, 13 October 1995. [10] Stone, David. Sybil Gordon (http:/ / math. boisestate. edu/ gas/ whowaswho/ G/ GordonSybil. htm) at the Who Was Who in the D'Oyly Carte Opera Company website, 11 July 2002. Retrieved 8 November 2009 [11] Stone, David. Sybil Evers (http:/ / diamond. boisestate. edu/ gas/ whowaswho/ E/ EversSybil. htm) at the Who Was Who in the D'Oyly Carte Opera Company website, 28 January 2002. Retrieved 8 November 2009 [12] Hugh Hudson's commentary to the 2005 Chariots of Fire DVD [13] Ramsey, Russell W. A Lady A Peacemaker (http:/ / books. google. com/ books?id=2AGEFpEByIoC& pg=PP4& dq=eric+ liddell+ jenny& num=100& cd=4#). Boston: Branden Publishing Company, 1988. [14] Murray, Feg. "DID YOU KNOW THAT ..." (http:/ / pqasb. pqarchiver. com/ latimes/ access/ 361517352. html?dids=361517352:361517352& FMT=CITE& FMTS=CITE:AI& type=historic& date=Jun+ 24,+ 1924& author=& pub=Los+ Angeles+ Times& desc=DID+ YOU+ KNOW+ THAT--& pqatl=google). Los Angeles Times. 24 June 1924. Full headline reads, "Did You Know That Famous Scotch Sprinter Will Not Run In The Olympic 100 Metres Because The Trials Are Run On Sunday". [15] "Recollections by Sir Arthur Marshall" (http:/ / content. ericliddell. org/ ericliddell/ recollections/ content/ arthurmarshall. htm). Content.ericliddell.org. . Retrieved 28 April 2009. [16] Arthur Espie Porritt 19001994. "Reference to Porritt's modesty" (http:/ / www. library. otago. ac. nz/ exhibitions/ rhodes_scholars/ arthur_espie_porritt. html). Library.otago.ac.nz. . Retrieved 28 April 2009. [17] The quoted passage is First Samuel 2:30. [18] Reid, Alasdair. "Harold Abrahams and Eric Liddell". The Times. 1 August 2000. [19] "Britain's 1924 Olympic Champs Live Again in 'Chariots of Fire'and Run Away with the Oscars" (http:/ / www. people. com/ people/ archive/ article/ 0,,20082112,00. html). People 17 (18). 10 May 1982. . Retrieved 22 August 2009. [20] Goodell, Gregory. Independent Feature Film Production: A Complete Guide from Concept Through Distribution. (http:/ / books. google. com/ books?id=T1kc5_QjiF4C& pg=PR17& lpg=PR17& dq="david+ puttnam"+ "chariots+ of+ fire"+ "man+ for+ all+ seasons"& source=bl& ots=LvE2kYmoFg& sig=gmauWSjGfpFMK2WqFSkEdz5GmrM& hl=en& ei=zdEPS7jiM8KInQfgrOT0DA& sa=X& oi=book_result& ct=result& resnum=22& ved=0CEMQ6AEwFQ#v=onepage& q="david puttnam" "chariots of fire" "man for all seasons"& f=false) New York: St. Martin's Press, 1982. p. xvii.

[21] Nichols, Peter M. The New York Times Essential Library, Children's Movies: A Critic's Guide to the Best Films Available on Video and DVD. (http:/ / books. google. com/ books?id=FIydEd00DbcC& pg=PA59& lpg=PA59& dq="david+ puttnam"+ "chariots+ of+ fire"+ olympics+ book+ rented+ house& source=bl& ots=SwOUBnTU_L& sig=iY-8ny3tRtAkR14raOQLrQIZDSA& hl=en& ei=TtYPS46PBNXMngenuajTAw& sa=X& oi=book_result& ct=result& resnum=6& ved=0CCAQ6AEwBQ#v=onepage& q="david puttnam" "chariots of fire" olympics book rented house& f=false) New York: Times Books, 2003. p. 59. [22] Hugh Hudson in Chariots of Fire The Reunion (2005 video; featurette on 2005 Chariots of Fire DVD) [23] Chapman, pp. 274295. [24] Ian McKellen, Hugh Hudson, Alan Bates, et al. For Ian Charleson: A Tribute (http:/ / www. amazon. com/ dp/ 0094702500). London: Constable and Company, 1990. pp. 3739. ISBN 0-09-470250-0 [25] Puttnam interviewed in BBC Radio obituary of Jack Valenti. [26] Round, Simon. "Interview: Hugh Hudson" (http:/ / www. thejc. com/ lifestyle/ the-simon-round-interview/ 58023/ interview-hugh-hudson). The Jewish Chronicle. 10 November 2011. [27] Daily Telegraph newspaper, 21 November 1982 (http:/ / vangeliscollector. com/ telegraph112182. htm) [28] MacNab, Geoffrey. "Everyone Was a Winner when British Talent Met the Olympic Spirit" (http:/ / www. independent. co. uk/ arts-entertainment/ films/ features/ everyone-was-a-winner-when-british-talent-met-the-olympic-spirit-7640574. html). The Independent. 13 April 2012. [29] Hubbert, Julie. Celluloid Symphonies: Texts and Contexts in Film Music History (http:/ / books. google. com/ books?id=gmc28iYGdMcC& pg=PA426& lpg=PA426& dq=puttnam+ vangelis& source=bl& ots=uqcm-_PfON& sig=6frPR9-CwF_fxMfSjiVdlFwvKSI& hl=en& sa=X& ei=MkCJT9HJOqqciALJ2bDaCw& ved=0CC4Q6AEwAg#v=onepage& q=puttnam vangelis& f=false). University of California Press, 2011. p. 426. [30] "L'Enfant", from Opera Sauvage (http:/ / www. youtube. com/ watch?v=3kRS4pkrBqE) [31] Vangelis in Chariots of Fire The Reunion (2005 video; featurette on 2005 Chariots of Fire DVD) [32] Trivia about Vangelis (http:/ / www. elsew. com/ data/ trivia. htm) [33] Sanderson, Blair. Hubert Parry. (http:/ / www. answers. com/ topic/ sir-charles-hubert-hastings-parry) AllMusic Guide, reprinted in Answers.com. [34] Manchel, Frank. Film Study: An Analytical Bibliography. (http:/ / books. google. co. uk/ books?id=pSKLfQYNYDAC& pg=PA1013& dq=jerusalem+ "chariots+ of+ fire"& hl=en& ei=KldJTLLrLpT4sAPQ1Z3wDQ& sa=X& oi=book_result& ct=result& resnum=7& ved=0CEoQ6AEwBjge#v=onepage& q=jerusalem "chariots of fire"& f=false) Fairleigh Dickinson University Press, 1990. p. 1013 [35] Ian McKellen, Hugh Hudson, Alan Bates, et al. For Ian Charleson: A Tribute. London: Constable and Company, 1990. pp. xix, 9, 76. [36] Ben Cross Bio on Official site (http:/ / www. bencross. net/ biography. html) [37] Wings on Their Heels: The Making of Chariots of Fire. (2005 video; featurette on 2005 DVD). [38] Chapman, pp. 273274. [39] Chariots of Fire St Andrews (http:/ / www. scotlandthemovie. com/ movies/ andrews. html) Scotland: The Movie Location Guide [40] Tours: St Andrews (http:/ / www. graylinescotland. com/ tour. asp?tourid=46) Gray Line Tours. Describes Grannie Clarks Wynd, a public right-of-way over the 1st and the 18th of the Old Course, which was where the athletes were filmed running for the final titles shot. [41] Chariots of Fire (http:/ / www. wheredidtheyfilmthat. co. uk/ film. php?film_id=60). Where Did They Film That?. . Retrieved 18 February 2007 [42] Bradley, Ian, ed. The Complete Annotated Gilbert and Sullivan. (http:/ / books. google. com/ books?id=pPj0nly_1OQC& pg=PA576& dq="savoy+ theatre"+ "chariots+ of+ fire"& num=100#v=onepage& q="savoy theatre" "chariots of fire"& f=false) Oxford University Press, 2005. p. 576. [43] Chariots of Fire Filming locations (http:/ / www. imdb. com/ title/ tt0082158/ locations) at the Internet Movie Database [44] London Fireworks 2012 - New Year Live - BBC One (http:/ / www. youtube. com/ watch?v=q1yLRK2M8YQ) [45] "Let's Make It Great, Britain" (http:/ / www. youtube. com/ watch?v=H3b-o63wd_M) [46] "London 2012: Olympic Park Runners Finish Race" (http:/ / www. bbc. co. uk/ news/ uk-17546859). BBC News. 31 March 2012. [47] "Musicians Set to Fanfare the Flame" (http:/ / www. northantset. co. uk/ news/ local/ musicians-set-to-fanfare-the-flame-1-3693330). Northamptonshire Evening Telegraph. 3 April 2012. [48] Line the Streets: Celebration Guide (http:/ / www. london2012. com/ documents/ marketing/ line-the-steets-celebration-guide. pdf). London 2012. p. 4. [49] "Mr. Bean's 'Chariots Of Fire' Skit At 2012 London Olympics Opening Ceremony" (http:/ / www. ibtimes. com/ articles/ 367792/ 20120727/ mr-bean-rowan-atkinson-olympic-opening-ceremony. htm). International Business Times. . Retrieved 29 July 2012. [50] Rees, Jasper. "Chariots of Fire Is Coming!" (http:/ / www. theartsdesk. com/ film/ chariots-fire-coming) The Arts Desk. 18 April 2012. [51] "Cast Announced for Hampstead Theatre's Chariots of Fire; Opens May 9" (http:/ / westend. broadwayworld. com/ article/ Cast-Announced-for-Hampstead-Theatres-CHARIOTS-OF-FIRE-Opens-May-9-20120402#). Broadway World. 2 April 2012. [52] Girvan, Andrew. "Black Watch's Lowden plays Eric Liddell in Chariots of Fire" (http:/ / www. whatsonstage. com/ news/ theatre/ london/ E8831331287794/ Black+ Watch's+ Lowden+ plays+ Eric+ Liddell+ in+ Chariots+ of+ Fire. html). What's On Stage. 9 March 2012. [53] Chariots of Fire Hampstead Theatre (http:/ / www. hampsteadtheatre. com/ page/ 3032/ Chariots+ of+ Fire/ 302) [54] Twitter: Chariots Tweeter, 16 April 2012 (https:/ / twitter. com/ #!/ ChariotsHT/ status/ 191903872313344000), 18 April 2012 (https:/ / twitter. com/ #!/ ChariotsHT/ status/ 192645441958055936).
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[55] Rees, Jasper. "Chariots of Fire: The British Are Coming... Again" (http:/ / www. telegraph. co. uk/ culture/ theatre/ theatre-features/ 9241633/ Chariots-of-Fire-The-British-are-coming. . . -again. html). The Daily Telegraph. 3 May 2012. [56] Jury, Louise. "Theatre to Run Chariots of Fire with Vangelis Tracks" (http:/ / www. thisislondon. co. uk/ standard/ article-24032072-theatre-to-run-chariots-of-fire-with-vangelis-tracks. do). London Evening Standard. 30 January 2012. [57] Elkin, Susan. "Running for Glory" (http:/ / www. thestage. co. uk/ listings/ production. php/ 55936/ running-for-glory). The Stage. 2 March 2012. [58] "Olympic Play Is Victory on Stage" (http:/ / www. thisiskent. co. uk/ Olympic-play-victory-stage/ story-15189111-detail/ story. html). This Is Kent. 10 February 2012. [59] "Chariots of Fire Returns to UK Cinemas Ahead of the Olympics" (http:/ / www. bfi. org. uk/ news/ 173). British Film Institute. 23 March 2012. [60] Chariots of Fire Blu-ray (http:/ / www. amazon. com/ dp/ B00284AVN2) [61] Chariots of Fire 30th Anniversary Limited Edition Blu-ray (http:/ / www. amazon. co. uk/ dp/ B007NFPN5M) [62] Sluss, Justin. "1981 Hugh Hudson Directed Film Chariots of Fire Comes to Blu-ray in July" (http:/ / www. highdefdiscnews. com/ ?p=76109). HighDefDiscNews.com. [63] Chariots of Fire Blu-ray press release (http:/ / www. hometheaterforum. com/ t/ 319681/ whv-press-release-chariots-of-fire-blu-ray-book) [64] "Festival de Cannes: Chariots of Fire" (http:/ / www. festival-cannes. com/ en/ archives/ ficheFilm/ id/ 1732/ year/ 1981. html). festival-cannes.com. . Retrieved 31 May 2009. [65] http:/ / books. google. com/ books?id=vvyEQF_WyH0C& pg=PA270& dq=%22chariots+ of+ fire,+ directed+ by+ hugh+ hudson+ and+ produced+ by+ david+ puttnam%22& hl=en& sa=X& ei=L4Y8T6zBBcWsiQLH4omzAQ& ved=0CDYQ6AEwAA#v=onepage& q=%22chariots%20of%20fire%2C%20directed%20by%20hugh%20hudson%20and%20produced%20by%20david%20puttnam%22& f=false [66] http:/ / www. amazon. co. uk/ dp/ 1849542899
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External links
Chariots of Fire (http://www.imdb.com/title/tt0082158/) at the Internet Movie Database Chariots of Fire (http://www.allrovi.com/movies/movie/v8929) at AllRovi Chariots of Fire (http://www.rottentomatoes.com/m/chariots_of_fire/) at Rotten Tomatoes Chariots of Fire (http://www.british-film-locations.com/Chariots-Of-Fire-(1981)) filming locations Critics' Picks: Chariots of Fire (http://video.nytimes.com/video/2008/07/31/movies/1194817101566/ critics-picks-chariots-of-fire.html) retrospective video by A. O. Scott, The New York Times (2008) 4 Speeches from the Movie in Text and Audio (http://www.americanrhetoric.com/moviespeeches.htm) from AmericanRhetoric.com Chariots of Fire (http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19810101/REVIEWS/ 101010313/1023) review by Roger Ebert Chariots of Fire (http://www.variety.com/index.asp?layout=print_review&reviewid=VE1117488018& categoryid=31) review in Variety Chariots of Fire (http://artsandfaith.com/t100/2005/entry.php?film=14) at the Arts & Faith Top 100 Spiritually Significant Films (http://www.artsandfaith.com/t100/) Great Court Run (http://www.trin.cam.ac.uk/index.php?pageid=378) Chariots of Fire play Hampstead Theatre (http://www.hampsteadtheatre.com/whats-on/2012/ chariots-of-fire)
1982 Gandhi
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1982 Gandhi
Gandhi
Directed by Produced by Screenplay by Starring Music by Richard Attenborough Richard Attenborough John Briley Ben Kingsley Ravi Shankar George Fenton
Cinematography Billy Williams Ronnie Taylor Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office John Bloom Goldcrest Films Columbia Pictures

30 November 1982 (India) 3 December 1982 (United Kingdom)
191 minutes India United Kingdom Hindi English $22 million $52,767,889
[1]
Gandhi is a 1982 biographical film based on the life of Mohandas Karamchand Gandhi, who led the nonviolent resistance movement against British colonial rule in India during the first half of the 20th century. The film was directed and produced by Sir Richard Attenborough and stars Ben Kingsley as Gandhi.[2] They both won Academy Awards for their work on the film. The film was also given the Academy Award for Best Picture and won eight Academy Awards. It was an international co-production between production companies in India and the UK. The film premiered in New Delhi on 30 November 1982.[3]
Plot
The screenplay of Gandhi is available as a published book.[4][5] The film opens with a statement from the filmmakers explaining their approach to the problem of filming Gandhi's complex life story:
No man's life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who [6] helped to shape a lifetime. What can be done is to be faithful in spirit to the record and to try to find one's way to the heart of the man...
The film begins with Gandhi's assassination on 30 January 1948,[5]:18-21 and his funeral.[5]:15-18 After an evening prayer, an elderly Gandhi is helped out for his evening walk to meet a large number of greeters and admirers. One of these visitorsNathuram Godseshoots him point blank in the chest. Gandhi exclaims, "Oh, God!" ("H Ram!"
1982 Gandhi historically), and then falls dead. The film then cuts to a huge procession at his funeral, which is attended by dignitaries from around the world. The early life of Gandhi is not depicted in the film. Instead, the story flashes back 55 years to a life-changing event: in 1893, the 24-year-old Gandhi is thrown off a South African train for being an Indian sitting in a first-class compartment despite having a ticket.[7] Realizing the laws are biased against Indians, he then decides to start a non-violent protest campaign for the rights of all Indians in South Africa. After numerous arrests and unwelcome international attention, the government finally relents by recognizing some rights for Indians.[8] After this victory, Gandhi is invited back to India, where he is now considered something of a national hero. He is urged to take up the fight for India's independence (Swaraj, Quit India) from the British Empire. Gandhi agrees, and mounts a non-violent non-cooperation campaign of unprecedented scale, coordinating millions of Indians nationwide. There are some setbacks, such as violence against the protesters and Gandhi's occasional imprisonment. The Jallianwala Bagh massacre is also depicted in the film. Nevertheless, the campaign generates great attention, and Britain faces intense public pressure. After World War II[9] Britain finally grants Indian independence.[10] Indians celebrate this victory, but their troubles are far from over. Religious tensions between Hindus and Muslims erupt into nation-wide violence. Gandhi declares a hunger strike, saying he will not eat until the fighting stops.[11] The fighting does stop eventually, but the country is divided by religion. It is decided that the northwest area of India, and eastern part of India (current day Bangladesh), both places where Muslims are in the majority, will become a new country called Pakistan. It is hoped that by encouraging the Muslims to live in a separate country, violence will abate. Gandhi is opposed to the idea, and is even willing to allow Muhammad Ali Jinnah to become the first prime minister of India,[12] but the Partition of India is carried out nevertheless. Gandhi spends his last days trying to bring about peace between both nations. He thereby angers many dissidents on both sides, one of whom assassinates him in a scene at the end of the film that recalls the opening.[13] As Godse shoots Gandhi, the film fades to black and Gandhi is heard in a voiceover, saying "Oh God". The audience then sees Gandhi's cremation; the film ending with a scene of Gandhi's ashes being scattered on the holy Ganga.[14] As this happens, we hear Gandhi in another voiceover:[15]
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When I despair, I remember that all through history the way of truth and love has always won. There have been tyrants, and murderers, and for a time they can seem invincible, but in the end they always fall. Think of it. Always.
As the list of actors is seen at the end, the hymn "Vaishnava Janato" is heard.
Production
Shooting began on 26 November 1980 and ended on 10 May 1981. Over 300,000 extras were used in the funeral scene, the most for any film according to Guinness World Records.[16]
Cast
During pre-production, there was much speculation as to who would play the role of Gandhi.[17][18] The choice was Ben Kingsley, who is partly of Indian heritage (his father was Gujarati and his birth name is Krishna Bhanji).[19] Ben Kingsley as Mohandas Karamchand Gandhi Rohini Hattangadi as Kasturba Gandhi Harsh Nayyar as Nathuram Godse Roshan Seth as Pandit Jawaharlal Nehru Saeed Jaffrey as Sardar Vallabhbhai Patel Virendra Razdan as Maulana Azad
1982 Gandhi Anang Desai as Acharya Kripalani Candice Bergen as Margaret Bourke-White Edward Fox as Brigadier General Reginald Dyer Sir John Gielgud as The 1st Baron Irwin Trevor Howard as Judge R. S. Broomfield, the presiding judge in Gandhi's sedition trial. Sir John Mills as The 3rd Baron Chelmsford Shane Rimmer as Commentator Martin Sheen as Vince Walker, a fictional journalist based partially on Webb Miller. Ian Charleson as Reverend Charles Freer Andrews Athol Fugard as General Jan Smuts Gnther Maria Halmer as Dr. Herman Kallenbach Geraldine James as Mirabehn (Madeleine Slade) Alyque Padamsee as Muhammad Ali Jinnah Amrish Puri as Khan Dilsher Singh as Khan Abdul Ghaffar Khan (Frontier Gandhi) Ian Bannen as Senior Officer Fields Richard Griffiths as Collins Nigel Hawthorne as Kinnoch Richard Vernon as Sir Edward Albert Gait, Lieutenant-Governor of Bihar and Orissa Michael Hordern as Sir George Hodge Shreeram Lagoo as Gopal Krishna Gokhale Terrence Hardiman as Ramsay MacDonald Om Puri as Nahari Bernard Hill as Sergeant Putnam Daniel Day-Lewis as Colin, a young man who insults Gandhi and Andrews John Ratzenberger as American Lt. Driver for Bourke-White Pankaj Kapoor as Gandhi's secretary, Mahadev Desai.
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Precursors and achievement

This film had been Richard Attenborough's dream project, although two previous attempts at filming had failed. In 1952, Gabriel Pascal secured an agreement with the Prime Minister of India (Pandit Nehru) to produce a film of Gandhi's life. However, Pascal died in 1954 before preparations were completed.[20] In 1962 Attenborough received a phone call from Motilai Kothari, an Indian-born civil servant working with the Indian High Commission in London and a devout follower of Gandhi. Kothari insisted that Attenborough meet him to discuss a film about Gandhi.[21][22] Attenborough read Louis Fischer's biography of Gandhi and agreed and spent the next 18 years attempting to get the film made. He was able to meet Prime Minister Jawaharlal Nehru and his daughter Indira Gandhi through a connection with Lord Louis Mountbatten, the last Viceroy of India. Nehru approved of the film and promised to help support its production, but his death in 1964 was one of the film's many setbacks. David Lean and Sam Spiegel had planned to make a film about Gandhi after completing The Bridge on the River Kwai, reportedly with Alec Guinness as Gandhi. Ultimately, the project was abandoned in favour of Lawrence of Arabia (1962). Attenborough reluctantly approached Lean with his own Gandhi project in the late 1960s, and Lean agreed to direct the film and offered Attenborough the lead role. Instead Lean began filming Ryan's Daughter, during which time Motilai Kothari had died and the project fell apart.[23] Attenborough again attempted to resurrect the project in 1976 with backing from Warner Brothers. Then Prime Minister Indira Gandhi declared a state of emergency in India and shooting would be impossible. Finally in 1980
1982 Gandhi Attenborough was able to secure both the funding and locations needed to make the film. Screenwriter John Briley had introduced him to Jake Eberts, the chief executive at the new Goldcrest production company that raised approximately two-thirds of the films budget. Co-producer Rani Dube persuaded Prime Minister Indira Gandhi to provide the remaining $10 million from the India's National Film Development Corporation.[24]
452
Reception
Gandhi was released on December 10, 1982, on only four screens, earning $131,153 in its limited opening weekend.[1] It received a much wider distribution on February 25, 1983, earning $2,746,571 on its first weekend in wide release and ranking number 2 at the box office.[1] The film became a commercial success, grossing more than $52.7 million domestically on a budget of $22 million.[1] In North America, it was the 12th highest grossing film of 1982.[25]
Critical response
Reviews were broadly positive. The film was discussed or reviewed in Newsweek,[17] Time,[26] the Washington Post,[27][28] The Public Historian,[29] Cross Currents,[30] The Journal of Asian Studies,[31] Film Quarterly,[32] and elsewhere.[33] Many years later the movie received an 88% "fresh" rating on the Rotten Tomatoes website.[34] Ben Kingsley's performance was especially praised. Historian Lawrence James[35] and anthropologist Akhil Gupta[36] were two of the few who took a more negative view of the film. In Time, Richard Schickel wrote that in portraying Gandhi's "spiritual presence... Kingsley is nothing short of astonishing."[26]:97 A "singular virtue" of the film is that "its title figure is also a character in the usual dramatic sense of the term." Schickel viewed Attenborough's directorial style as having "a conventional handsomeness that is more predictable than enlivening," but this "stylistic self-denial serves to keep one's attention fastened where it belongs: on a persuasive, if perhaps debatable vision of Gandhi's spirit, and on the remarkable actor who has caught its light in all its seasons."[26]:97 In Newsweek, Jack Kroll stated that "There are very few movies that absolutely must be seen. Sir Richard Attenborough's Gandhi is one of them."[17] The movie "deals with a subject of great importance... with a mixture of high intelligence and immediate emotional impact... [and] Ben Kingsley... gives what is possibly the most astonishing biographical performance in screen history." Kroll stated that the screenplay's "least persuasive characters are Gandhi's Western allies and acolytes" such as an English cleric and an American journalist, but that "Attenborough's 'old-fashioned' style is exactly right for the no-tricks, no-phony-psychologizing quality he wants."[17] Furthermore, Attenborough mounts a powerful challenge to his audience by presenting Gandhi as the most profound and effective of revolutionaries, creating out of a fierce personal discipline a chain reaction that led to tremendous historical consequences. At a time of deep political unrest, economic dislocation and nuclear anxiety, seeing "Gandhi" is an experience that will change many minds and hearts.[17] According to the Museum of Broadcast Communications there was "a cycle of film and television productions which emerged during the first half of the 1980s, which seemed to indicate Britain's growing preoccupation with India, Empire and a particular aspect of British cultural history".[37] In addition to Gandhi, this cycle also included Heat and Dust (1983), Octopussy (1983), The Jewel in the Crown (1984), The Far Pavilions (1984) and A Passage to India (1984).
1982 Gandhi
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55th Academy Awards The film won eight Academy Awards and was nominated for three more:[38] Best Picture (won) Best Director (Richard Attenborough) (won) Best Original Screenplay (John Briley) (won) Best Film Editing (John Bloom) (won) Best Actor in a Leading Role (Ben Kingsley) (won) Best Art Direction (won) Best Cinematography (won) Best Costume Design(Bhanu Athaiya) (won) Best Makeup (Tom Smith) (nominated) Best Original Score (Ravi Shankar and George Fenton) (nominated) Best Sound (Gerry Humphreys, Robin O'Donoghue, Jonathan Bates and Simon Kaye) (nominated)
Golden Globe Award for Best Foreign Language Film David di Donatello for Best Foreign Film
References
[1] [2] [3] [4] "Gandhi, Box Office Information" (http:/ / boxofficemojo. com/ movies/ ?id=gandhi. htm). Box Office Mojo. . Retrieved January 29, 2012. Variety film review; November 24, 1982. Sanjoy Hazarika (Wednesday, December 1, 1982). "Film on Gandhi opens in land he helped free". New York Times: pp.Sec. C; Pg 19, Col. 5. Briley, John (1982). Gandhi: The screen play (http:/ / books. google. com/ books?id=CJWGAAAAIAAJ& q=isbn:9780715617083& dq=isbn:9780715617083). London: Duckworth. ISBN0-7156-1708-7. . [5] Briley, John (1983). Gandhi: The screenplay (http:/ / books. google. com/ books?id=HSWAPwAACAAJ& dq=isbn:0-394-62471-8). New York: Grove Press. ISBN0-394-62471-8. . [6] p. 15 of Briley (1983). Only discrepancy: Movie DVD (2007, ch. 1, time 0:01:09) lacks a comma after "record" that is present in Briley (1983). [7] pp. 21-24, Briley (1983). [8] p. 54 of Briley (1983) represents Gandhi's final victory in South Africa by depicting General Smuts as telling Gandhi, "a Royal Commission to 'investigate' the new legislation.... I think I could guarantee they would recommend the Act be repealed.... You yourself are free from this moment.". [9] World War II is alluded to in three scenes in the movie. Briley (1983) first presents Gandhi, soon after his return from London in the early 1930, as saying "They are preparing for war. I will not support it, but I do not intend to take advantage of their danger" (p. 146). Second, after war is underway (as indicated by a newspaper headline, Gandhi is prevented by the British from speaking when he says he will "speak against war" (p. 147); Kasturba then tells the British "If you take my husband, I intend to speak in his place" (p. 147), although she too is prevented from speaking. Third, Margaret Bourke-White and Gandhi discuss whether nonviolence could be effective against Hitler (Gandhi says "What you cannot do is accept injustice. From Hitler - or anyone...", p. 151). [10] The British commitment to support Indian independence is indicated in the first scene set after WWII, in which Mountbatten arrives at Delhi Airport and then, in press conference, announces that "We have come to crown victory with friendship - to assist at the birth of an independent India and to welcome her as an equal member in the British Commonwealth of Nations... I am here to see that I am the last British Viceroy" (p. 155, Briley, 1983). [11] In Briely (1983), Gandhi mentions he is on a "fast" (p. 168), and later says that he wants "That the fighting will stop - that you make me believe it will never start again" (p. 172). [12] Briley (1983), Gandhi to Jinnah: "I am asking Panditji to stand down. I want you to be the first Prime Minister of India" (p. 158). [13] p. 179, Briley (1983). [14] p. 180, Briley (1983); in the movie/screenplay, the river is not identified. [15] Here, the movie voiceover (DVD, ISBN 1-4248-4094-5) departs from Briley's (1983) published screenplay, which reads: "There have been tyrants and murderers - and for a time they can seem invincible. But in the end they always fall. Think of it - always... When you are in doubt that that is God's way, the way the world is meant to be... think of that." (p. 180, elipses in original) [16] "Arts and media/Movies/Film extras" (http:/ / web. archive. org/ web/ 20051126142323/ http:/ / www. guinnessworldrecords. com/ content_pages/ record. asp?recordid=50642). Guinness World Records. Archived from the original (http:/ / www. guinnessworldrecords. com/ content_pages/ record. asp?recordid=50642) on 2005-11-26. . Retrieved 2007-10-27. [17] Jack Kroll (1982). "A magnificent life of Gandhi". Newsweek [US edition] (December 13, 1982): 60.
1982 Gandhi
[18] Kroll (1982, p. 60) mentions advocacy of Alec Guinness, John Hurt, and Dustin Hoffman, and quotes Attenborough as stating that "At one point Paramount actually said they'd give me the money if Richard Burton could play Gandhi." [19] See Jack Kroll (1982). "To be or not to be... Gandhi". Newsweek [US edition] (December 13, 1982): 63. - "Born Krishna Bhanji, Kingsley changed his name when he became an actor: the Kingsley comes from his paternal grandfather, who became a successful spice trader in East Africa and was known as King Clove." [20] See Pascal, Valerie (1970). The disciple and his devil: Gabriel Pascal, Bernard Shaw (http:/ / books. google. com/ books?id=hjmEM5mjhfMC& pg=PA219& dq=isbn:9780595337729+ nehru+ gandhi#v=onepage& q=isbn:9780595337729 nehru gandhi& f=false). New York: McGraw-Hill. ISBN978-0-595-33772-9. . Page 219 states that "Nehru had given his consent, which he confirmed later in a letter to Gabriel: 'I feel... that you are the man who can produce something worthwhile. I was greatly interested in what you told me about this subject [the Gandhi film] and your whole approach to it." [21] [cite web = http:/ / www. mkgandhi-sarvodaya. org/ short/ ev43. htm] [22] Wakeman, John. World Film Directors, Volume 2. The H. W. Wilson Company. 1988. 79. [23] Wakeman, John. World Film Directors, Volume 2. The H. W. Wilson Company. 1988. 81. [24] Wakeman, John. World Film Directors, Volume 2. The H. W. Wilson Company. 1988. 82. [25] "1982 Domestic Grosses" (http:/ / boxofficemojo. com/ yearly/ chart/ ?yr=1982& p=. htm). Box Office Mojo. . Retrieved January 29, 2012. [26] Richard Schickel (1982, December 6). "Cinema: Triumph of a martyr [review of Gandhi, film by Richard Attenborough (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,923124,00. html)"]. Time 120: 97. . [27] Christian Williams (December 6, 1982). "Passage to 'Gandhi'; Attenborough's struggle to bring the Mahatma's life to the screen". Washington Post: pp.Show, F1. [28] Coleman McCarthy (January 2, 1983). "'Gandhi': Introduction to a moral teacher". Washington Post: pp.Style; K2. [29] Stephen Hay (1983). "Review: Attenborough's "Gandhi"". The Public Historian (University of California Press on behalf of the National Council on Public History) 5 (3): 8594. ISSN0272-3433. JSTOR3377031. [30] Eknath Easwaran (1982). "Gandhi - Reflections After the Film". Cross Currents (Convergence) 32 (4): 385388. ISSN0011-1953. [31] Mark Juergensmeyer (1984). "Review: The Gandhi revival--a review article". The Journal of Asian Studies (Association for Asian Studies) 43 (2): 293298. ISSN0021-9118. JSTOR2055315. [32] Darius Cooper (1983). "Untitled [review of Gandhi by Richard Attenborough]". Film Quarterly (University of California Press) 37 (2): 4650. ISSN0015-1386. JSTOR3697391. [33] Roger Ebert (1983, January 1). "Gandhi [review of film by Richard Attenborough (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19820101/ REVIEWS/ 201010327/ 1023)"]. Chicago Sun-Times: pp.online film review. . Retrieved 6 March 2011. [34] Rotten Tomatoes: Gandhi (http:/ / www. rottentomatoes. com/ m/ gandhi/ ) [35] James, Lawrence (1997). Raj: The Making and Unmaking of British India. Little, Brown, and Company. pp.465. ISBN0-312-19322-X. [36] Akhil Gupta (1983). "Review: Attenborough's truth: The politics of Gandhi". The Threepenny Review (Threepenny Review) (15): 2223. ISSN0275-1410. JSTOR4383242. [37] JEWEL IN THE CROWN (http:/ / www. museum. tv/ archives/ etv/ J/ htmlJ/ jewelinthe/ jewelinthe. htm), Museum of Broadcast Communication [38] "The 55th Academy Awards (1983) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 55th-winners. html). oscars.org. . Retrieved 2011-10-09.
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External links
Gandhi (http://www.imdb.com/title/tt0083987/) at the Internet Movie Database Gandhi (http://www.allrovi.com/movies/movie/v19191) at AllRovi Gandhi (http://www.rottentomatoes.com/m/gandhi/) at Rotten Tomatoes 4 Speeches from Movie in Text, Audio, Video (http://www.americanrhetoric.com/moviespeeches.htm) from AmericanRhetoric.com Gallery of photos from the set of Gandhi (http://www.bafta.org/archive/gallery-gandhi-25-years-on,13,GAL. html) Gandhi 25 Year Reunion (http://www.bafta.org/learning/webcasts/gandhi-25-years-on,199,BA.html), filmed BAFTA event with cast and crew (3 December 2007)
1983 Terms of Endearment
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Terms of Endearment
Directed by Produced by Screenplay by Based on James L. Brooks James L. Brooks James L. Brooks Terms of Endearmentby Larry McMurtry Shirley MacLaine Debra Winger Jack Nicholson Danny DeVito Jeff Daniels John Lithgow Michael Gore
Starring
Music by
Cinematography Andrzej Bartkowiak Editing by Distributed by Release date(s) Richard Marks Paramount Pictures
November 23, 1983 December 9, 1983
(limited)
(wide) Running time Country Language Budget Box office 131 minutes United States English $8 million $108,423,489
Terms of Endearment is a 1983 drama film adapted by James L. Brooks from the novel by Larry McMurtry and starring Shirley MacLaine, Debra Winger, and Jack Nicholson. It covers thirty years of the relationship between Aurora Greenway (MacLaine) and her daughter Emma (Winger). The film won five Academy Awards, including Best Picture, Best Direction, Best Adapted Screenplay, Best Supporting Actor for Jack Nicholson, and Best Actress for Shirley MacLaine, and four Golden Globes.
Plot
Aurora (Shirley MacLaine) and Emma Greenway Horton (Debra Winger) are mother and daughter, both searching for deep romantic love. Beginning with Emma's early childhood, Aurora reveals how difficult and caring she can be by nearly climbing into Emma's crib in order to make sure her daughter is breathingonly to be reassured once Emma starts crying (after physically waking her up). The two have an extremely close love-hate mother/daughter relationship as Emma grows up. The film follows both women across several years as each find their reasons for going on living and finding joy. Emma gets married immediately upon graduating High School in the Houston area, while her best friend Patsy (Lisa
1983 Terms of Endearment Hart Caroll) continues on to college, eventually becoming successful and rich in New York City. Emma has two children that she and her husband, college professor Flap Horton (Jeff Daniels), struggle to support in Des Moines, Iowa, and she later telephones her mother and asks for money when she is pregnant with her third child. Aurora, not knowing by the telephone call that Emma is already several months pregnant, wants Emma to get an abortion. Emma's once-passionate marriage to Flap becomes strained, thanks mostly to his philandering, and she finds a lover in small-town, older banker Sam Burns (John Lithgow), with whom she eventually has a romantic love affair as well. At the same time, Aurora cultivates the attention of several gentlemen in the area, some rather bizarre, but is attracted to her next door neighbor of fifteen years, the philandering, retired astronaut Garrett Breedlove (Jack Nicholson). Garrett has been drinking heavily for years and partied with very young women at his home. Aurora and Garrett eventually go on a lunch date, make love and develop a tenuous relationship. One scene shows them speeding in his open Corvette convertible along a quiet beach as he recklessly sits on top of the car and steers with his foot. Emma returns to her mother's home in Houston after discovering her husband is having an affair with a young grad student named Janice, who attends the same college where Flap teaches. However, Emma's appearance along with her three children spooks Garrett, who has been single for a long time. After re-assessing his relationship with Aurora, Garrett breaks up with her, greatly upsetting Aurora. While Emma is in Houston, Flap telephones her and she reluctantly returns home to Iowa, attempting reconciliation with him. Both accept that they have each made mistakes. Emma ends the relationship with Sam after Flap accepts a new teaching position in Kearney, Nebraska. Although she does not want to, Emma agrees to relocate to further Flap's career. However, Emma soon discovers that Janice is attending the same college where Flap now works, realizing that Flap followed her to Nebraska. With her daughter in a stroller, Emma confronts Janice before taking her daughter to the doctor's office so both can get flu shots. While administering the injection, Emma's doctor notices two large lumps under her armpit. Although Emma is only in her 30s, the doctor orders a biopsy and discovers she has a "malignancy." Emma's childhood friend Patsy invites her to New York City for her first vacation without her children. However, after arriving, Emma feels out-of-place amongst Patsy's friends and returns home early to begin treatment for her illness. Later, her doctor informs her that the drugs she was taking did not "have the desired effect," and that she will not survive her illness. Flap and Aurora remain by her bedside in the hospital for weeks. Although devastated and exhausted, Aurora is still very supportive and loving towards Emma. Garrett flies to Lincoln, Nebraska and surprises Aurora, and the two proclaim their love for each other. After a discussion in the hospital cafeteria between Aurora and Flap, in which Aurora tells him he doesn't have the energy for a job, chasing women, and managing a family, Aurora tells Flap she will raise his and Emma's children in Houston. Although Patsy, who has no children of her own, wants to adopt Melanie, Flap and Emma do not want their children to be separated. Emma, not wanting Janice to raise her children and Flap, feeling like a failure as both a father and a husband, agree that living with Aurora is best for their children. As Emma's time begins to run short, Tommy shows open resentment toward his mother due to circumstances such as social class, fights between his parents, and Tommy's perception of feeling unloved. Emma reassures all three children they are loved, and after an altercation with Aurora, Tommy weeps in her arms. Emma dies later that night. Following Emma's funeral, Emma and Aurora's friends and family gather in Aurora's back yard for a wake. Garrett shows love toward each of Emma's children and helps Tommy cope during the wake. The film closes on Aurora, holding her grandchild Melanie.
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457
Main cast (in end credits order)

Shirley MacLaine as Aurora Greenway Debra Winger as Emma Greenway Horton Jack Nicholson as Garrett Breedlove Danny DeVito as Vernon Dahlart Jeff Daniels as Flap Horton John Lithgow as Sam Burns Lisa Hart Caroll as Patsy Clark Troy Bishop as Tommy Horton Huckleberry Fox as Teddy Horton F. William Parker as Doctor David Wohl as Phil Albert Brooks (voice) as Rudyard Greenway Mary Kay Place (voice) as Doris
Production
Actor Jack Nicholson's character, astronaut Garrett Breedlove, does not appear in the novel . The part was created for Burt Reynolds, but he was already committed to another film (Stroker Ace) so the role was handed to James Garner . Reynolds would later go on record to say he regretted turning down the role. Garner quarreled with the director over differing interpretations. The part then went to Harrison Ford who turned it down because he did not like the age difference between himself and Shirley MacLaine. The role wound up going to Nicholson. At first Jennifer Jones campaigned for the role of Aurora; later, Louise Fletcher and Sissy Spacek were in the running for Aurora and Emma, respectively . During filming, Debra Winger was trying to overcome a cocaine addiction, which resulted in her often acting erratically on set. Because of this, she and Shirley MacLaine fought many times, one time resulting in a shoving match . Although there was no love lost between the two when filming was over, when Shirley MacLaine won the Best Actress Oscar, she reportedly whispered to Winger on her way to the podium, "This is half yours," to which Winger replied, "I'll take half." MacLaine also referred to Winger as "dear Debra" during her acceptance speech.
Box office
The film also was commercially successful. On its opening weekend, it grossed $3.4 million ranking #2 until its second weekend when it grossed $3.1 million ranking #1 at the box office. Three weekends later, it arrived #1 again with $9 million having wide release. For four weekends, it remained #1 at the box office until slipping to #2 on its tenth weekend. On the film's eleventh weekend, it arrived #1 (for the sixth and final time) grossing $3 million. For the last weekends of the film, it later dwindled downward.[1] The film grossed $108,423,489 in the United States.[2]
458
Critical reception
The film was generally well regarded by critics, and maintains an 89% rating on Rotten Tomatoes.[3] Gene Siskel, who gave the film a highly enthusiastic review, predicted accurately upon its release that it would go on to win the Oscar for Best Picture of 1983.
Awards
Wins
The film won five Academy Awards[4] and four Golden Globes:[5] Academy Award for Best Picture Academy Award for Directing (James L. Brooks) Academy Award for Best Actress (Shirley MacLaine) Academy Award for Best Supporting Actor (Jack Nicholson) Academy Award for Writing Adapted Screenplay (James L. Brooks) Golden Globe Award for Best Motion Picture - Drama Golden Globe Award for Best Actress - Motion Picture Drama (Shirley MacLaine) Golden Globe Award for Best Supporting Actor (Jack Nicholson) Golden Globe Award for Best Screenplay - Motion Picture (James L. Brooks) DGA Award for Outstanding Directorial Achievement in Motion Pictures (James L. Brooks) New York Film Critics Circle Award for Best Film New York Film Critics Circle Award for Best Actress - (Shirley MacLaine) New York Film Critics Circle Award for Best Supporting Actor - (Jack Nicholson) National Society of Film Critics Award for Best Actress - (Debra Winger) Texas Film Award 2010 [6]
Nominations
Academy Award for Best Actress (Debra Winger) Academy Award for Best Supporting Actor (John Lithgow) Academy Award for Best Art Direction - (Polly Platt, Harold Michelson, Tom Pedigo, Anthony Mondell) Academy Award for Film Editing (Richard Marks) Academy Award for Original Music Score (Michael Gore) Academy Award for Best Sound (Donald O. Mitchell, Rick Kline, Kevin O'Connell, James R. Alexander) Golden Globe Award for Best Actress - Motion Picture Drama (Debra Winger) Golden Globe Award for Best Director (James L. Brooks) BAFTA Award for Best Actress (Shirley MacLaine) AFI's 100 Years...100 Movies AFI's 100 Years...100 Laughs AFI's 100 Years...100 Movie Quotes:
Aurora: "Would you like to come in?" Garrett: "I'd rather stick needles in my eyes." AFI's 100 Years...100 Movies (10th Anniversary Edition)
459
Sequel
A sequel, The Evening Star, in which MacLaine and Nicholson reprised their roles, was released in 1996 to much less critical or commercial acclaim.
References
[1] "Terms of Endearment (1983) - Weekend Box Office Results" (http:/ / www. boxofficemojo. com/ movies/ ?page=weekend& id=termsofendearment. htm). Box Office Mojo. . Retrieved 2008-12-05. [2] "Terms of Endearment (1983)" (http:/ / www. boxofficemojo. com/ movies/ ?id=termsofendearment. htm). Box Office Mojo. . [3] "Terms of Endearment Movie Reviews, Pictures" (http:/ / www. rottentomatoes. com/ m/ terms_of_endearment/ ). Rotten Tomatoes. . Retrieved 2008-02-10. [4] "The 56th Academy Awards (1984) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 56th-winners. html). oscars.org. . Retrieved 2011-10-09. [5] "NY Times: Terms of Endearment" (http:/ / movies. nytimes. com/ movie/ 49104/ Terms-of-Endearment/ awards). NY Times. . Retrieved 2009-01-01. [6] http:/ / www. cinemartsociety. org/ news/ pdf/ Shirley%20MacLaine%20Annoucement. pdf
External links
Terms of Endearment (http://www.imdb.com/title/tt0086425/) at the Internet Movie Database Terms of Endearment (http://www.allrovi.com/movies/movie/v49104) at AllRovi Terms of Endearment (http://www.boxofficemojo.com/movies/?id=termsofendearment.htm) at Box Office Mojo Terms of Endearment (http://www.rottentomatoes.com/m/terms_of_endearment/) at Rotten Tomatoes
1984 Amadeus
460
1984 Amadeus
Amadeus
Theatrical release poster by Peter Ss
Directed by Produced by Screenplay by Based on Starring Milo Forman Saul Zaentz Peter Shaffer Amadeus by Peter Shaffer F. Murray Abraham Tom Hulce Elizabeth Berridge Wolfgang Amadeus Mozart Antonio Salieri
Music by
Cinematography Miroslav Ondek Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Michael Chandler The Saul Zaentz Company Orion Pictures (Original) Warner Bros. (Current)
September 19, 1984
Amadeus is a 1984 period drama film directed by Milo Forman and written by Peter Shaffer. Adapted from Shaffer's stage play Amadeus (1979), the story is a variation of Alexandr Pushkin's play Mozart i Salieri ( , 1830), in which the composer Antonio Salieri recognizes the genius of Wolfgang Amadeus Mozart but thwarts him out of envy. The story is set in Vienna, Austria, during the latter half of the 18th century. The film was nominated for 53 awards and received 40, including eight Academy Awards (including Best Picture), four BAFTA Awards, four Golden Globes, and a Directors Guild of America (DGA) award. In 1998, the American Film Institute ranked Amadeus 53rd on its 100 Years... 100 Movies list.
Plot
See the article Amadeus about the stage play that the film is based on for some notes on the historical accuracy of the script. The story begins in 1823 as the elderly Salieri attempts suicide by slitting his throat while loudly begging forgiveness for having killed Mozart in 1791. Placed in a lunatic asylum for the act, Salieri is visited by a young priest who seeks to take his confession. Salieri is sullen and uninterested but eventually warms to the priest and launches into a long "confession" about his relationship with Mozart. Salieri's tale goes on through the night and into the next day. He reminisces about his youth, particularly about his devotion to God and his love for music and how he pledges to God to remain celibate as a sacrifice if he can
1984 Amadeus somehow devote his life to music. He describes how his father's plans for him were to go into commerce, but suggests that the sudden death of his father, who choked to death during a meal, was "a miracle" that allowed him to pursue a career in music. In his narrative, he is suddenly an adult joining the 18th century cultural elite in Vienna, the "city of musicians." Salieri begins his career as a devout, God-fearing man who believes his success and talent as a composer are Gods rewards for his piety. He is content as the court composer for Holy Roman Emperor Joseph II. Mozart arrives in Vienna with his patron, Count Hieronymus von Colloredo, the Prince-Archbishop of Salzburg. Salieri secretly observes Mozart at the Archbishop's palace, but they are not properly introduced. Salieri sees that offstage, Mozart is irreverent and lewd. He also first recognizes the immense talent displayed in the adult works of Mozart. In 1781, when Mozart meets the Emperor, Salieri presents Mozart with a "March of Welcome," which he toiled to create. After hearing the march only once, Mozart plays it from memory, critiques it, and effortlessly improvises a variation, transforming Salieri's "trifle" into the "Non pi andrai" march from his 1786 opera The Marriage of Figaro. Salieri reels at the notion of God speaking through the childish, petulant Mozart: nevertheless, he regards his music as miraculous. Gradually, Salieris faith is shaken. He believes that God, through Mozart's genius, is cruelly laughing at Salieri's own musical mediocrity. Salieri's struggles with God are intercut with scenes showing Mozart's own trials and tribulations with life in Vienna: pride at the initial reception of his music; anger and disbelief over his subsequent treatment by the Italians of the Emperor's court; happiness with his wife Constanze and his son Karl; and grief at the death of his father Leopold. Mozart becomes more desperate as the family's expenses increase and his commissions decrease. When Salieri learns of Mozart's financial straits, he sees his chance to avenge himself, using "God's Beloved" (the literal meaning of "Amadeus") as the instrument. Salieri hatches a complex plot to gain ultimate victory over Mozart and God. He disguises himself in a mask and costume similar to one he saw Leopold wear at a party, and commissions Mozart to write a requiem mass, giving him a down payment and the promise of an enormous sum upon completion. Mozart begins to write the piece, the Requiem Mass in D minor, unaware of the true identity of his mysterious patron and oblivious of his murderous intentions. Glossing over any details of how he might commit the murder, Salieri dwells on the anticipation of the admiration of his peers and the court, when they applaud the magnificent Requiem, and he claims to be the music's composer. Only Salieri and God would know the truththat Mozart wrote his own requiem mass, and that God could only watch while Salieri finally receives the fame and renown he deserves. Mozart's financial situation worsens and the composing demands of the Requiem and The Magic Flute drive him to the point of exhaustion as he alternates work between the two pieces. Constanze leaves him and takes their son with her. His health worsens and he collapses during the premiere performance of The Magic Flute. Salieri takes the stricken Mozart home and convinces him to work on the Requiem. Mozart dictates while Salieri transcribes throughout the night. When Constanze returns in the morning, she tells Salieri to leave. Constanze locks the manuscript away despite Salieri's objections, but as she goes to wake her husband, Mozart is dead. The Requiem is left unfinished, and Salieri is left powerless as Mozart's body is hauled out of Vienna for burial in a pauper's mass grave. The film ends as Salieri finishes recounting his story to the visibly shaken young priest. Salieri concludes that God killed Mozart rather than allow Salieri to share in even an ounce of his glory, and that he is consigned to be the "patron saint of mediocrity." Salieri absolves the priest of his own mediocrity and blesses his fellow patients as he is taken away in his wheelchair. The last sound heard before the credits roll is Mozart's high-pitched laughter.
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1984 Amadeus
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Cast
F. Murray Abraham as Antonio Salieri Tom Hulce as Wolfgang Amadeus Mozart Nicholas Kepros as Hieronymus von Colloredo, Prince-Archbishop of Salzburg Elizabeth Berridge as Constanze Mozart Roy Dotrice as Leopold Mozart Simon Callow as Emanuel Schikaneder Richard Frank as Father Vogler Christine Ebersole as Caterina Cavalieri Jeffrey Jones as Emperor Joseph II Charles Kay as Count Orsini-Rosenberg Cynthia Nixon as Lorl, Mozart's maid Roderick Cook as Count Von Strack Jonathan Moore as Baron van Swieten Patrick Hines as Kappelmeister Bonno
Production
In his autobiography Beginning, Kenneth Branagh says that he was one of the finalists for the role of Mozart, but was dropped from consideration when Forman decided to make the film with an American cast.[1] Hulce reportedly used John McEnroe's mood swings as a source of inspiration for his portrayal of Mozart's unpredictable genius.[2] Meg Tilly was cast as Mozart's wife Constanze, but she tore a ligament in her leg the day before shooting started.[2] She was replaced by Elizabeth Berridge. Simon Callow, who played Mozart in the original London stage production of Amadeus, was cast as Emanuel Schikaneder, the librettist of The Magic Flute. The film was shot on location in Prague, Krom and Vienna. Notably, Forman was able to shoot scenes in the Count Nostitz Theatre in Prague, where Don Giovanni and La Clemenza di Tito debuted two centuries before. Several other scenes were shot at the Barrandov Studios.
Reception
In 1985, the film was nominated for eleven Academy Awards, including the double nomination for Best Actor with Hulce and Abraham each being nominated for their portrayals of Mozart and Salieri, respectively. The film won eight Oscars, including Best Picture, Best Actor (Abraham), Best Director (Forman), Costume Design (Theodor Pitk), Adapted Screenplay (Shaffer), Art Direction (Patrizia von Brandenstein), Best Makeup, and Best Sound. The film was nominated for but did not win Oscars for Best Cinematography and Best Editing. Amadeus, The English Patient and The Hurt Locker are the only Best Picture winners to never enter the weekend box office top 5 after rankings began being recorded in 1982.[3][4][5] Amadeus peaked at #6 during its 8th weekend in theaters. Saul Zaentz produced both Amadeus and The English Patient. The film was nominated for six Golden Globes (Hulce and Abraham were nominated together) and won four, including awards to Forman, Abraham, Shaffer, and Golden Globe Award for Best Picture Drama. Jeffrey Jones was nominated for Golden Globe for Best Supporting Actor Motion Picture Drama. Forman also received the Directors Guild of America Award for his work. At the end of the Oscar ceremony, Laurence Olivier came on stage to present the Oscar for Best Picture. As Olivier thanked the Academy for inviting him, he was already opening the envelope. Instead of announcing the nominees, he simply read, "The winner for this is Amadeus." An AMPAS official quickly went onstage to confirm the winner and signaled that all was well, before Olivier then presented the award to producer Saul Zaentz. Olivier (in his 78th year) had been ill for many years, and it was due to suffering from amnesia that he forgot to read the nominees.[6]
1984 Amadeus Zaentz then thanked Olivier, saying it was an honour to receive the award from him,[7] before mentioning the other nominees in his acceptance speech: The Killing Fields, A Passage to India, Places in the Heart and A Soldier's Story. Maurice Jarre won the award for best original music score for his scoring of A Passage to India. In his acceptance speech for the award, Jarre remarked "I was lucky Mozart was not eligible this year".[8]
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Alternate versions
Amadeus premiered in 1984 as a PG-rated movie with a running time of 161 minutes. In 2002, director Milos Forman introduced an R-rated version with nearly 20 minutes of restored footage. This version was dubbed by the studios as a Director's Cut. In the 1995 supplemental material for Pioneer's deluxe LaserDisc, Milos Forman had justified why those scenes were cut in the first place. However, in a subsequent 2002 interview with A.V. Club the director explains why the scenes were eventually restored: Milos Forman on what prompted him to release the alternate version:[9] When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office. And in the '80s, with MTV on the scene, we are having a three-hour film about classical music, with long names and wigs and costumes. Don't forget that no major studio wanted to finance the film, for these reasons. So we said, 'Well, we don't want to be pushing the audience's patience too far.' Whatever was not directly connected to the plot, I just cut out. But it was a mutual decision [to limit the running time]. I wanted the best life for the film myself... Well, once we are re-releasing it on DVD, it doesn't matter if it is two hours and 40 minutes long, or three hours long. So why don't we do the version as it was written in the script?
Popular culture
The film had an effect on popular music and continues to influence writers and musicians. One well-known example is "Rock Me Amadeus," by Austrian pop artist Falco, which was a hit in 1985. American rock band Fall Out Boy released a bonus track titled "From Now On We Are Enemies," which features lyrics that act as a conversation between Salieri and God. Finnish metal band Children of Bodom uses Salieri's quote, "From now on we are enemies... you and I..." as the introduction to their song "Warheart." The album Beyond Abilities by progressive metal band Warmen uses quotations from the film, and includes a track titled "Salieri Strikes Back." Warmen's later album Accept the Fact also uses a quote from Amadeus, and has a song called "Return of Salieri.". Also, the German Band Megaherz did a cover of Falco's song. Abraham appears in the 1993 film Last Action Hero. The young boy, Danny, tells Arnold Schwarzenegger not to trust Abraham, because, "He killed Mozart!" Schwarzenegger asks, "In a movie?" Danny responds, "Amadeus! It won eight Oscars!" Amadeus has been parodied several times, including in episodes of The Simpsons ("Margical History Tour"), Freakazoid, Mr. Show, 30 Rock ("Succession"), How I Met Your Mother ("The Best Burger in New York"), Family Guy ("It Takes a Village Idiot, and I Married One").
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Music
The Orchestra: Academy of St. Martin in the Fields, conducted by Sir Neville Marriner The Choruses Academy Chorus of St Martin In The Fields, conducted by Laszlo Heltay Ambrosian Opera Chorus, conducted by John McCarthy The Choristers of Westminster Abbey, conducted by Simon Preston Instrumental soloists Concerto for Piano in Eb, K482, performed by Ivan Moravec Concerto for Piano in D minor, K466, performed by Imogen Cooper Adagio in C minor for Glass Harmonica, K617, performed by Thomas Bloch with The Brussels Virtuosi, conducted by Marc Grauwels Parody backgrounds San Francisco Symphony Chorus Caro mio ben by Giuseppe Giordani Michele Esposito, soprano
Original soundtrack album

Film composer John Strauss won a Grammy Award for producing the soundtrack to the film.[10] (all composed by Mozart except as noted) Disc One 1. Symphony No. 25 in G minor, K 183, 1st movement 2. Stabat Mater: Quando Corpus Morietur and Amen (Pergolesi performed by the Choristers of Westminster Abbey, directed by Simon Preston) 3. Early 18th Century Gypsy Music: Bubak and Hungaricus 4. Serenade for Winds, K. 361, 3rd movement 5. The Abduction from the Seraglio, Turkish Finale 6. Symphony No. 29 in A, K 201, 1st movement 7. Concerto for Two Pianos, K. 365, 3rd movement 8. Mass in C minor, K. 427, Kyrie (Mozart) 9. Symphonie Concertante, K. 364, 1st movement Disc Two 1. Piano Concerto in E flat, K. 482, 3rd movement 2. The Marriage of Figaro, Act III, Ecco la Marcia 3. The Marriage of Figaro, Act IV, Ah Tutti Contenti 4. Don Giovanni, Act II, Commendatore scene 5. Zaide aria, Ruhe Sanft 6. Requiem, K. 626, Introitus (orchestra introduction) 7. Requiem: Dies Irae 8. Requiem: Rex Tremendae Majestatis 9. Requiem: Confutatis 10. Requiem: Lacrimosa 11. Piano Concerto in D minor, K. 466, 2nd movement The original soundtrack to Amadeus reached #56 on Billboard's album charts, making it one of the most popular recordings of classical music ever. All of the tracks were composed by Mozart, save an early Hungarian folk tune
1984 Amadeus and the final movement Quando Corpus Morietur et Amen by Giovanni Battista Pergolesi, from his famous Stabat Mater. The film features some music that is not included on the original soundtrack album release. As stated above, except where specified, all tracks were performed by the Academy of St. Martin in the Fields, conducted by Sir Neville Marriner, and all were performed specifically for use in the film. According to the film commentary by Forman and Schaffer, Marriner agreed to score the film if Mozart's music was completely unchanged from Mozart's original scores. Marriner did add some notes to Salieri's music that are noticeable in the beginning of the film, as Salieri begins his confession. Music featured in the film but not included on the soundtrack album (but included in a later extended version): The Magic Flute, Queen of the Night aria Der Hlle Rache performed by June Anderson The Magic Flute, Ein Mdchen oder Weibchen... (Papageno), and Pa-pa-gena! ... Pa-pa-geno! (Papageno and Papagena) performed by Brian Kay and Gillian Fisher Axur, Re d'Ormus, Son queste le speranze... Salieri's opera shown in the beginning of the film Die Entfhrung aus dem Serail, Martern aller Arten... First opera that Mozart conducts in the film Le Nozze Di Figaro, Cinque...dieci...venti...trenta... The scene where Figaro (Samuel Ramey) is measuring a space for his wedding bed Don Giovanni, La Ci Darem La Mano appears as a parody sung as "Give me a hoof my darling, and I'll give you my heart" Piano Concerto in D minor, K. 466 1st movement K.33B Harpsichord piece in F major, played when Mozart is a child at the harpsichord, then on the violin (while blindfolded). Piano Concerto No.15 KV.450, B-dur 3. Allegro, played in the Theatrical version when Mozart is walking through Vienna carrying a bottle of champagne, and in the Director's Cut when Mozart is teaching a girl to play the piano and is interrupted by barking dogs. The 'improvisation', "in the manner of Johann Sebastian Bach" is based on the Duetto Vivat Bacchus! from Die Entfhrung aus dem Serail.
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United States
Academy Awards 1984 Won (8)[11][12] Best Actor in a Leading Role (F. Murray Abraham) Best Adapted Screenplay (Peter Shaffer) Best Art Direction (Karel ern and Patrizia von Brandenstein) Best Costume Design (Theodor Pitk) Best Picture Best Director (Milo Forman) Best Makeup (Dick Smith and Paul LeBlanc) Best Sound Mixing (Mark Berger, Thomas Scott, Todd Boekelheide and Christopher Newman) Nominated Best Actor in a Leading Role (Tom Hulce) Best Cinematography (Miroslav Ondek) Best Film Editing (Nena Danevic and Michael Chandler) Golden Globe Awards 1984
1984 Amadeus Won (4) Best Actor Motion Picture Drama (F. Murray Abraham) Best Director (Milo Forman) Best Motion Picture Drama Best Screenplay (Peter Shaffer) Nominated Best Actor Motion Picture Drama (Tom Hulce) Best Supporting Actor Motion Picture (Jeffrey Jones) LAFCA Awards 1984 Won (4) Best Actor (F. Murray Abraham tied with Albert Finney for Under the Volcano) Best Director (Milo Forman) Best Picture Best Screenplay (Peter Shaffer)
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American Cinema Editors Won (1) Best Edited Feature Film (Nena Danevic and Michael Chandler) Won (1) Best Casting for Feature Film (Mary Goldberg) Won (1) Outstanding Directorial Achievement in Motion Pictures (Milo Forman) Kansas City Film Critics Circle Award Won (1) Best Actor (F. Murray Abraham) American Film Institute Won (1) AFI's 100 Years...100 Movies #53 Nominated AFI's 100 Years...100 Heroes and Villains: Villain Antonio Salieri AFI's 100 Years...100 Movie Quotes: Emperor Joseph II: "There are simply too many notes." AFI's 100 Years...100 Movies (10th Anniversary Edition)
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United Kingdom
BAFTA Won (4) Best Cinematography (Miroslav Ondek) Best Editing (Nena Danevic and Michael Chandler) Best Make Up Artist (Dick Smith and Paul LeBlanc) Best Sound (Mark Berger, Thomas Scott and Christopher Newman) Nominated Best Actor (F. Murray Abraham) Best Costume Design (Theodor Pitk) Best Film (Milo Forman and Saul Zaentz) Best Production Design (Patrizia von Brandstein) Best Screenplay Adapted (Peter Shaffer)
Italy
David di Donatello Won (3) Best Director Foreign Film (Milo Forman) Best Foreign Actor (Tom Hulce) Best Foreign Film Won (2) Best Actor Foreign Film (Tom Hulce) Best Director Foreign Film (Milo Forman)
France
Csar Award Won (1) Best Foreign Film
Japan
Japan Academy Prize Won (1) Best Foreign Language Film
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Norway
Amanda awards Won (1) Best Foreign Feature Film
References
[1] Branagh, Kenneth (1990). Beginning. New York: Norton. pp.105109. ISBN978-0-393-02862-1. OCLC20669813. [2] The Making of Amadeus. DVD. Warner Bros Pictures, 2001. 20 min. [3] The English Patient weekend box office results, BoxOfficeMojo.com (http:/ / www. boxofficemojo. com/ movies/ ?page=weekend& id=englishpatient. htm) [4] Amadeus weekend box office results, BoxOfficeMojo.com (http:/ / www. boxofficemojo. com/ movies/ ?page=weekend& id=amadeus. htm) [5] The Hurt Locker weekend box office results, BoxOfficeMojo.com (http:/ / www. boxofficemojo. com/ movies/ ?page=weekend& id=hurtlocker. htm) [6] Olivier, by Terry Coleman, 2005, p 484 [7] "Academy Awards Acceptance Speeches" (http:/ / aaspeechesdb. oscars. org/ ics-wpd/ exec/ icswppro. dll?AC=qbe_query& TN=AAtrans& RF=WebReportPermaLink& MF=oscarsmsg. ini& NP=255& BU=http:/ / aaspeechesdb. oscars. org/ index. htm& QY=find+ acceptorlink+ =057-17). Academy of Motion Picture Arts & Sciences. 1985-03-25. . Retrieved 2011-02-24. [8] Sharon Waxman (March 21, 1999). "The Oscar Acceptance Speech: By and Large, It's a Lost Art" (http:/ / www. washingtonpost. com/ wp-srv/ style/ movies/ oscars/ speeches. htm). Washington Post. . [9] A.V. Club Interview with Milos Forman April 24, 2002 (http:/ / www. avclub. com/ articles/ milos-forman,13764) [10] Fox, Margalit (2011-02-17). "John Strauss, Composer of Car 54 Theme, Dies at 90" (http:/ / www. nytimes. com/ 2011/ 02/ 18/ arts/ television/ 18strauss. html). New York Times. Archived (http:/ / web. archive. org/ web/ 20110224062757/ http:/ / www. nytimes. com/ 2011/ 02/ 18/ arts/ television/ 18strauss. html) from the original on 24 February 2011. . Retrieved 2011-02-24. [11] "The 57th Academy Awards (1985) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 57th-winners. html). oscars.org. . Retrieved 2011-10-13. [12] "NY Times: Amadeus" (http:/ / movies. nytimes. com/ movie/ 1764/ Amadeus/ awards). NY Times. . Retrieved 2009-01-01.
External links
Amadeus (http://www.imdb.com/title/tt0086879/) at the Internet Movie Database Amadeus (http://tcmdb.com/title/title.jsp?stid=420318) at the TCM Movie Database Amadeus (http://www.allrovi.com/movies/movie/v1764) at AllRovi Amadeus (http://www.rottentomatoes.com/m/amadeus/) at Rotten Tomatoes Amadeus (http://www.boxofficemojo.com/movies/?id=amadeus.htm) at Box Office Mojo Analysis of Amadeus the play and the film (http://makuro.mak-sima.com/teksty/amadeus/amadeus.html) Amadeus (http://imsdb.com/scripts/Amadeus.html) The script.
1985 Out of Africa
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1985 Out of Africa

Out of Africa
Directed by Produced by Screenplay by Based on Starring Sydney Pollack Sydney Pollack Kim Jorgensen Kurt Luedtke Out of Africaby Karen Blixen (Isak Dinesen) Robert Redford Meryl Streep Klaus Maria Brandauer John Barry
Music by
Cinematography David Watkin Editing by Fredric Steinkamp William Steinkamp Pembroke Herring Sheldon Kahn Mirage Enterprises Universal Studios
Studio Distributed by Release date(s) Running time Country Language Budget Box office
December 18, 1985
161 minutes United States English Swahili $28 million

[1] [2]
$128,499,205
Out of Africa is a 1985 American romantic drama film directed and produced by Sydney Pollack and starring Robert Redford and Meryl Streep. The film is based loosely on the autobiographical book Out of Africa written by Isak Dinesen (the pseudonym of Danish author Karen Blixen), which was published in 1937, with additional material from Dinesen's book Shadows on the Grass and other sources. This film received 28 film awards, including seven Academy Awards. The book was adapted into a screenplay by the writer Kurt Luedtke, and directed by the American Sydney Pollack. Streep played Karen Blixen; Redford played Denys Finch Hatton; and Klaus Maria Brandauer played Baron Bror Blixen. Others in the film included Michael Kitchen as Berkeley Cole; Malick Bowens as Farah; Stephen Kinyanjui as the Chief; Michael Gough as Lord Delamere; Suzanna Hamilton as Felicity, and the model Iman as Mariammo.
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Plot
The story begins in 1913 in Denmark, when Karen Dinesen (a wealthy but unmarried woman) asks her friend Baron Bror Blixen (Klaus Maria Brandauer) to enter into a marriage of convenience with her. Although Bror is a member of the aristocracy he is no longer financially secure, therefore agrees to the marriage and the two of them plan to move to Africa to begin a dairy farm. Upon moving to British East Africa, Karen marries Bror in a brief ceremony, thus becoming Baroness Blixen. She meets and befriends various other colonial residents of the country, most of whom are British. She also meets Denys Finch Hatton (Robert Redford), a local big-game hunter with whom she develops a close friendship. However, things turn out differently for her than anticipated, since Bror has used her money to purchase a coffee plantation rather than a dairy farm. He also shows little inclination to put any real work into it, preferring instead to become a game hunter. Although theirs was a marriage of convenience, Karen does eventually develop feelings for Bror, but is distressed when she learns of his extramarital affairs. To make matters worse, Karen contracts syphilis from her philandering husband (at the time a very dangerous disease) and is forced to return to Denmark for a long and difficult period of treatment using the then-new medicine Salvarsan. Bror agrees to look after the plantation in her absence. After she has recovered and returns to Africa, the First World War is drawing to an end. However, it becomes clear that her marriage to the womanizing Bror has not changed and she eventually asks him to move out of their house. Her friendship with Denys then develops further and the two eventually become lovers. However, despite many unsuccessful attempts to turn their affair into a lasting relationship, she realizes that Denys is as impossible to own or tame as Africa itself. Denys prefers the simple, African customs of the free, nomadic life of the Maasai tribe on the open landscape, rather than the European customs of luxury, ownership and titles. Although he moves into Karen's house, he criticizes her desire to "own" things; even people, refuses to commit to marriage or give up his free lifestyle and tells her that he will not love her more just because of a piece of paper. Karen begrudgingly accepts the situation. No longer able to have children of her own due to the effects of the syphilis, decides to open a school to teach reading, writing, arithmetic and also some European customs to the African tribal children of the area. However, her coffee plantation runs into financial difficulties and she is forced to rely on bank loans to make ends meet. Although it has taken years to cultivate, the plantation finally yields a good harvest, but a devastating fire breaks out on the plantation and the crop and all of the factory equipment are destroyed. Now broke, and with her relationship with Denys over, Karen prepares to leave Africa to return home to Denmark, just as British East Africa is becoming Kenya Colony. She arranges to sell everything that she owns and empties the house of all her luxurious items for a rummage sale. In the now empty house, Denys visits her that night and the two of them have one last dance. He promises to return in a few days, to fly her to Mombasa in his biplane to begin her journey home. However, Denys never returns and Karen is told that his plane has crashed and he has been killed. Her loss now complete, Karen attends his funeral in the Ngong Hills. With Denys gone, Karen's head servant, Farah, takes her to the station, for the train to Mombasa. Karen later becomes an author and a storyteller, writing about her experiences and letters in Africa, though she never returned there.
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Cast
Robert Redford - Denys Finch Hatton Meryl Streep - Karen Blixen Klaus Maria Brandauer - Bror Blixen/Hans Blixen Michael Kitchen - Berkeley Cole Shane Rimmer - Belknap Malick Bowens - Farah Joseph Thiaka - Kamante Stephen Kinyanjui - Chief Kinanjui Michael Gough - Lord Delamere Suzanna Hamilton - Felicity Rachel Kempson - Lady Belfield Graham Crowden - Lord Belfield Benny Young - Minister Leslie Phillips - Sir Joseph (this was presumably meant to be Sir Joseph Aloysius Byrne, who took office as the Governor in early 1931) Annabel Maule - Lady Byrne Iman - Mariammo
Production
The film tells the story as a series of six loosely coupled episodes from Karen's life, intercut with her narration. The final two narrations, the first a reflection on Karen's experiences in Kenya and the second a description of Denys's grave, were taken from her book Out of Africa, while the others have been written for the film in imitation of her very lyrical writing style. The pace of this film is often rather slow, reflecting Blixen's book, "Natives dislike speed, as we dislike noise..."[3] Out of Africa was filmed using descendants of several people of the Kikuyu tribe who are named in the book, near the actual Ngong Hills outside Nairobi, but not inside of Karen's (second) three-bedroom house "Mbagathi" (now the Karen Blixen Museum). The filming took place in her first house "Mbogani", close to the museum, which is a dairy today. A substantial part of the filming took place in the Scott house, which is still occupied. The scenes set in Denmark were actually filmed in Surrey, England.
Differences between the film and real life events

This film quotes the start of the book, "I had a farm in Africa, at the foot of the Ngong Hills" [p.3], and Denys recites, "He prayeth well that loveth well both man and bird and beast" from The Rime of the Ancient Mariner, which becomes the epitaph inscribed on Finch-Hatton's grave marker [p.370]. This film differs significantly from the book, leaving out the devastating locust swarm, some local shootings, and Karen's writings about the German army. The production also downplays the size of her unknown operator: u',' acres (unknown operator: u'strong'unknown operator: u','km2) farm, with 800 Kikuyu workers and an 18-oxen wagon. Scenes show Karen as owning only one dog, but actually, she had two similar dogs named Dawn and Dusk. The film also takes liberties with Karen's and Denys's romance. They met at a hunting club, not in the plains. Denys was away from Kenya for two years on military assignment in Egypt, which is not mentioned. Denys took up flying and began to lead safaris after he moved in with Karen. The film also ignores the fact that Karen was pregnant at least once with Denys's child, but she suffered from miscarriages. Furthermore, Denys was decidedly English, but this fact was downplayed by the hiring of the actor Robert Redford, an inarguably All-American actor who had previously worked with Pollack. When Redford accepted the contract to play Finch Hatton, he did so fully intending
1985 Out of Africa to play him as an Englishman. This conception was later nixed by the director Sydney Pollack, who thought it would be distracting for the audiences. In fact, Redford reportedly had to re-record some of his lines from early takes in the filming, in which he still spoke with a trace of English accent. The title scenes of the film show the main railway, from Mombasa to Nairobi, as travelling through the Kenyan Rift Valley, on the steep back side of the actual Ngong Hills. However, the real railway track is located on the higher, opposite side of the Ngong Hills. The passenger car was actually a small combination office / sleeper that was originally used by supervisors during the building of the Uganda Railway and was the actual car from which a man was taken and killed by a marauding lion. The film shows Karen reciting from To An Athlete Dying Young at Finch-Hatton's funeral but there is no mention of this in the book.
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Soundtrack
Out of Africa
Soundtrack album by John Barry Released Recorded Genre Length 1986 1985 Soundtrack 12 at 33:27 18 at 38:42 MCA Records Varse Sarabande
Label
The music for Out of Africa was composed and conducted by veteran English composer John Barry. The score included a number of outside pieces such as Mozart's Clarinet Concerto and African traditional songs. The soundtrack garnered Barry an Oscar for Best Original Score and sits in fifteenth place in the American Film Institute's list of top 25 American film scores.[4] The soundtrack was released through MCA Records and features 12 tracks of score at a running time of just over thirty-three minutes. A rerecording conducted by Joel McNeely and performed by the Royal Scottish National Orchestra was released in 1997 through Varse Sarabande and features eighteen tracks of score at a running time just under thirty-nine minutes.[5] MCA Records release 1. 2. 3. 4. "Main Title (I Had a Farm in Africa)" (3:14) "I'm Better at Hello (Karen's Theme I)" (1:18) "Have You Got a Story For Me" (1:14) "Concerto For Clarinet and Orchestra in A (K. 622)" (2:49) by Wolfgang Amadeus Mozart, performed by the Academy of St Martin in the Fields 5. "Safari" (2:44) 6. "Karen's Journey/Siyawe" (4:50) contains traditional African music 7. "Flying Over Africa" (3:25) 8. "I Had a Compass From Denys (Karen's Theme II)" (2:31) 9. "Alone on the Farm" (1:56) 10. "Let the Rest of the World Go By" (3:17) - by Ernest R. Ball and J. Keirn Brennan 11. "If I Know a Song of Africa (Karen's Theme III)" (2:12) 12. "End Title (You Are Karen)" (4:01) Varse Sarabande Re-Recording
1985 Out of Africa 1. "I Had a Farm (Main Title)" (3:12) 2. "Alone on the Farm" (1:00) 3. "Karen and Denys" (0:48) 4. "Have You Got a Story For Me" (1:21) 5. "I'm Better at Hello" (1:24) 6. "Mozart: clarinet concerto in A Major: K622 (Adagio)" (7:39) by Wolfgang Amadeus Mozart 7. "Karen's Journey Starts" (3:41) 8. "Karen's Journey Ends" (1:00) 9. "Karen's Return From Border" (1:33) 10. "Karen Builds a School" (1:19) 11. "Harvest" (2:02) 12. "Safari" (2:35) 13. "Flight Over Africa" (2:41) 14. "Beach at Night" (0:58) 15. "You'll Keep Me Then" (0:58) 16. "If I Knew a Song of Africa" (2:23) 17. "You Are Karen M'Sabu" (1:17) 18. "Out of Africa (End Credits)" (2:49)
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Technical notes
In the Director's Notes on the DVD[6] for The Interpreter, Sydney Pollack stated that he filmed Out of Africa and his later films of that decade in 1.85:1 matted widescreen; and that it "...probably was one I should have had in widescreen". By this he meant anamorphic 2.39:1 widescreen. In his director's notes, Pollack stated that prior to the filming of Out of Africa, he made motion pictures exclusively in the anamorphic 2.39:1 widescreen format and style, and that he did not resume the anamorphic 2.39:1 widescreen format until his movie, The Interpreter, in 2005. In 1985, there were no steam locomotives still operational in Kenya. Therefore, the producers and their advisors decided to assemble a simulated steam train that was, instead, pushed from behind by an available diesel locomotive, which was directly behind the steam locomotive and disguised as a box car. Due to mechanical problems, this covering had to be disassembled and reassembled after repairs. The simulated steam locomotive burned rubber tires in its simulated boiler, and liquid oxygen was used as an oxidizer to give the appearance of a coal-fired boiler. This replica of a steam locomotive - and also the passenger cars used during the filming - have been put on display in the Nairobi Railway Museum. The passenger car used by Streep's character was not a standard car but actually a supervisor's car from the days of the building of the East Africa Railway. This is exactly the same car mentioned in Patterson's "The Man-eaters of Tsavo" in which two of the three occupants were killed by a marauding lion. While formerly displayed in the museum, in its original colors and bearing a plaque referring to the event, the car is currently displayed using the later color scheme, as seen in the film. Due to daily rail traffic, the train footage had to be shot on an old spur line that had not been used for some thirty years. Among the various props used in the movie, the compass that Redford gives to Streep was Denys Finch Hatton's actual compass. Unfortunately, it was stolen during the production. As guns (real, toys and replicas) are illegal in Kenya, Redford's papier mache pistol was confiscated at the end of production and has since been seen as a rental item in subsequent stage productions in Nairobi. The film also features a de Havilland DH.60 Moth in the later scenes, the same type of airplane flown by Finch Hatton in real life.
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Awards and honors

Academy Awards The film won seven Academy Awards and was nominated in a further four categories.[7][8] Won Best Picture (Sydney Pollack, Kim Jorgensen) Best Director (Sydney Pollack) Best Art Direction (Stephen Grimes, Josie MacAvin) Best Cinematography (David Watkin) Best Adapted Screenplay (Kurt Luedtke) Best Original Score (John Barry) Best Sound (Chris Jenkins, Gary Alexander, Larry Stensvold, Peter Handford)
Nominated Best Actress (Meryl Streep) Best Supporting Actor (Klaus Maria Brandauer) Costume Design (Milena Canonero) Film Editing (Fredric Steinkamp, William Steinkamp, Pembroke Herring, and Sheldon Kahn)
Golden Globes The film won three Golden Globes (Best Picture, Supporting Actor, Original Score). AFI American Film Institute recognition 2002 AFI's 100 Years... 100 Passions #13 2005 AFI's 100 Years of Film Scores #15
References
[1] Harmetz, Aljean (November 29, 1985). "At the Movies" (http:/ / www. nytimes. com/ 1985/ 11/ 29/ movies/ at-the-movies. html). The New York Times. . Retrieved June 13, 2011. [2] Box Office Mojo (Out Of Africa) (http:/ / www. boxofficemojo. com/ movies/ ?id=outofafrica. htm) [3] Out of Africa, p. 252 [4] AFI's 100 Years Of Film Scores (http:/ / connect. afi. com/ site/ DocServer/ scores250. pdf?docID=221) at AFI.com (http:/ / www. afi. com) [5] Out of Africa (http:/ / www. filmtracks. com/ titles/ out_africa. html) soundtrack review at Filmtracks.com (http:/ / www. filmtracks. com) [6] The Interpreter, DVD#25835, Universal Studios [7] "The 58th Academy Awards (1986) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 58th-winners. html). oscars.org. . Retrieved 2011-10-16. [8] "NY Times: Out of Africa" (http:/ / movies. nytimes. com/ movie/ 36787/ Out-of-Africa/ awards). NY Times. . Retrieved 2009-01-01.
External links
Out of Africa (http://www.imdb.com/title/tt0089755/) at the Internet Movie Database Out of Africa (http://tcmdb.com/title/title.jsp?stid=19122) at the TCM Movie Database Out of Africa (http://www.allrovi.com/movies/movie/v36787) at AllRovi Out of Africa (http://www.boxofficemojo.com/movies/?id=outofafrica.htm) at Box Office Mojo Out of Africa (http://www.rottentomatoes.com/m/out_of_africa/) at Rotten Tomatoes
1986 Platoon
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1986 Platoon
Platoon
Theatrical release poster by Bill Gold
Directed by Produced by Written by Starring Oliver Stone Arnold Kopelson Oliver Stone Tom Berenger Willem Dafoe Charlie Sheen Georges Delerue
Music by
Cinematography Robert Richardson Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Claire Simpson Hemdale Film Corporation Orion Pictures
December 19, 1986

[1]
Platoon is a 1986 American war film written and directed by Oliver Stone and stars Tom Berenger, Willem Dafoe and Charlie Sheen. It is the first of Stone's Vietnam War trilogy, followed by 1989's Born on the Fourth of July and 1993's Heaven & Earth.[2] Stone wrote the story based upon his experiences as a U.S. infantryman in Vietnam to counter the vision of the war portrayed in John Wayne's The Green Berets.[3] The film won the Academy Award for Best Picture of 1986. In 2007, the American Film Institute placed Platoon at #83 in their "AFI's 100 Years... 100 Movies" poll. British television channel Channel 4 voted Platoon as the 6th greatest war film ever made, behind Full Metal Jacket and ahead of A Bridge Too Far.[4]
Plot
In 1967, Chris Taylor (Charlie Sheen) has dropped out of college and volunteered for combat duty in Vietnam. Assigned to Bravo Company, near the Cambodian border, he is worn down by the exhausting conditions and his enthusiasm for the war wanes. One night his unit is set upon by a group of North Vietnamese Army (NVA) soldiers, who retreat after a brief gunfight. New recruit Gardner is killed while another soldier, Tex, is maimed by friendly fire from a grenade thrown by Sergeant "Red" O'Neill (John C. McGinley), with Taylor being mistakenly reprimanded by the ruthless Staff Sergeant Bob Barnes (Tom Berenger). Taylor eventually gains acceptance from a tight-knit group in his unit who socialize and even use drugs in a cabin clubhouse. He finds a mentor in Sergeant Elias (Willem Dafoe) as well as the elder King (Keith David). During one patrol, a soldier named Manny is found mutilated and tied to a post while two others, Sal and Sandy, are killed by a booby-trap. As tension mounts, the platoon soon reaches a nearby village where a supply cache is
1986 Platoon discovered. Taylor finds a disabled young man and an elderly woman hiding in a spider hole. Taylor snaps, screaming and threatening the man but is shocked to see Bunny (Kevin Dillon) then bludgeon him to death. Barnes interrogates the village chief to determine if they have been aiding the Vietcong. Despite the villagers' adamant denials, Barnes shoots and kills the chief's wife due to her persistent arguing. Barnes takes the child of the woman at gunpoint, threatening to shoot her if the villagers do not reveal information. Elias arrives, scolding Barnes and engaging in a scuffle with him over the incident. Platoon commander Lieutenant Wolfe (Mark Moses) orders the men to leave with the villagers and burn the village. As they leave, Taylor stops a group of soldiers sexually abusing two girls. Upon returning to base, Captain Harris (Dale Dye) warns that if he finds out an illegal killing took place, then a court-martial would be ordered, which concerns Barnes as Elias might give a testimony. On their next patrol, the platoon is ambushed and pinned down in a firefight, in which numerous soldiers are wounded. Wolfe calls in an artillery strike on incorrect coordinates, resulting in friendly fire casualties. Elias takes Taylor and Rhah (Francesco Quinn) to intercept flanking enemy troops. Barnes orders the rest of the platoon to retreat, and goes back into the jungle to find Elias' group. Barnes finds Elias and shoots him, returning to tell the others that Elias was killed by the enemy. After they take off, a wounded Elias emerges from the jungle, running from a group of North Vietnamese soldiers. Taylor glances over at Barnes and reads the apprehension on his face as Elias dies. At the base, Taylor attempts to talk his group into retaliation when a drunken Barnes enters the room and taunts them. Taylor attacks him but is cut near his eye as a result. The platoon is sent back into the combat area to maintain defensive positions. King is sent home and Taylor shares a foxhole with Francis (Corey Glover). That night, an NVA assault occurs and the defensive lines are broken. Several soldiers in the platoon including Junior, Bunny and Wolfe, are killed, while O'Neill barely escapes death by hiding under a dead soldier. To make matters worse, an NVA sapper armed with explosives rushes into battalion HQ, self-detonating and killing everyone inside. Meanwhile, Captain Harris orders his air support to expend all remaining ordnance inside his perimeter. During the chaos, Taylor encounters Barnes, but the wounded sergeant attacks him. Just before Barnes can pummel Taylor, both men are knocked unconscious by an explosion. Taylor regains consciousness the following morning, picks up an enemy Type 56, and finds an injured Barnes, who dares him to pull the trigger. Taylor shoots Barnes, killing him. Taylor then considers suicide with a grenade before reinforcements arrive and find him. Francis, who survived the battle unharmed, deliberately stabs himself in the leg and reminds Taylor that because they have been wounded, they can return home to the U.S. O'Neill, who desperately wants to go home, is told he will remain in duty and replace Barnes. The helicopter flies away and Taylor weeps as he stares down at the death and destruction.
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Cast
The following actors appeared in the film:[5] Charlie Sheen as Chris Tom Berenger as Sergeant Barnes Willem Dafoe as Sergeant Elias Forest Whitaker as Big Harold Francesco Quinn as Rhah John C. McGinley as Sergeant O'Neill Richard Edson as Sal Kevin Dillon as Bunny Reggie Johnson as Junior Keith David as King
Johnny Depp as Lerner David Neidorf as Tex
1986 Platoon Mark Moses as Lieutenant Wolfe Chris Pedersen as Crawford Corkey Ford as Manny Corey Glover as Francis Bob Orwig as Gardner Tony Todd as Warren Kevin Eshelman as Morehouse James Terry McIlvain as Ace J. Adam Glover as Sanderson Ivan Kane as Tony Paul Sanchez as Doc Dale Dye as Captain Harris Peter Hicks as Parker Basile Achara as Flash Steve Barredo as Fu Sheng Chris Castillejo as Rodriquez Andrew B. Clark as Tubbs Bernardo Manalili as Village Chief Than Rogers as Village Chief's Wife Li Thi Van as Village Chief's Daughter Clarisa Ortacio as Old Woman Romy Sevilla as One-Legged Man Matthew Westfall as Terrified Soldier Nick Nickelson as 1st Mechanized Soldier Warren McLean as 2nd Mechanized Soldier Li Mai Thao as Rape Victim Ron Barracks as Medic Oliver Stone as 3/22 Infantry, Battalion Commander in Bunker (uncredited cameo)[6][7]
477
Development
"Vietnam was really visceral, and I had come from a cerebral existence: study... working with a pen and paper, with ideas. I came back [8] really visceral. And I think the camera is so much more... that's your interpreter, as opposed to a pen." Oliver Stone
After his tour of duty in Vietnam ended in 1968, Oliver Stone wrote a screenplay called Break: a semi-autobiographical account detailing his experiences with his parents and his time in Vietnam. Stone's return from active duty in Vietnam resulted in a "big change" in how he viewed life and the war, and the unproduced screenplay Break was the result, and it eventually provided the basis for Platoon.[8] In a 2010 interview with the Times, Stone discussed his killing of a Viet Cong soldier and how he blended this experience into his screenplay.[9] It featured several characters who were the seeds of those who would end up in Platoon. The script was set to music from The Doors; Stone sent the script to Jim Morrison in the hope he would play the lead (Morrison never responded but the script was returned to Oliver Stone by Morrison's manager shortly after Morrison's death - Morrison had the script with him when he died in Paris). Though Break went ultimately unproduced, it was the spur for him to attend film school.[8] After penning several other produced screenplays in the early 1970s, Stone came to work with Robert Bolt on an unproduced screenplay, The Cover-up. Bolt's rigorous approach rubbed off on Stone, and he was inspired to use the characters from his Break screenplay (who in turn were based upon people Stone knew in Vietnam) as the basis for a
1986 Platoon new screenplay titled The Platoon. Producer Martin Bregman attempted to elicit studio interest in the project, but Hollywood was still apathetic about Vietnam. However, the strength of Stone's writing on The Platoon was enough to get him the job penning Midnight Express in 1978. Despite that film's critical and commercial success, and that of other Stone-penned films at the time, most studios were still reluctant to finance The Platoon, as they feared a film about the Vietnam War would not attract an audience. After the release of The Deer Hunter and Apocalypse Now, they then cited the perception that these films were considered the pinnacle of the Vietnam War film genre as reasons not to make The Platoon.[8] Stone instead attempted to break into mainstream direction via the easier-to-finance horror genre, but The Hand failed at the box office, and Stone began to think that The Platoon would never be made. Stone wrote Year of the Dragon for a lower-than-usual fee of $200,000, on the condition from producer Dino De Laurentiis that he would then produce The Platoon. De Laurentiis secured financing for the film, but struggled to find a distributor. Because de Laurentiis had already spent money sending Stone to the Philippines to scout for locations, he decided to keep control of the film's script until he was repaid.[8] Then Stone's script for what would become Salvador was passed to John Daly of British production company Hemdale. Once again, this was a project that Stone had struggled to secure financing for, but Daly loved the script and was prepared to finance both Salvador and The Platoon off the back of it. Stone shot Salvador first, before turning his attention to what was by now called Platoon.[8]
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Production
Platoon was filmed on the island of Luzon in the Philippines, starting in February 1986. The production of the film, on a scheduled date, was almost canceled because of the political upheaval in the country due to then-dictator Ferdinand Marcos, but with the help of well-known Asian producer Mark Hill, the shoot went on as scheduled. The shoot lasted 54 days and cost $6.5 million. The production made a deal with the Philippine military for the use of military equipment.[8] James Woods, who had starred in Stone's previous film, Salvador, was offered a part in Platoon. He turned the role down, later saying he "couldn't face going into another jungle with [Stone]". Upon arrival in the Philippines, the cast was sent on a two-week intensive training course, during which they had to dig foxholes and were subject to forced marches and nighttime "ambushes" which utilized special-effects explosions. Stone explained that he was trying to break them down, "to mess with their heads so we could get that dog-tired, don't give a damn attitude, the anger, the irritation... the casual approach to death".[8] Willem Dafoe said "the training was very important to the making of the film," including its authenticity and the camaraderie developed among the cast. "By the time you got through the training and through the film, you had a relationship to the weapon. It wasnt going to kill people, but you felt comfortable with it."[10] Stone makes a cameo appearance as the battalion commander of 3/22 Infantry in the final battle. Dale Dye, who played Bravo company's commander Captain Harris, is a U.S. Marine Corps Vietnam veteran who also acted as the film's technical advisor.[3] Stone based the final attack on a real life battle he survived. Music used in the film includes Adagio for Strings by Samuel Barber, "White Rabbit" by Jefferson Airplane and "Okie From Muskogee" by Merle Haggard. During a scene in the "Underworld" the soldiers sing along to "The Tracks of My Tears" by Smokey Robinson and The Miracles, which also featured in the film's trailer.
1986 Platoon
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Soundtrack
"Adagio for Strings" by Samuel Barber "Ride of the Valkyries" (in reference to Apocalypse Now, an earlier Vietnam War film that had Charlie Sheen's father, Martin Sheen, billed in the starring role) "Groovin'" by The Rascals "(Sittin' On) The Dock of the Bay" by Otis Redding "The Tracks of My Tears" by Smokey Robinson & The Miracles "White Rabbit" by Jefferson Airplane "Okie From Muskogee" by Merle Haggard
Reception
Critics both praised and criticized Platoon for its presentation of the violence seen in the war and the moral ambiguity created by the realities of guerrilla warfare, when unit leaders have to make a choice between saving the lives of their own men and taking those of suspected guerrilla sympathizers. Roger Ebert gave it four out of four stars, calling it the best film of the year, and the 9th best of the 1980s. The film currently has an 87% rating at Rotten Tomatoes and a Metacritic score of 86%.[11]

Wins
Academy Award for Best Picture[12] Academy Award for Best Director Oliver Stone Academy Award for Best Sound (John Wilkinson, Richard Rogers, Charles Grenzbach, Simon Kaye) Academy Award for Best Film Editing
Berlin International Film Festival - Silver Bear for Best Director[13] Golden Globe Award for Best Motion Picture - Drama Golden Globe Award for Best Director Oliver Stone Golden Globe Award for Best Supporting Actor - Motion Picture Tom Berenger Directors Guild of America Award for Outstanding Directing - Feature Film Oliver Stone BAFTA Award for Best Direction Oliver Stone BAFTA Award for Best Editing Independent Spirit Award for Best Film Independent Spirit Award for Best Director Oliver Stone Independent Spirit Award for Best Screenplay Oliver Stone Independent Spirit Award for Best Cinematography
1986 Platoon
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Nominations
Academy Award for Best Supporting Actor Tom Berenger Academy Award for Best Supporting Actor Willem Dafoe Academy Award for Best Original Screenplay Oliver Stone Academy Award for Best Cinematography Robert Richardson
Golden Globe Award for Best Screenplay Oliver Stone BAFTA Award for Best Cinematography Robert Richardson Writers Guild of America Award for Best Original Screenplay Oliver Stone Independent Spirit Award for Best Male Lead Willem Dafoe
Honors
American Film Institute Lists AFI's 100 Years... 100 Movies - #83 AFI's 100 Years... 100 Thrills - #72 AFI's 100 Years... 100 Heroes and Villains: Sergeant Barnes - Nominated Villain[14] AFI's 100 Years... 100 Movies (10th Anniversary Edition) - #86
Marketing
The film was marketed with the tag line, "The first casualty of war is innocence," an adaptation of Senator Hiram Johnson's assertion in 1917 that "The first casualty of war is the truth."[15] (c.f. Aeschylus (BC 525 - BC 456), "In war, truth is the first casualty.") Several licensed tie-ins were released between 1986-1988. A video game was produced by Ocean Software for various formats. The Nintendo Entertainment System version was ported and published by Sunsoft. Loosely based on the film, the object of the game is to survive in the Vietnamese jungle against guerrilla attacks. A wargame was also produced, by Avalon Hill, as an introductory game to attract young people into the wargaming hobby.[16] A novelization of the film was written by Dale Dye. In 2002, Strategy First published and Digital Reality developed a real-time strategy game based on the film for Microsoft Windows.[17]
References
[1] Box Office Information for Platoon. (http:/ / boxofficemojo. com/ movies/ ?id=platoon. htm) Box Office Mojo. April 13, 2012. [2] Mathews, Jack (1987-01-25). "Platoon'--hollywood Steps On A Gold Mine" (http:/ / articles. latimes. com/ 1987-01-25/ entertainment/ ca-5552_1). The Los Angeles Times. . Retrieved 2011-03-22. [3] Stone, Oliver (2001). Platoon DVD commentary (DVD). MGM Home Entertainment. [4] "Channel 4's 100 Greatest War Movies of All Time" (http:/ / www. thependragon. co. uk/ Channel4WarFilms. htm). . Retrieved 2011-08-13. [5] Stone, Oliver; Boyle, Richard (1987). Platoon and Salvador: The Screenplays. London: Ebury Press. pp.1415. ISBN0-85223-648-4. [6] "Greatest Film Director Cameos" (http:/ / www. filmsite. org/ directorcameos. html). filmsite.org. . Retrieved 2012-05-08. [7] "Platoon Directed by Oliver Stone" (http:/ / www. independent. co. uk/ arts-entertainment/ united-artists/ platoon-789046. html). The Independent. . Retrieved 2012-05-08. [8] Salewicz, Chris (1999-07-22) [1997]. Oliver Stone: The Making of His Movies (New Ed edition ed.). UK: Orion Publishing Group. ISBN0-7528-1820-1. [9] www.thetimes.co.uk/tto/arts/film/article2660321 [10] http:/ / bombsite. com/ issues/ 19/ articles/ 907 [11] http:/ / uk. rottentomatoes. com/ m/ platoon/ [12] "The 59th Academy Awards (1987) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 59th-winners. html). oscars.org. . Retrieved 2011-10-16. [13] "Berlinale: 1987 Prize Winners" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1987/ 03_preistr_ger_1987/ 03_Preistraeger_1987. html). berlinale.de. . Retrieved 2011-03-01. [14] AFI's 100 Years...100 Heroes and Villains Nominees (http:/ / www. afi. com/ Docs/ 100Years/ handv400. pdf)
1986 Platoon
[15] Mooallem, Jon (February29, 2004). "How movie taglines are born" (http:/ / www. boston. com/ news/ globe/ ideas/ articles/ 2004/ 02/ 29/ how_movie_taglines_are_born/ ). The Boston Globe. . Retrieved November13, 2008. [16] "Platoon (1986)" (http:/ / www. boardgamegeek. com/ game/ 2812). BoardGameGeek. . Retrieved 2008-06-12. [17] http:/ / www. gamespot. com/ pc/ strategy/ platoonthe1stacdiv/ index. html
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External links
Platoon (http://www.imdb.com/title/tt0091763/) at the Internet Movie Database Platoon (http://www.allrovi.com/movies/movie/v38327) at AllRovi Platoon (http://www.boxofficemojo.com/movies/?id=platoon.htm) at Box Office Mojo Platoon (http://www.rottentomatoes.com/m/platoon/) at Rotten Tomatoes Platoon (http://www.boardgamegeek.com/game/2812) at BoardGameGeek Entertainment Weekly interview with Stone (http://insidemovies.ew.com/2011/05/24/ oliver-stone-talks-platoon-and-charlie-sheen-on-the-vietnam-films-25th-anniversary-exclusive/ ?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+entertainmentweekly/latest+ (Entertainment+Weekly:++Today's+Latest))
1987 The Last Emperor
482

The Last Emperor
Promotional poster of The Last Emperor.
Directed by Produced by Written by Starring Bernardo Bertolucci Jeremy Thomas Mark Peploe Bernardo Bertolucci John Lone Joan Chen Peter O'Toole Ruocheng Ying Victor Wong Dennis Dun Ryuichi Sakamoto Maggie Han Ric Young Vivian Wu Chen Kaige Ryuichi Sakamoto David Byrne Cong Su
Music by
Cinematography Vittorio Storaro Editing by Studio Distributed by Release date(s) Gabriella Cristiani Hemdale Film Corporation Recorded Picture Company Columbia Pictures

23 October 1987 (Italy) 18 November 1987 (New York City, New York Premire) 19 November 1987 (Los Angeles, California Premiere) 18 December 1987 (USA)
Running time Country
160 minutes China United Kingdom Italy English Mandarin Chinese $23.8 million $43,984,230
[1]
Language Budget Box office
[2]
The Last Emperor is a 1987 biopic about the life of Puyi, the last Emperor of China, whose autobiography was the basis for the screenplay written by Mark Peploe and Bernardo Bertolucci. Independently produced by Jeremy Thomas, it was directed by Bertolucci and released in 1987 by Columbia Pictures.[3] Puyi's life is depicted from his ascent to the throne as a small boy to his imprisonment and political rehabilitation by the Chinese Communist authorities.
1987 The Last Emperor The film stars John Lone as Pu Yi, with Joan Chen, Peter O'Toole, Ruocheng Ying, Victor Wong, Dennis Dun, Ryuichi Sakamoto, Maggie Han, Ric Young, Vivian Wu, and Chen Kaige. It was the first feature film for which the producers were authorized by the Chinese government to film in the Forbidden City in Beijing.[1] It won nine Academy Awards, including Best Picture and Best Director.[4]
483
Plot
The film opens in 1950 with Pu Yi's re-entry into the just-proclaimed People's Republic of China as a political prisoner and war criminal, having been captured by the Red Army when the Soviet Union entered the Pacific War in 1945 (see Soviet invasion of Manchuria) and been in their custody for the past five years. Puyi attempts suicide, which only renders him unconscious. In a flashback, apparently triggered as a dream, Puyi relives his first entry, with his wet nurse at his side, into the Forbidden City. The next section of the film is a series of chronological flashbacks showing Puyi's early life: from his royal upbringing, to the tumultuous period of the early Chinese Republic, to his subsequent exile, his Japanese-supported puppet reign of Manchukuo, and then his capture by the Soviet army all of which are intermixed with flash-forwards portraying his prison life. Under the Communist re-education program for political prisoners, Puyi is coerced by his interrogators to formally renounce his forced collaboration with the Imperial Japanese invaders for war crimes during their occupation of China during the war. Finally, after a heated discussion with the camp commandant and upon watching a propaganda film detailing the wartime atrocities committed by the Japanese, Puyi recants his previous stance and is set free and rehabilitated by the government in 1958. The concluding section of the film ends with a flash-forward to the mid-1960s during the Mao cult and the beginning of the Cultural Revolution. By now, Puyi has become a simple gardener who lives a peasant proletarian existence. On his way home from work, he happens upon a Red Guard parade, complete with children playing pentatonic music on accordions en masse and dancers who dance the rejection of landlordism by the Communists. His prison camp commander, his only friend during his incarceration, is forced to wear a dunce cap and a sandwich board bearing punitive slogans, and is one of the political prisoners now punished as an anti-revolutionary in the parade. Puyi later visits the Forbidden City as an ordinary tourist. There he meets an assertive little boy wearing the red scarf of the Pioneer Movement. The young Communist orders Puyi to step away from the throne. However, Puyi proves to the boy that he is indeed the Son of Heaven, proceeding to approach the throne. There, Puyi discovers the 60 year old pet cricket he kept as a child and gives it to the child. Amazed by the gift, the boy turns to talk to Puyi, but the emperor has disappeared. The film ends with a tour guide leading a tour in front of the throne, where the guide sums up Puyi's life in a few, brief sentences, concluding that he died in 1967.
Cast
John Lone as Puyi (adult) Joan Chen as Wanrong Peter O'Toole as Reginald Johnston Ying Ruocheng as Detention Centre Governor Victor Wong as Chen Baochen Dennis Dun as Big Li Ryuichi Sakamoto as Amakasu Masahiko Maggie Han as Eastern Jewel (Yoshiko Kawashima) Ric Young as Interrogator
Vivian Wu (credited as Wu Jun Mei) as Wenxiu Cary-Hiroyuki Tagawa as Chang
1987 The Last Emperor Jade Go as Ar Mo Fumihiko Ikeda as Colonel Yoshioka Richard Vuu as Puyi (3 years old) Tijger Tsou as Puyi (8 years old) Wu Tao as Puyi (15 years old) Fan Guang as Pujie (adult), Puyi's younger brother Henry Kyi as Pujie (7 years old) Alvin Riley III as Pujie (14 years old) Lisa Lu as Empress Dowager Cixi Hideo Takamatsu as General Hishikari Takashi Hajime Tachibana as Japanese Translator Basil Pao as Zaifeng, Prince Chun, Puyi's father Henry O as Lord Chamberlain
484
Production
Bernardo Bertolucci proposed the film to the Chinese government as one of two possible projects - the other was an adaptation of La Condition Humaine by Andr Malraux. The Chinese preferred this project. During filming of the immense coronation scene in the Forbidden City, Queen Elizabeth II was in Beijing on a state visit. The production was given priority over her by the Chinese authorities and she was therefore unable to visit the Forbidden City. Producer Jeremy Thomas managed to raise the $25 million budget for his independent production single-handedly. At one stage, he scoured the phone book for potential financiers.[5] Thomas later remembered his experience shooting the film: It was a very long and difficult period to set it up, full of nightmares, it was like a dark tunnel, to shoot for six months in China, not being able to stop, but out of it came this beautiful thing, and I have totally forgotten all the nightmares. I just think about what an extraordinary experience it was to be in China at the beginning of open doors, to be allowed to make that film there, with a filmmaker like Bertolucci, with whom I have managed to continue a wonderful relationship and friendship for more than twenty years now and six movies. So that was a big point for me in my life and career. When you make films in different places, you need to find the mercenary warriors to help you make the film, because no man is an island. The best technicians came to work on the film, like Vittorio Storaro and the designer Fernando Scarfiotti, and James Acheson the costume designer. So a group of professionals plus a tremendous amount of support from Italy, because the Italian government and the Chinese were very close. So there was a bonding between the Italians and Chinese. In fact the British Council and British Embassy were rather hands off when we arrived there, they came to claim it later but... If an Emperor can become a gardener then what better, and one day they will tell this story. And then we came and we told that story. Of an Emperor, son of Heaven, ruler of a quarter of the world, one man, and he died as a gardener. So this was an irresistible and grand epic idea. It was terrifying but it happened. The difficult thing about the success of that film was that it was a difficult film to emulate, and I have never been to that pinnacle of a certain type of film. And I doubt if I ever would or could make a film like that again. I dont know how one would have made those films in the independent arena today. There were no digital shots, it was before digital, and filmed with real people.[6] 19,000 extras were needed over the course of the film. The Chinese army was drafted in to accommodate.[6]
485
Soundtrack
While not included on the album soundtrack, the following music was played in the movie: "Am I Blue?" (1929), "Auld Lang Syne" (uncredited), and "China Boy" (1922) (uncredited).[7]
Release
The film was originally released by Columbia Pictures, although they were initially reluctant, and producer Jeremy Thomas had to raise a large sum of the budget independently. Only after shooting was completed did the head of Columbia Pictures agree to distribute The Last Emperor in North America.[1] Columbia later lost the rights when it reached home video through Nelson Entertainment, which released the film on VHS and Laserdisc. Years later, Artisan Entertainment acquired the rights to the film and released both the theatrical and extended versions on home video. In February 2008 The Criterion Collection (under license from now-rights-holder Jeremy Thomas) released a four disc Director-Approved edition, again containing both theatrical and extended versions.[8] Criterion released a Blu-ray version on 6 January, 2009.[8] The Last Emperor had an unusual run in theatres. It did not enter the weekend box office top 10 until its twelfth week in which the film reached #7 after increasing its gross by 168% from the previous week and more than tripling its theatre count (this was the weekend before it was nominated for the Academy Award for Best Picture). Following that week, the film lingered around the top 10 for 8 weeks before peaking at #4 in its 22nd week (the weekend after winning the Oscar) (increasing its weekend gross and theatre count by 306% and nearly doubling its theatre count) and spending 6 straight weeks in the weekend box office top 10.[9] Were it not for this late push, The Last Emperor would have joined The English Patient, Amadeus and The Hurt Locker as the only Best Picture winners to not enter the weekend box office top 5 since these numbers were first recorded in 1982.
Awards
At the 60th Academy Awards, the film won nine Oscars:[4] Best Picture (Jeremy Thomas) Best Director (Bernardo Bertolucci) Best Art Direction (Ferdinando Scarfiotti, Bruno Cesari and Osvaldo Desideri) Best Cinematography (Vittorio Storaro) Best Costume Design (James Acheson) Best Film Editing (Gabriella Cristiani) Best Original Score (Ryuichi Sakamoto, David Byrne and Cong Su) Best Sound (Bill Rowe and Ivan Sharrock) Best Adapted Screenplay (Mark Peploe and Bernardo Bertolucci)
Historical omissions
In Japan, the Shochiku Fuji Company edited out a thirty-second sequence from The Last Emperor depicting the Rape of Nanjing before distributing it to Japanese theatres, without Bertolucci's consent. The Rape of Nanjing in which hundreds of thousands of Chinese civilians were massacred by the Imperial Japanese Army is an event disputed by the Japanese government, and a diplomatic stumbling block with China. Bertolucci was furious at Shochiku Fuji's interference with his film, calling it "revolting". The company quickly restored the scene, blaming "confusion and misunderstanding" for the edit while opining that the Rape sequence was "too sensational" for Japanese audiences.[10] Jeremy Thomas recalled the approval process for the screenplay with the Chinese government: "It was less difficult than working with the studio system. They made script notes and made references to change some of the names, then the stamp went on and the door opened and we came."[6]
486
Alternate versions
The film's theatrical release ran 160 minutes. An extended version currently available on DVD runs 218 minutes; cinematographer Vittorio Storaro and director Bernardo Bertolucci have confirmed that this version was created for television and does not represent a "director's cut".[11] The television cut includes more footage from the stifling palace of Manchukuo. An entire character cut from the theatrical release is the drug-addled opium pusher appointed Minister of Defence by the Japanese, who becomes a sort of demon when he surfaces in Py's prison camp, whispering the awful truth to Puyi at night. In addition, the extra footage shows more detail about the way in which Py was unable to take care of his own needs without servants. The Criterion Collection 2008 version of 4 DVDs adds commentary by Ian Buruma, composer David Byrne, and the Director's interview with Jeremy Isaacs (ASIN: B000ZM1MIW, ISBN 978-1-60465-014-3). It includes a booklet featuring an essay by David Thomson, interviews with production designer Ferdinando Scarfiotti and actor Ying Ruocheng, a reminiscence by Bertolucci, and an essay and production-diary extracts from Fabien S. Gerard.
References
[1] Love And Respect, Hollywood-Style (http:/ / www. time. com/ time/ printout/ 0,8816,967235,00. html), an April 1988 article by Richard Corliss in Time [2] The Last Emperor (http:/ / boxofficemojo. com/ movies/ ?id=lastemperor. htm) Box Office Mojo [3] Variety film review; October 7, 1987. [4] "The 60th Academy Awards (1988) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 60th-winners. html). oscars.org. . Retrieved 2011-07-31. [5] Jafaar, Ali (2009-05-11). "Producers team on 'Assassins' Redo" (http:/ / www. variety. com/ article/ VR1118003454. html?categoryid=1442& cs=1& query=jeremy+ thomas+ phone+ book). Variety. . Retrieved 2010-04-07. [6] Lieberson, Sandy (2006-04-11). "Jeremy Thomas - And I'm still a fan" (http:/ / www. berlinale-talentcampus. de/ story/ 89/ 1789. html). Berlinale Talent Campus. . Retrieved 2010-04-07. [7] The Last Emperor (http:/ / www. imdb. com/ title/ tt0093389/ soundtrack) IMDb. Retrieved on 22 July 2010 [8] The Last Emperor (1987) (http:/ / www. criterion. com/ films/ 254) The Criterion Collect [9] The Last Emperor (1987) - Weekend Box Office Results (http:/ / www. boxofficemojo. com/ movies/ ?page=weekend& id=lastemperor. htm) Box Office Mojo [10] The Rape of Nanking. Chang, Iris. Page 210. BasicBooks, 1997. [11] Kim Hendrickson (2008-01-03). "Final Cut" (http:/ / criterion. com/ current/ posts/ 720). The Criterion Collection. . Retrieved 2009-12-19.
External links
The Last Emperor (http://www.imdb.com/title/tt0093389/) at the Internet Movie Database The Last Emperor (http://www.rottentomatoes.com/m/last_emperor/) at Rotten Tomatoes The Last Emperor (http://www.allrovi.com/movies/movie/v28316) at AllRovi
1988 Rain Man
487
1988 Rain Man

Rain Man
Directed by Produced by Screenplay by Story by Starring Barry Levinson Mark Johnson Barry Morrow Ronald Bass Barry Morrow Dustin Hoffman Tom Cruise Valeria Golino Hans Zimmer
Music by
Cinematography John Seale Editing by Distributed by Release date(s) Running time Country Language Budget Box office Stu Linder United Artists
December 16, 1988
133 minutes United States English Italian $25 million $354,825,435
Rain Man is a 1988 drama film written by Barry Morrow and Ronald Bass and directed by Barry Levinson. It tells the story of an abrasive and selfish yuppie, Charlie Babbitt, who discovers that his estranged father has died and bequeathed all of his multimillion-dollar estate to his other son, Raymond, an autistic savant of whose existence Charlie was unaware. The film stars Dustin Hoffman as Raymond Babbitt, Tom Cruise as Charlie Babbitt and Valeria Golino as Charlie's girlfriend, Susanna. Morrow created the character of Raymond after meeting Kim Peek, a real-life savant; his characterization was based on both Peek and Bill Sackter, a good friend of Morrow who was the subject of Bill, an earlier film that Morrow wrote.[1] Rain Man received overwhelmingly positive reviews at the time of its release, praising Hoffman's role and the wit and sophistication of the screenplay. The film won four Oscars at the 61st Academy Awards (March 1989), including Best Picture, Best Original Screenplay, Best Director, and Best Actor in a leading role for Hoffman. Its crew received an additional four nominations.[2] The film also won the Golden Bear at the 39th Berlin International Film Festival.[3]
1988 Rain Man
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Plot
Charlie Babbitt (Tom Cruise), a Los Angeles car dealer in his mid-twenties, is in the middle of importing four grey market Lamborghinis. The deal is being threatened by the EPA, and if Charlie cannot meet its requirements he will lose a significant amount of money. After some quick subterfuge with an employee, Charlie leaves for a weekend trip to Palm Springs with his girlfriend, Susanna (Valeria Golino). Charlie's trip is cancelled by news that his estranged father, Sanford Babbitt, has died. Charlie travels to Cincinnati, Ohio, to settle the estate, where he learns an undisclosed trustee is inheriting $3 million on behalf of an unnamed beneficiary, while all he is to receive is a classic Buick Roadmaster convertible and several prize rose bushes. Eventually he learns the money is being directed to a mental institution, which is the home of his autistic brother, Raymond (Dustin Hoffman), of whose existence Charlie was previously unaware. This leads Charlie to ask the question that permeates the movie: "Why didn't somebody tell me I had a brother?" Although Raymond has autism, he also has superb recall, albeit usually with little understanding of the subject matter, but has extreme skills in mathematics (in those scenes he merely remembers the answers, and with no understanding of currency.) He is said to be a savant by some doctors. He is frightened by change and adheres to strict routines (for example, his continual repetition of the "Who's on First?" sketch). Except when he is in distress, he shows little emotional expression and avoids eye contact. Numbed by learning that he has a brother and determined to get what he believes is his fair share of the Babbitt estate, Charlie takes Raymond on what becomes a cross-country car trip (due to Raymond's fear of flying) back to Los Angeles to meet with his attorneys. Charlie intends to start a custody battle in order to get Raymond's doctor, Dr. Gerald R. Bruner (Jerry Molen), to settle out of court for half of Sanford Babbitt's estate so that the mental institution can maintain custody of Raymond. Susanna, disgusted by Charlie's self-centeredness and his attempts at using his brother as a pawn to gain the money, leaves Charlie in Cincinnati and disappears. During the course of the journey, Charlie learns about Raymond's autism, which he initially believes is curable resulting in his frequent frustration with his brother's antics. He also learns about how his brother came to be separated from his family, as a result of an accident when he was left alone with Charlie when Charlie was a baby. Raymond also sings "I Saw Her Standing There" by The Beatles like he did when Charlie was young, prompting Charlie to realize that Raymond is the protective figure from his childhood, whom he falsely remembered as an imaginary friend named "Rain Man." Charlie proves to be sometimes shallow and exploitative, as when he learns that Raymond has an excellent memory and takes him to Las Vegas to win money at blackjack by counting cards. However, towards the end of their trip Charlie finds himself becoming protective of Raymond, and grows to love him truly. Charlie finally meets with his attorney to try to get his share of his inheritance, but then decides that he no longer cares about the money and really just wants to have custody of his brother. However, at a meeting with a court-appointed psychiatrist and Dr. Bruner, Raymond is unable to decide exactly what he wants. Eventually, the psychiatrist presses Raymond to make the decision, upsetting him and leading Charlie to request that the doctor back off. Raymond is allowed to go back home to Cincinnati. Charlie, who has gained a new brother and mellowed considerably, promises Raymond as he boards an Amtrak train that he will visit in two weeks.
1988 Rain Man
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Production
Roger Birnbaum was the first studio executive to give the film a green-light; he did so immediately after Barry Morrow pitched the story. Birnbaum received "special thanks" in the film's credits.[2] Agents at CAA sent the script to Hoffman and Bill Murray, envisioning Murray in the title role and Hoffman in the role eventually portrayed by Cruise.[1] Martin Brest, Steven Spielberg, and Sydney Pollack were directors also involved in the film.[4] Principal photography included nine weeks of filming on location.[5] Almost all of the principal photography occurred during the 1988 Writers Guild of America strike; one key scene that was affected by the lack of writers was the film's final scene.[1] Bass delivered his last rough cut of the script only hours before the strike started and spent no time on the set.[4]
A now-abandoned gas station and general store in Cogar, Oklahoma was used in a scene from the film.
Release
Critical reception
Rain Man was overall positively received by critics. It garnered an 87% approval rating on Rotten Tomatoes with an average score of 7.7/10.[6] Vincent Canby of The New York Times called Rain Man a "becomingly modest, decently thought-out, sometimes funny film"; Hoffman's performance was a "display of sustained virtuosity . . . [which] makes no lasting connections with the emotions. Its end effect depends largely on one's susceptibility to the sight of an actor acting nonstop and extremely well, but to no particularly urgent dramatic purpose."[7] Canby considered the "film's true central character" to be "the confused, economically and emotionally desperate Charlie, beautifully played by Mr. Cruise."[7] Amy Dawes of Variety wrote that "one of the year's most intriguing film premises ... is given uneven, slightly off-target treatment"; she calls the road scenes "hastily, loosely written, with much extraneous screen time," but admired the last third of the film, calling it a depiction of "two very isolated beings" who "discover a common history and deep attachment."[5] One of the film's harshest reviews came from New Yorker magazine critic Pauline Kael: "Everything in this movie is fudged ever so humanistically, in a perfunctory, low-pressure way. And the picture has its effectiveness: people are crying at it. Of course they're crying at it it's a piece of wet kitsch."[8]
Commercial performance
Rain Man debuted on December 16, 1988, and was the second on the weekend's box office receipts (behind Twins), with $7 million.[9] It reached the first spot on the December 30January 2 weekend, finishing 1988 with $42 million.[10] The film would end up as the highest-grossing film of 1988 with $172 million.[11]
Awards
Rain Man won Academy Awards for Best Picture, Best Actor in a Leading Role (Dustin Hoffman), Best Director, and Best Writing, Original Screenplay. It was nominated for Best Art Direction-Set Decoration (Ida Random, Linda DeScenna), Best Cinematography (John Seale), Best Film Editing, and Best Music, Original Score.[12] The film also won a People's Choice Award as the "Favorite Dramatic Motion Picture".[2] At the 39th Berlin International Film Festival, the film won the Golden Bear award.[3]
1988 Rain Man
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Effect on popular culture

Rain Man's portrayal of the main character's condition has been seen as inaugurating a common and incorrect media stereotype that people on the autism spectrum typically have savant skills, and references to Rain Man, in particular Dustin Hoffman's performance, have become a popular shorthand for autism and savantism. However, Rain Man has also been seen as dispelling a number of other misconceptions about autism and improving public awareness of the failure of many agencies to accommodate autistic people and make use of the abilities they do have, regardless of whether they are savant skills.[13]Rain Man has been listed one of the best movies on the subject of autism.[14] The film is also known for popularizing the misconception that card counting is illegal in the United States.[15] In the course of the film, it is claimed that Qantas is the only commercial airline that has never had an aircraft crash. While it is true that the company has neither lost a jet airliner nor had any jet fatalities, it had eight fatal accidents and an aircraft shot down between 1927 and 1945, with the loss of 63 people. To this date, the last fatal accident suffered by Qantas was in 1951. The scene in which Raymond reels off a list of statistics of fatal airline crashes was cut by most airlines when showing the film in-flightexcept for Qantas, which even promoted one of the movie's writers to first class when he traveled on their airline.
References
[1] Barry Morrow's audio commentary for Rain Man from the DVD release. [2] Rain Man (http:/ / www. imdb. com/ title/ tt0095953/ ) at the Internet Movie Database [3] "Berlinale: 1989 Prize Winners" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1989/ 03_preistr_ger_1989/ 03_Preistraeger_1989. html). berlinale.de. . Retrieved 2011-03-13. [4] Bass' audio commentary for Rain Man from the DVD release. [5] Rain Man (http:/ / www. variety. com/ index. asp?layout=Variety100& reviewid=VE1117488019& content=jump& jump=review& category=1935& cs=1), Variety, December 14, 1988 [6] "Rain Man (1988)" (http:/ / www. rottentomatoes. com/ m/ rain_man/ ). Rotten Tomatoes. . Retrieved July 4, 2010. [7] December 1988 review from The New York Times (http:/ / query. nytimes. com/ gst/ fullpage. html?res=940DE2D91538F935A25751C1A96E948KGyktL) [8] Kael, Pauline. Rain Man (http:/ / www. metacritic. com/ movie/ rain-man/ critic-reviews) at Metacritic, The New Yorker (Feb. 1989) [9] "Weekend Box Office: December 1618, 1988" (http:/ / boxofficemojo. com/ weekend/ chart/ ?yr=1988& wknd=51& p=. htm). Box Office Mojo. . [10] "Weekend Box Office: December 30January 2, 1988" (http:/ / boxofficemojo. com/ weekend/ chart/ ?yr=1988& wknd=53a& p=. htm). Box Office Mojo. . [11] Rain Man (http:/ / www. boxofficemojo. com/ movies/ ?id=rainman. htm. htm) at Box Office Mojo [12] "The 61st Academy Awards (1989) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 61st-winners. html). oscars.org. . Retrieved 2011-07-31. [13] Treffert, Darold. "Rain Man, the Movie/Rain Man, Real Life" (http:/ / www. wisconsinmedicalsociety. org/ savant_syndrome/ savant_articles/ rain_man). . [14] Echo Armman. "List of Autism Movies" (http:/ / www. autism-world. com/ index. php/ 2009/ 10/ 19/ list-of-autism-movies/ ). Autism-World. . Retrieved 2009-10-19. [15] I. Nelson Rose; Robert A. Loeb (1999). Blackjack and the Law. Rge Pub. ISBN978-0-910575-08-9.
External links
Rain Man (http://www.imdb.com/title/tt0095953/) at the Internet Movie Database Rain Man (http://tcmdb.com/title/title.jsp?stid=18083) at the TCM Movie Database Rain Man (http://www.allrovi.com/movies/movie/v40134) at AllRovi Rain Man (http://www.boxofficemojo.com/movies/?id=rainman.htm) at Box Office Mojo Rain Man (http://www.rottentomatoes.com/m/rain_man/) at Rotten Tomatoes Rain Man (http://www.metacritic.com/movie/rain-man) at Metacritic
1989 Driving Miss Daisy
491

Driving Miss Daisy
Directed by Produced by Bruce Beresford Richard D. Zanuck Lili Fini Zanuck
Screenplay by Alfred Uhry Based on Starring Driving Miss Daisy by Alfred Uhry Morgan Freeman Jessica Tandy Dan Aykroyd Esther Rolle Patti Lupone Hans Zimmer Mark Warner The Zanuck Company
Music by Editing by Studio
Distributed by Warner Bros.[1] Release date(s)

[2]
December 15, 1989
99 minutes United States English Hebrew $7.5 million

[3] [2]
$145,793,296
Driving Miss Daisy is a 1989 American comedy-drama film adapted from the Alfred Uhry play of the same name. The film was directed by Bruce Beresford, with Morgan Freeman reprising his role as Hoke Colburn and Jessica Tandy playing Miss Daisy. The story defines Daisy and her point of view through a network of relationships and emotions by focusing on her home life, synagogue, friends, family, fears, and concerns over a 25 year period. Released to critical acclaim, Driving Miss Daisy ended up winning four Academy Awards out of nine nominations, including Best Picture, making Driving Miss Daisy the first film in more than forty years to won the Best Picture award without even being nominated in the Best Director category. Jessica Tandy won the Academy Award for Best Actress, making her, 80 years old at the time, the oldest actress to ever win the award.[4]
Plot
Mrs. ("Miss") Daisy Werthan (Jessica Tandy), a 72-year-old wealthy Jewish widow, lives in Atlanta, Georgia, alone except for an African American housemaid named Idella (Esther Rolle). In 1948, after a driving mishap where her automobile is wrecked, Miss Daisys son, Boolie (Dan Aykroyd), tells her she will have to get a chauffeur because no insurance company will cover her. She refuses, but Boolie is determined to find her one. Meanwhile, she is stuck at home and unable to run errands.
1989 Driving Miss Daisy Boolie finds Hoke Colburn (Morgan Freeman), who had chauffeured for a local judge until he died and decided to remain in the area rather than accompany the judge's widow when she moved away. Miss Daisy at first refuses to let Hoke drive her, going so far as to walk to the local Piggly Wiggly with Hoke following her by automobile, much to her chagrin. It is revealed that her reluctance to be driven around is because she is embarrassed that people might think she is either too elderly to drive, or so well off that she can pay for a driver. Out of necessity, Miss Daisy gradually starts to accept Hoke and the fact that she needs him to drive her around. She eventually comes to respect him. Later, Miss Daisy, a retired schoolteacher, finds out that Hoke is illiterate and teaches him how to read. Miss Daisy has Hoke drive her to her brother's 90th birthday party in Mobile, Alabama. During the trip, Hoke reveals that it is the first time he has left his home state of Georgia. Miss Daisy realizes that Hoke's race affects how others treat him in this society and she is further opened to the social aspects of discrimination. As Miss Daisy and Hoke spend time together, she gains appreciation for his many skills and the two become friends. The racism and prejudice that permeated American society during the time period in which the story takes place is explored in the film, especially when Hoke is questioned by a pair of Alabama highway patrolmen who make out-of-earshot racist comments about Miss Daisy being Jewish and Hoke being black. Idella, who had served Miss Daisy for many years and whom Miss Daisy was very close to emotionally, suddenly dies in 1963. Miss Daisy, Boolie, his wife Florine (Patti LuPone), and Hoke attend the funeral. Rather than hire a new maid, Miss Daisy takes it upon herself to care for her house and cook her meals. After her synagogue is bombed, Miss Daisy realizes that she is subject to many of the same prejudices as Hoke. But in the course of the movie, American society undergoes radical changes, and Miss Daisy soon attends a dinner at which Dr. Martin Luther King gives a speech. She initially invites Boolie to the dinner, but he declines, and suggests that Miss Daisy invite Hoke. However, Miss Daisy only asks him to be her guest during the car ride to the event and ends up attending the dinner alone with Hoke, insulted by the manner of the invitation, listening to the speech on the car radio outside. One morning in 1971, Hoke arrives at the house and finds Miss Daisy in a confused state, with signs of dementia. Hoke manages to calm her down and Miss Daisy confesses to Hoke that he is her best friend. After a discussion with Hoke, Boolie arranges for Miss Daisy to enter a retirement home since she is no longer able to live on her own. In 1973, the family home is sold, and Hoke, now 81, retires. Hoke is driven to Miss Daisy's house by his adult granddaughter where he meets Boolie. Boolie and Hoke meet at Miss Daisy's house one final time before the new owner takes possession, and then drive to the retirement home to visit Miss Daisy, who is now 97. Boolie leaves Hoke and Miss Daisy alone so they can spend time together. Hoke shows Miss Daisy her uneaten pumpkin pie. She has difficulty moving her fork and Hoke feeds her instead. As Hoke feeds Miss Daisy, he reminisces upon all the years he spent driving her, and the image of a car drives off into the distance.
492
Cast
Morgan Freeman as Hoke Colburn Jessica Tandy as Daisy Werthan Dan Aykroyd as Boolie Werthan Patti LuPone as Florine Werthan Esther Rolle as Idella Joann Havrilla as Miss McClatchley William Hall, Jr. as Oscar Muriel Moore as Miriam
Sylvia Kaler as Beulah
493
Accolades
Academy Awards
The Oscar campaign for the film was directed by publicist Ronni Chasen.[5] At the 62nd Academy Awards for 1989, Driving Miss Daisy received a total of four awards from nine nominations. The four awards included: Best Picture, Best Actress (Jessica Tandy), Best Makeup, and Best Adapted Screenplay. The remaining five nominations included: Best Actor (Morgan Freeman), Best Supporting Actor (Dan Aykroyd), Best Art Direction (Bruno Rubeo, Crispian Sallis), Best Costume Design, and Best Film Editing.[6] Driving Miss Daisy also achieved the following distinctions at the 62nd Academy Awards ceremony: it is the only film based on an off Broadway production ever to win an Academy Award for Best Picture;[7] it is the last Best Picture winner to date to receive a PG rating; it is the last film to date (and one of only three films ever) to win Best Picture without having received a Best Director nomination;[8]and Jessica Tandy, at age 81, became both the oldest winner and the oldest nominee ever in the history of the Best Actress category.[7]
Other awards
Driving Miss Daisy also won three Golden Globe Awards (Best Picture, Best Actor Morgan Freeman, and Best Actress Jessica Tandy) in the Comedy/Musical genre.[9] At the 1989 Writers Guild of America Awards, the film won in the Best Adapted Screenplay category. Rounding out its United States awards, the film won both Best Picture and Best Actor from the National Board of Review of Motion Pictures. In the United Kingdom, Driving Miss Daisy was nominated for four British Academy Film Awards, with Jessica Tandy winning in the Best Actress category. Jessica Tandy and Morgan Freeman won the Silver Bear for the Best Joint Performance at the 40th Berlin International Film Festival.[10]
Filming locations
Georgia, USA Atlanta, Georgia Fulton Supply Company Euclid Avenue near the Little Five Points intersection in the Inman Park Neighborhood 1589 Peachtree Street NE Castleberry Hill Druid Hills, Georgia
822 Lullwater Road Decatur, Georgia Agnes Scott College, 141 E. College Avenue Douglasville, Georgia Griffin, Georgia
494
Soundtrack
The film's score was composed by Hans Zimmer, who won a BMI Film Music Award and was nominated for a Grammy Award for Best Instrumental Composition Written for a Motion Picture or for Television for his work. The score was performed entirely by Zimmer, done electronically using samplers and synthesizers, and did not feature a single live instrument. There is a scene, however, in which the "Song to the Moon" from the opera Rusalka by Antonn Dvok is heard on the car radio as sung by Gabriela Beakov. The soundtrack was issued on Varse Sarabande.
Home release
The film was successful on home video.[11] The film was released on DVD in the USA on April 30, 1997 and the special edition was released on February 4, 2003.
References
[1] Fabrikant, Geraldine (1990-03-06). "How Major Studios Missed a Hit" (http:/ / select. nytimes. com/ gst/ abstract. html?res=F30614F73F5F0C758CDDAA0894D8494D81). The New York Times. . Retrieved 2010-11-07. [2] "Driving Miss Daisy" (http:/ / www. boxofficemojo. com/ movies/ ?id=drivingmissdaisy. htm). Box Office Mojo. . Retrieved 2008-01-31. [3] "Daisy A Hit That Nearly Aborted" (http:/ / articles. chicagotribune. com/ 1990-03-08/ features/ 9001190985_1_darryl-f-zanuck-production-and-marketing-costs-daisy). Chicago Tribune. 1990-03-08. . Retrieved 2010-11-07. [4] http:/ / www. imdb. com/ title/ tt0097239/ awards [5] Higgins, Bill (2010-11-21). "Hollywood publicist laid to rest at emotional funeral" (http:/ / www. reuters. com/ article/ idUSTRE6AI0D320101121). Reuters. . Retrieved 2010-11-23. [6] "The 62nd Academy Awards (1990) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 62nd-winners. html). oscars.org. . Retrieved 2011-08-01. [7] "Academy's Diamond Anniversary Screening Series to Feature "Driving Miss Daisy"" (http:/ / www3. oscars. org/ press/ pressreleases/ 2003/ 03. 09. 02. a. html) (Press release). Academy of Motion Picture Arts and Sciences. 2003-09-02. . Retrieved 2008-01-31. [8] "Impossible Oscar: The Miss Daisy Phenomenon" (http:/ / www. filmschoolrejects. com/ features/ impossible-oscar-the-miss-daisy-phenomenon. php). Film School Rejects. Film School Rejects. . Retrieved 2010-03-08. [9] "Miss Daisy, Jessica Tandy Win Top Oscars" (http:/ / articles. chicagotribune. com/ 1990-03-27/ news/ 9001250287_1_oldest-best-actress-winner-screenplay-daisy). Chicago Tribune. 1990-03-27. . Retrieved 2010-11-07. [10] "Berlinale: 1990 Prize Winners" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1990/ 03_preistr_ger_1990/ 03_Preistraeger_1990. html). berlinale.de. . Retrieved 2011-03-17. [11] "VIDEO RENTALS : 'Born' Can't Pass High-Revving 'Daisy'" (http:/ / articles. latimes. com/ 1990-09-27/ entertainment/ ca-1644_1_miss-daisy). Los Angeles Times. . Retrieved 2012-06-10.
External links
Driving Miss Daisy (http://www.imdb.com/title/tt0097239/) at the Internet Movie Database Driving Miss Daisy (http://www.allrovi.com/movies/movie/v14828) at AllRovi Driving Miss Daisy (http://www.boxofficemojo.com/movies/?id=drivingmissdaisy.htm) at Box Office Mojo Driving Miss Daisy (http://www.rottentomatoes.com/m/driving_miss_daisy/) at Rotten Tomatoes Driving Miss Daisy (http://www.lortel.org/LLA_archive/index.cfm?search_by=show&id=1345) at the Internet off-Broadway Database Official Broadway Website (http://www.daisyonbroadway.com)
1990 Dances with Wolves
495

Dances with Wolves
Directed by Produced by Kevin Costner

Jim Wilson Kevin Costner Jake Eberts
Screenplay by Narrated by Starring
Michael Blake Kevin Costner

Kevin Costner Mary McDonnell Graham Greene Rodney A. Grant
Music by
John Barry
Cinematography Dean Semler Editing by Studio Distributed by Release date(s) Running time Country Language Neil Travis Tig Productions Orion Pictures
November 21, 1990
181 minutes 236 minutes (Director's cut) United States

English Lakota Pawnee
Budget Box office
$22,000,000 $424,208,848
Dances with Wolves is a 1990 epic western film directed, produced by, and starring Kevin Costner. It is a film adaptation of the 1988 book of the same name by Michael Blake and tells the story of a Union Army lieutenant who travels to the American frontier to find a military post, and his dealings with a group of Lakota Indians. Costner developed the film over 5 years, with a budget of $22 million. Dances with Wolves had high production values[1] and won seven Academy Awards including Best Picture and the Golden Globe Award for Best Motion Picture Drama. Much of the dialogue is spoken in Lakota with English subtitles. It was shot in South Dakota and Wyoming. It is credited as a leading influence for the revitalization of the Western genre of filmmaking in Hollywood. In 2007, Dances with Wolves was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."[2]
496
Plot
In 1863, First Lieutenant John J. Dunbar (Kevin Costner) is injured in the American Civil War. Rather than having his leg amputated, he takes a horse and rides up to the Confederate front lines, distracting them in the process. The roused Union army then attacks and the battle ends a Confederate rout. Dunbar survives, is allowed to properly recover, receives a citation for bravery and is awarded Cisco, the horse who carried him, as well as his choice of posting. Dunbar requests a transfer to the western frontier so he can see its vast terrain before it goes. Dunbar arrives at his new post, Fort Sedgwick, but finds it abandoned and in disrepair. Despite the threat of nearby Native American tribes, he elects to stay and man the post himself. He begins rebuilding and restocking the fort and prefers the solitude afforded him, recording many of his observations in his journal. Dunbar initially encounters his Sioux neighbors when several attempts are made to steal his horse and intimidate him. In response, Dunbar decides to seek out the Sioux camp in an attempt to establish a dialogue. On his way he comes across Stands With A Fist (Mary McDonnell), who has injured herself in mourning of her deceased husband. She is the white adopted daughter of the tribe's medicine man Kicking Bird (Graham Greene), as her white family was killed by the Pawnee tribe when she was young. Dunbar returns her to the Sioux to be treated, which changes their attitude toward him. Eventually, Dunbar establishes a rapport with Kicking Bird and warrior Wind In His Hair (Rodney A. Grant) who equally wish to communicate. Initially the language barrier frustrates them, so Stands With A Fist, though with difficulty remembering her English, acts as translator. Dunbar finds himself drawn to the lifestyle and customs of the tribe and begins spending most of his time with them. Learning their language, he becomes a hero among the Sioux and is accepted as an honored guest after he locates a migrating herd of buffalo and participates in the hunt. When at Fort Sedgwick, Dunbar also befriends a wolf he dubs "Two Socks" for its white forepaws. When the Sioux observe Dunbar and Two Socks chasing each other, they give him his Sioux name "Dances with Wolves". During this time, Dunbar also forges a romantic relationship with Stands with a Fist and helps defend the village from an attack by the rival Pawnee. Dunbar eventually wins Kicking Bird's approval to marry Stands with a Fist, and abandons Fort Sedgwick. Because of the growing Pawnee and white threat, Chief Ten Bears (Floyd Red Crow Westerman) decides to move the tribe to its winter camp. Dunbar decides to accompany them but must first retrieve his journal from Fort Sedgewick. However, when he arrives he finds it occupied by the U.S. Army. Because of his Sioux clothing, the soldiers mistake him for a Native and open fire, killing Cisco and capturing Dunbar. Sgt Baur (Larry Joshua) interrogates him, but Dunbar cannot prove his situation as soldier Spivey (Tony Pierce) secretly steals his journal. As a result, along with Dunbar's refusal to serve as an interpreter to the tribes, he is put on trial for treason and transported back east as prisoner. While travelling in the armed caravan, the soldiers kill Two Socks when the wolf attempts to follow Dunbar. Eventually the Sioux track the convoy, killing the soldiers and freeing Dunbar. At the winter camp, Dunbar decides to leave with Stands With A Fist since his status will put the tribe in danger. As they leave, Wind In His Hair shouts across to Dunbar, reminding him of their friendship. U.S. troops are seen searching the mountains but are unable to locate them, while a lone wolf howls in the distance. An epilogue states that thirteen years later, the last remnants Sioux were subjugated to the American government, ending the conquest of the Western frontier states and the livelihoods of the tribes in the plains.
497
Cast
Kevin Costner as Lt. John J. Dunbar / Dances with Wolves / Narrator Mary McDonnell as Stands With A Fist Graham Greene as Kicking Bird Rodney A. Grant as Wind In His Hair Floyd Red Crow Westerman as Chief Ten Bears Tantoo Cardinal as Black Shawl Jimmy Herman as Stone Calf Nathan Lee Chasing His Horse as Smiles A Lot Michael Spears as Otter Jason R. Lone Hill as Worm Charles Rocket as Lt. Elgin Robert Pastorelli as Timmons Larry Joshua as Sgt. Bauer Tony Pierce as Spivey Kirk Baltz as Edwards Tom Everett as Sgt. Pepper
Maury Chaykin as Maj. Fambrough Wes Studi as the fiercest Pawnee Wayne Grace as The Major
Production
Originally written as a spec script by Michael Blake, it went unsold in the mid-1980s. It was Kevin Costner who, in early 1986 (when he was relatively unknown), encouraged Blake to turn the screenplay into a novel, to improve its chances of being adapted into a film. The novel manuscript of Dances with Wolves was rejected by numerous publishers but finally published in paperback in 1988. As a novel, the rights were purchased by Costner, with an eye to his directing it. Actual production lasted for four months, from July 18 to November 23, 1989. Most of the movie was filmed on location in South Dakota, mainly near Pierre and Rapid City, with a few scenes filmed in Wyoming. Specific locations included the Badlands National Park, the Black Hills, the Sage Creek Wilderness Area, and the Belle Fourche River area. The buffalo hunt scenes were filmed at the Triple U Buffalo Ranch outside Fort Pierre, South Dakota, as were the Fort Sedgwick scenes, the set being constructed on the property.[3] Production delays were numerous, because of South Dakota's unpredictable weather, the difficulty of "directing" barely trainable wolves, and the complexity of the Indian battle scenes. Particularly arduous was the film's centerpiece buffalo hunt sequence: this elaborate chase was filmed over three weeks using 100 Indian stunt riders and an actual stampeding herd of several thousand buffalo. During one shot, Costner (who did almost all of his own horseback riding) was "T-boned" by another rider and knocked off his horse, nearly breaking his back. The accident is captured in The Creation of an Epic, the behind-the-scenes documentary on the Dances with Wolves Special Edition DVD. According to the documentary, none of the buffalo were computer animated (CGI was then in its infancy) and only a few were animatronic or otherwise fabricated. In fact, Costner and crew employed the largest domestically owned buffalo ranch, with two of the domesticated buffalo being borrowed from Neil Young; this was the herd used for the buffalo hunt sequence. Budget overruns were inevitable, owing to Costner's breaking several unspoken Hollywood "rules" for first-time directors: traditionally, they avoid both shooting outside and working with children and animals as much as possible. As a result, late in the production Costner was forced to add $3 million personally in out-of-pocket money to the film's original $15-million budget. Referring to the infamous fiasco of Michael Cimino's 1980 Heaven's Gate,
1990 Dances with Wolves considered the most mismanaged Western in film history, Costner's project was satirically dubbed "Kevin's Gate" by Hollywood critics and pundits skeptical of a three-hour, partially subtitled Western by a novice filmmaker. The film changed the novel's Comanche Indians to Sioux, because of the larger number of Sioux speakers. Lakota Sioux language instructor Doris Leader Charge (19312001) was the on-set Lakota dialogue coach and also portrayed Pretty Shield, wife of Chief Ten Bears. Despite portraying the adopted daughter of Graham Greene's character Kicking Bird, Mary McDonnell, then 37, was actually two months older than Greene, and less than two years younger than Tantoo Cardinal, the actress playing her adoptive mother. In addition, McDonnell was extremely nervous about shooting her sex scene with Kevin Costner, requesting it be toned down to a more modest version than what was scripted.
498
Reception
Defying expectation, Dances with Wolves proved instantly popular at the box office, eventually garnering $184 million in U.S. box office sales, and $424 million in total sales worldwide.[4] The movie won the Best Picture Academy Award against strong competition, notably Martin Scorsese's Goodfellas. As of 2011, the film holds a positive review score of 78% on Rotten Tomatoes.[5] Because of the film's popular and lasting impact, the Sioux Nation adopted Costner as an honorary member.[6] In 2007, the Library of Congress selected Dances with Wolves for preservation in the United States National Film Registry.[2] Native American activist and actor Russell Means was less kind about some aspects of the film's technical accuracy. In 2009, he said "Remember Lawrence of Arabia? That was Lawrence of the Plains. The odd thing about making that movie is that they had a woman teaching the actors the Lakota language, but Lakota has a male-gendered language and a female-gendered language. Some of the Indians and Kevin Costner were speaking in the feminine way. When I went to see it with a bunch of Lakota guys, we were laughing."[7]
Awards and honors

63rd Academy Awards: In addition to becoming the first Western film to win an Academy Award for Best Picture since 1931's Cimarron,[8] Dances with Wolves won the following additional Oscars:[9] Best Director Kevin Costner Best Adapted Screenplay Michael Blake Best Cinematography Dean Semler Best Film Editing Neil Travis Best Sound Russell Williams II, Jeffrey Perkins, Bill W. Benton and Gregory H. Watkins Best Original Score John Barry
Dances with Wolves was also nominated in the following categories: Best Actor in a Leading Role Kevin Costner Best Actor in a Supporting Role Graham Greene Best Actress in a Supporting Role Mary McDonnell Best Art Direction Jeffrey Beecroft and Lisa Dean Best Costume Design Elsa Zamparelli
American Film Institute recognition: AFI's 100 Years...100 Movies - #75 AFI's 100 Years...100 Heroes and Villains: Lt. John W. Dunbar - Nominated Hero[10] AFI's 100 Years of Film Scores - Nominated[11]
1990 Dances with Wolves AFI's 100 Years...100 Cheers - #59 AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated[12] AFI's 10 Top 10 - Nominated Western and Epic Film[13] Other accolades: Golden Globe for Best Motion Picture Drama Jim Wilson and Kevin Costner Golden Globe for Best Director Kevin Costner Golden Globe for Best Screenplay Michael Blake Silver Bear for an outstanding single achievement - Kevin Costner at the 41st Berlin International Film Festival[14]
499
Sequel
The Holy Road, a well-received sequel novel by Michael Blake, the author of both the original Dances with Wolves novel and the movie screenplay, was published in 2001.[15] It picks up eleven years after Dances with Wolves. John Dunbar is still married to Stands with a Fist and they have three children. Stands with a Fist and one of the children are kidnapped by a party of white rangers and Dances with Wolves must mount a rescue mission. As of 2007, Blake was writing a film adaptation, although Kevin Costner was not yet attached to the project.[16] In the end, however, Costner stated he would not take part in this production. Viggo Mortensen has been rumored to be attached to the project, playing Dunbar.[17]
Historical references
St. David's Field, Tennessee does not exist nor did it in 1863. As the opening battle is a minor portion of the film, it was considered undesirable to name an actual historical battle, which might result in knowledgeable viewers taking exception to fictional events. Fort Sedgwick, Colorado was erected as Camp Rankin and renamed for General John Sedgwick (18131864). Sedgwick was killed May 9, 1864, at the Battle of Spotsylvania Court House, Virginia. Fort Sedgwick served as an army post from July 1864 to May 1871. John Sedgwick did erect a fort in Kansas in 1860. Fort Hays, Kansas was named for General Alexander Hays (18191864). Hays was killed May 5, 1864, in the Battle of the Wilderness, Virginia. Fort Hays served as an army post from October 11, 1865, to November 8, 1889. There was a real John Dunbar who worked as a missionary for the Pawnee in the 1830s40s, and sided with the Indians in a dispute with government farmers and a local Indian agent.[18] It is unclear if the name "John Dunbar" was chosen as a corollary to the real historical figure. The fictional Lieutenant John Dunbar of 1863 is correctly shown in the film wearing a gold bar on his officer shoulder straps, indicating his rank as a First Lieutenant. From 1836 to 1872, the rank of First Lieutenant was indicated by a gold bar; after 1872, the rank was indicated by a silver bar. Similarly, Captain Cargill is correctly depicted wearing a pair of gold bars, indicating the rank of Captain at that time.[19] The description at the finale is correct; 13 years after the film is set, the last band of free Sioux were forced into a humiliating surrender at Fort Robinson, Nebraska, and the dominance and prevalence of the Plains Indians was over.
500
Home video editions

The first Laserdisc release of Dances with Wolves was on November 15, 1991, by Orion Home Video on a two-disc extended play laserdisc set. The first Dances with Wolves VHS version was released in 1991. Dances with Wolves has been released to several VHS versions. The limited collector's edition set comes with two VHS tapes, six high gloss 14" x 11" Lobby Photos, Dances with Wolves The Illustrated Story Of The Epic Film book, and an organized collector's edition storage case. Dances with Wolves has been released to DVD on four occasions. The first on November 17, 1998, on a single disc. The second on February 16, 1999, as a two disc set with a DTS Soundtrack. The third was released on May 20, 2003, as a two-disc set featuring the Extended Edition. The fourth was released on May 25, 2004, as a single disc in full frame. Dances with Wolves has been released on Blu-ray in Germany on December 5, 2008, in France on the April 15, 2009, in the United Kingdom on the October 26, 2009, and in the United States on January 11, 2011. The German, French, and American releases feature the Extended Edition, while the British release features the theatrical cut.
Alternate versions
One year after original theatrical release of Dances with Wolves, a 4-hour version of the film opened at select theaters in London. This longer cut was dubbed Dances with Wolves: The Special Edition, and it restored nearly an hour's worth of scenes that had been removed to keep the original film's running time under 3 hours. In a letter to British film reviewers, director Kevin Costner and producer Jim Wilson addressed their reasons for presenting a longer version of the film:[20] Upon the release of the four-hour Dances With Wolves, the question naturally arises: why? Why add another hour to a film that by most standards pushes the time limit of conventional movie making? We opted to produce an extended version of Dances With Wolves for several reasons. The 52 additional minutes that represent this "new" version were difficult to cut in the first place...the opportunity to introduce them to audiences is compelling. We have received countless letters from people worldwide asking when or if a sequel would be made, so it seemed like a logical step to enhance our film with existing footage. Virtually every character is richer, from the teamster, Timmons, to the tribal chief, Ten Bears. Making an extended version is by no means to imply that the original Dances With Wolves was unfinished or incomplete; rather, it creates an opportunity for those who fell in love with the characters and the spectacle of the film to experience more of both. We hope you enjoy it. The genesis of the 4-hour version of the film was further explained in an article for Entertainment Weekly that appeared only 10 months after the premiere of the original film: While the small screen has come to serve as a second chance for filmmakers who can't seem to let their babies go, Kevin Costner and his producing partner, Jim Wilson, hope that their newly completed version will hit theater screens first:[21] "I spent seven months working on it," Wilson says of the expanded Wolves. He's quick to defend the Oscar-winning version as "the best picture we had in us at the time," yet Wilson also says he's "ecstatic" over the recut. "It's a brand-new picture," he insists. "There's now more of a relationship between Kevin and Stands With a Fist, more with the wolf, more with the Indians stuff that's integral all through the story." Of course, exhibitors may not want a longer version of an already widely seen movie, but Wilson remains optimistic. "I don't think the time is now," he acknowledges, "but ideally, there is a point at which it would come out with an intermission, booked into the very best venues in America." A
1990 Dances with Wolves premiere in the form of a two-night network miniseries ( la The Godfather Saga) is also a possibility. For now, however, the four-hour Wolves remains a private dancer. This Special Edition was eventually broadcast in 1993 for the American network television premiere at ABC. For the DVD release, the Special Edition was dubbed an Extended Cut. For Blu-ray, the same cut was renamed Director's Cut. Director Kevin Costner would later claim that he did not work on the creation of the 4-hour cut at all.[22]
501
Soundtrack
John Barry composed the Oscar-winning score. It was issued in 1990 initially and again in 1995 with bonus tracks and in 2004 with the score "in its entirety" (although, in reality, approximately 25 minutes of the score is still missing from the 2004 release). Peter Buffett scored and choreographed the "fire dance" scene.
Bibliography
Blake, Michael. Dances with Wolves. Ballantine Books. ISBN0-449-00075-3. Blake, Michael. The Holy Road. ZOVA Books. ISBN978-0-615-51057-6.
References
[1] "Dances with Wolves: Overview" (plot/stars/gross, related films), allmovie, 2007, webpage: amovie12092 (http:/ / allmovie. com/ cg/ avg. dll?p=avg& sql=1:12092) [2] 2007 list (http:/ / www. loc. gov/ film/ nfr2007. html) of films inducted into the National Film Registry [3] "Dances with Wolves" (http:/ / southdakota. midwestmovies. com/ DancesWithWolves) - Southdakota.midwestmovies.com [4] http:/ / www. imdb. com/ title/ tt0099348/ business [5] "Dances with Wolves" (http:/ / www. rottentomatoes. com/ m/ dances_with_wolves/ ). Rotten Tomatoes. . Retrieved 20110-12-25. [6] Svetkey, Benjamin (1991-03-08). "Little big movie" (http:/ / www. ew. com/ ew/ article/ 0,,313535,00. html). Entertainment Weekly. . Retrieved 2008-03-13. [7] "Russell Means Interview with Dan Skye of High Times" (http:/ / www. russellmeansfreedom. com/ 2009/ russell-means-interview-with-dan-skye-of-high-times/ ). Russell Means Freedom. . Retrieved 2011-03-02. [8] Angela Errigo (2008). Steven Jay Schneider. ed. 1001 Movies You Must See Before You Die. London: Quintessence. p.786. ISBN0-7641-6151-2. [9] "The 63rd Academy Awards (1991) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 63rd-winners. html). oscars.org. . Retrieved 2011-10-20. [10] AFI's 100 Years...100 Heroes and Villains Nominees (http:/ / www. afi. com/ Docs/ 100Years/ handv400. pdf) [11] AFI's 100 Years of Film Scores Nominees (http:/ / www. afi. com/ Docs/ 100Years/ scores250. pdf) [12] AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot (http:/ / www. afi. com/ Docs/ 100Years/ Movies_ballot_06. pdf) [13] AFI's 10 Top 10 Ballot (http:/ / www. afi. com/ drop/ ballot. pdf) [14] "Berlinale: 1991 Prize Winners" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1991/ 03_preistr_ger_1991/ 03_Preistraeger_1991. html). berlinale.de. . Retrieved 2011-03-22. [15] Blake, Michael (2001). The Holy Road, Random House. ISBN 0-375-76040-7 [16] Blake, Michael. "The official website of Michael Blake" (http:/ / danceswithwolves. net/ bio. php). Danceswithwolves.net. . Retrieved 2008-03-13. [17] "Hollywood.com" (http:/ / www. hollywood. com/ news/ Viggo_Mortensen_Leading_the_Charge_for_Dances_with_Wolves_Sequel/ 5232851). Hollywood.com. 2008. . Retrieved 2008-05-11. [18] Waldo R. Wedel, The Dunbar Allis Letters on the Pawnee (New York: Garland Press, 1985). [19] US Army Institute of Heraldry - History of Officer Rank Insignia (http:/ / www. tioh. hqda. pentagon. mil/ ROTCMiscNGB/ Silver and Gold Insignia. htm) [20] Gritten, David. "Dances with Wolves - The Really Long Version" (http:/ / articles. latimes. com/ 1991-12-20/ entertainment/ ca-409_1_original-film), Los Angeles Times, 20 December 1991. [21] Daly, Steven. "Last Dance?" (http:/ / www. ew. com/ ew/ article/ 0,,315347,00. html), Entertainment Weekly, 30 August 1991. [22] Willman, Chris. "True Western" (http:/ / www. ew. com/ ew/ article/ 0,,578506,00. html), Entertainment Weekly, 23 January 2004.
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External links
Archived website http://web.archive.org/web/*/http://www.danceswithwolves.net/ Dances with Wolves (http://www.imdb.com/title/tt0099348/) at the Internet Movie Database Dances with Wolves (http://tcmdb.com/title/title.jsp?stid=72152) at the TCM Movie Database Dances with Wolves (http://www.allrovi.com/movies/movie/v12092) at AllRovi Dances with Wolves (http://www.rottentomatoes.com/m/dances_with_wolves/) at Rotten Tomatoes
1991 The Silence of the Lambs

Directed by Produced by Jonathan Demme Kenneth Utt Edward Saxon Ron Bozman Ted Tally The Silence of the Lambsby Thomas Harris Jodie Foster Anthony Hopkins Scott Glenn Ted Levine Howard Shore
Screenplay by Based on
Starring
Music by
Cinematography Tak Fujimoto Editing by Distributed by Release date(s) Running time Country Language Budget Box office Craig McKay Orion Pictures
February 14, 1991

[1] [1]
$272,742,922
The Silence of the Lambs is a 1991 American psychological thriller film. It was directed by Jonathan Demme and stars Jodie Foster, Anthony Hopkins, Ted Levine, and Scott Glenn. It is based on the 1988 novel of the same name by Thomas Harris, his second to feature Hannibal Lecter, a brilliant psychiatrist and cannibalistic serial killer. In the film, Clarice Starling, a young FBI trainee, seeks the advice of the imprisoned Dr. Lecter to apprehend another serial killer, known only as "Buffalo Bill". The Silence of the Lambs was released on February 14, 1991, and grossed over $272 million. The film was the third film to win Oscars in all the top five categories: Best Picture, Best Actress, Best Actor, Best Director and Best Adapted Screenplay. It is also the first winner of Best Picture widely considered to be a horror film, and only the second such film to be nominated in the category, after The Exorcist in 1973.[2][3] The film is considered "culturally,
1991 The Silence of the Lambs historically or aesthetically" significant by the US Library of Congress and was selected to be preserved in the National Film Registry in 2011.[4]
503
Plot
Clarice Starling (Foster) is pulled from her training at the FBI Academy at Quantico, Virginia, by Jack Crawford (Glenn) of the Bureau's Behavioral Science Unit. He tasks her with interviewing Hannibal Lecter (Hopkins), a former psychiatrist and incarcerated cannibalistic serial killer, believing Lecter's insight might be useful in the pursuit of a serial killer nicknamed "Buffalo Bill" (Levine), who skins his female victims' corpses. Starling travels to the Baltimore State Hospital for the Criminally Insane, where she is led by Dr. Frederick Chilton (Anthony Heald) to Lecter's solitary quarters. Although initially pleasant and courteous, Lecter grows impatient with Starling's attempts at "dissecting" him and rebuffs her. As she is leaving, one of the prisoners flicks semen at her. Lecter, who considers the discourtesy "unspeakably ugly", calls Starling back and tells her to seek out an old patient of his. This leads her to a storage shed where she discovers a man's severed head. She returns to Lecter, who tells her that the man is linked to Buffalo Bill. He offers to profile Buffalo Bill on the condition that he be transferred away from Chilton, whom he detests. When Buffalo Bill kidnaps a U.S. senator's daughter, Catherine Martin, Crawford authorizes Starling to offer Lecter a fake deal promising a prison transfer if he provides information that helps find Buffalo Bill and rescue the abductee. Instead, Lecter begins a game of quid pro quo with Starling, offering comprehensive clues and insights about Buffalo Bill if Starling will give him information about her own past, something she was advised not to do. Chilton secretly records the conversation and reveals Starling's deal as a sham before offering to transfer Lecter in exchange for a deal of Chilton's own making. Lecter agrees and is flown to Memphis, where he reveals personal information on Buffalo Bill to federal agents. As the manhunt begins, Starling visits Lecter at his special cell in a Tennessee courthouse and confronts him with her decryption of the name he provided ("Louis Friend", an anagram of "iron sulfide", also known as fool's gold). Lecter refuses Starling's pleas for the truth and forces her to recount her traumatic childhood. She tells him how she was orphaned and relocated to a relative's farm, where she discovered a lamb slaughterhouse and made a failed attempt to rescue one of the lambs. Lecter gives her back the case files on Buffalo Bill after their conversation is interrupted by Chilton and the police who escort her from the building. Later that evening, Lecter kills his two guards, escapes from his cell and disappears. Starling analyzes Lecter's annotations to the case files and realizes that Buffalo Bill knew his first victim personally. Starling travels to the victim's hometown and discovers that Buffalo Bill was a tailor, with dresses and dress patterns identical to the patches of skin removed from each of his victims. She telephones Crawford to inform him that Buffalo Bill is trying to fashion a "woman suit" of real skin, but Crawford is already en route to make an arrest, having cross-referenced Lecter's notes with hospital archives and finding a man named Jame Gumb, who once applied unsuccessfully for a sex-change operation. Starling continues interviewing friends of Buffalo Bill's first victim while Crawford leads an FBI tactical team to Gumb's address in Illinois. The house in Illinois is empty and Starling is led to the house of "Jack Gordon", who she realizes is actually Jame Gumb. She pursues him into his multi-room basement, where she discovers that Catherine is still alive, but trapped in a dry well. After turning off the basement lights, Gumb stalks Starling in the dark with night-vision goggles but gives his position away when he cocks his revolver; Starling turns around just in time and kills him. Some time later at her FBI Academy graduation party, Starling receives a phone call from Lecter, who is at an airport in Bimini. He assures her that he does not plan to pursue her and asks her to return the favor, which she says she cannot do. Lecter then hangs up the phone, saying that he is "having an old friend for dinner" and begins following a newly-arrived Chilton before disappearing into the crowd.
504
Cast
Jodie Foster as Clarice Starling Anthony Hopkins as Dr. Hannibal Lecter Scott Glenn as Jack Crawford Ted Levine as Jame Gumb, "Buffalo Bill" Anthony Heald as Dr. Frederick Chilton Brooke Smith as Catherine Martin Diane Baker as Senator Ruth Martin Kasi Lemmons as Ardelia Mapp Frankie Faison as Barney Matthews Tracey Walter as Lamar Charles Napier as Lt. Boyle Danny Darst as Sgt. Tate Alex Coleman as Sgt. Jim Pembry Dan Butler as Roden Paul Lazar as Pilcher Ron Vawter as Paul Krendler Roger Corman as FBI Director Hayden Burke Chris Isaak as SWAT Commander Harry Northup as Mr. Bimmel Masha Skorobogatov as Young Clarice Starling Don Brockett as cellmate and "Pen Pal"
Pre-production
Casting
The role of Dr. Hannibal Lecter was originally to be played by Gene Hackman, who also wished to direct; but he later withdrew from the project owing to the graphic content of the evolving screenplay.[5] Michelle Pfeiffer was offered the role of Clarice Starling, but turned it down, later saying, "(It was) a difficult decision, but I got nervous about the subject matter".[6] According to Jonathan Demme, there were 300 applicants for the role of Clarice Starling, including Geena Davis, Melanie Griffith, and Meg Ryan.
Production
The Silence of the Lambs was filmed primarily in and around Pittsburgh, Pennsylvania, with some scenes in nearby northern West Virginia.[7] The film was distributed by Orion Pictures.
Response
Critical
Anthony Hopkins, Jodie Foster and Ted Levine garnered much acclaim for their performances, even though Hopkins' screen time is only a little more than 16 minutes.[8] The Silence of the Lambs was a sleeper hit that gradually gained widespread success[9] and critical acclaim; Rotten Tomatoes records that The Silence of the Lambs received a 96% "fresh" rating.[10] Roger Ebert specifically mentioned the "terrifying qualities" of Hannibal Lecter,[11] and has since recognized the film as a "horror masterpiece", alongside such classics as Nosferatu, Psycho, and Halloween.[12] However, the film is also notable for being one of two multi-Oscar winners disapproved of by Ebert's colleague, Gene Siskel, the other being
1991 The Silence of the Lambs Unforgiven.[13]
505
Box office
Domestic box office Opening weekend % of total gross Close date Total U.S. gross $13,766,814 10.5% 10 October 1991 $130,742,922
Worldwide box office Total worldwide gross $272,742,922
Awards and honors

Academy Awards record Best Picture, Edward Saxon, Kenneth Utt, Ronald M. Bozman Best Director, Jonathan Demme Best Actor, Anthony Hopkins Best Actress, Jodie Foster Best Adapted Screenplay, Ted Tally Golden Globe Awards record Best Actress, Jodie Foster BAFTA Awards record Best Actor, Anthony Hopkins Best Actress, Jodie Foster
The film won the Big Five Academy Awards: Best Picture, Best Director (Demme), Best Actor (Hopkins), Best Actress (Foster), and Best Adapted Screenplay (Ted Tally), making it only the third film in history accomplish that feat. It was also nominated for Best Sound (Tom Fleischman and Christopher Newman) and Best Film Editing, but lost to Terminator 2: Judgment Day and JFK, respectively.[14] Other awards include best picture from the National Board of Review, CHI Awards and PEO Awards. Demme won the Silver Bear for Best Director at the 41st Berlin International Film Festival[15] and was nominated for the Golden Globe Award for Best Director. The film was nominated as best film by the British Academy of Film and Television Arts (BAFTA) Awards. Screenwriter Ted Tally received an Edgar Award for Best Motion Picture Screenplay. The film was awarded Best Horror Film of the Year during the 2nd Horror Hall of Fame telecast, with Vincent Price presenting the award to the film's executive producer Gary Goetzman.[16] In 1998, the film was listed as one of the 100 greatest movies in the past 100 years by the American Film Institute.[17] In 2006, at the Key Art Awards, the original poster for The Silence of the Lambs was named best film poster "of the past 35 years".[18] The Silence of the Lambs placed seventh on Bravo's 100 Scariest Movie Moments for Lecter's infamous escape scene. The American Film Institute named Hannibal Lecter (as portrayed by Hopkins) the number one film villain of all time[19] and Clarice Starling (as portrayed by Foster) the sixth greatest film hero of all time.[19]
1991 The Silence of the Lambs In 2011, ABC aired a primetime special, Best in Film: The Greatest Movies of Our Time that counted down the best movies chosen by fans based on results of a poll conducted by ABC and People Magazine. Silence of the Lambs was selected as the #1 Best Suspense/Thriller and Dr. Hannibal Lecter was selected as the #4 Greatest Film Character. AFI's 100 Years...100 Movies #65 AFI's 100 Years...100 Thrills #5 AFI's 100 Years...100 Heroes and Villains: Hannibal Lecter #1 Villain Clarice Starling #6 Hero "Buffalo Bill" (Jame Gumb) Nominated Villain AFI's 100 Years...100 Movie Quotes: "A census taker once tried to test me. I ate his liver with some fava beans and a nice Chianti." #21 "I do wish we could chat longer, but I'm having an old friend for dinner." Nominated AFI's 100 Years of Film Scores Nominated AFI's 100 Years...100 Movies (10th Anniversary Edition) #74
506
Accusations of homophobia and sexism

Upon its release, The Silence of the Lambs was criticized by members of the LGBT community for its portrayal of Buffalo Bill as bisexual and transsexual. In response to the critiques, Demme replied that Buffalo Bill "wasn't a gay character. He was a tormented man who hated himself and wished he was a woman because that would have made him as far away from himself as he possibly could be." Demme added that he "came to realize that there is a tremendous absence of positive gay characters in movies."[20][21] In a 1992 interview with Playboy magazine, notable feminist and women's rights advocate Betty Friedan stated, "I thought it was absolutely outrageous that The Silence of the Lambs won four [sic] Oscars. [...] I'm not saying that the movie shouldn't have been shown. I'm not denying the movie was an artistic triumph, but it was about the evisceration, the skinning alive of women. That is what I find offensive. Not the Playboy centerfold."[22]
References
[1] "The Silence of the Lambs" (http:/ / www. boxofficemojo. com/ movies/ ?id=silenceofthelambs. htm). Box Office Mojo. . [2] "Academy Awards Best Pictures - Genre Biases" (http:/ / www. filmsite. org/ bestpics2. html). Filmsite.org. . Retrieved 2012-06-05. [3] "An Introduction to the American Horror Film" (http:/ / www. mendeley. com/ research/ an-introduction-to-the-american-horror-film-1/ ). Mendeley. . Retrieved 2012-06-05. [4] "Silence of the Lambs added to US film archive" (http:/ / www. bbc. co. uk/ news/ entertainment-arts-16344420). BBC. 28 December 2011. . Retrieved 28 December 2011. [5] Kapsis, Robert, E., ed. Jonathan Demme: Interviews (Conversations with Filmmakers Series). Jackson, Mississippi: University of Mississippi, 2009, p. 72-73. ISBN 1-60473-118-4 [6] The Barbara Walters Special, American Broadcast Company, 1992 [7] "City lands good share of movies" (http:/ / news. google. com/ newspapers?id=V19cAAAAIBAJ& sjid=s1YNAAAAIBAJ& dq=sharon-stone pittsburgh& pg=1397,300980). The Vindicator. 10 December 1995. . Retrieved 30 December 2011. [8] "Oscar fast facts" (http:/ / didyouknow. org/ fastfacts/ oscars/ ). . Retrieved 4 February 2010. [9] Collins, Jim (1992). Film Theory Goes to the Movies (http:/ / books. google. com/ books?id=oDwTPU8l2RQC& pg=PA35& lpg=PA35& dq="The+ Silence+ of+ the+ Lambs"+ "sleeper+ hit"). Routledge. p.35. ISBN0-415-90576-1. . [10] "Rotten Tomatoes" (http:/ / www. rottentomatoes. com/ m/ silence_of_the_lambs/ ). . [11] Roger Ebert, The Silence of the Lambs (1991) (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19910214/ REVIEWS/ 102140301/ 1023) [12] Roger Ebert, The Silence of the Lambs (2001) (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20010218/ REVIEWS08/ 102180301/ 1023) [13] "The Silence of the Lambs Reviews, Ratings, Credits, and More" (http:/ / www. metacritic. com/ movie/ the-silence-of-the-lambs). Metacritic. . Retrieved 2012-06-05. [14] "The 64th Academy Awards (1992) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 64th-winners. html). oscars.org. . Retrieved 2011-10-22.

[15] "Berlinale: 1991 Prize Winners" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1991/ 03_preistr_ger_1991/ 03_Preistraeger_1991. html). berlinale.de. . Retrieved 2011-03-26. [16] 2nd Annual Horror Hall of Fame Telecast, 1991 [17] AFI's 100 Years... 100 Movies (http:/ / www. afi. com/ 100years/ movies. aspx) Accessed 14 March 2007. Archived (http:/ / web. archive. org/ 20070305225428/ http:/ / www. afi. com/ tvevents/ 100years/ movies. aspx) March 5, 2007 at the Wayback Machine [18] "'Sin City' place to be at Key Art Awards" (http:/ / www. hollywoodreporter. com/ news/ sin-city-place-be-at-139338). The Hollywood Reporter. 9 October 2006. Retrieved 7 October 2007 [19] AFI 100 Years...100 Heroes & Villains (http:/ / www. afi. com/ 100years/ handv. aspx) Accessed 14 March 2007. Archived (http:/ / web. archive. org/ 20070312005001/ http:/ / www. afi. com/ tvevents/ 100years/ handv. aspx) March 12, 2007 at the Wayback Machine [20] Schmalz, Jeffrey (28 February 1993). "From Visions of Paradise to Hell on Earth" (http:/ / www. nytimes. com/ 1993/ 02/ 28/ movies/ from-visions-of-paradise-to-hell-on-earth. html). The New York Times. . [21] "The events that shaped the under-30 mind a new generation of successful gays and lesbians" (http:/ / findarticles. com/ p/ articles/ mi_m1589/ is_n739-40/ ai_20139080). . [22] Interview of Friedan by David Sheff Playboy September 1992, pp. 51-54, 56, 58, 60, 62, 149; reprinted in full in Interviews with Betty Friedan, Janann Sherman, ed. Univ. Press of Mississippi, 2002, ISBN 1-57806-480-5.
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External links
The Silence of the Lambs (http://www.imdb.com/title/tt0102926/) at the Internet Movie Database The Silence of the Lambs (http://tcmdb.com/title/title.jsp?stid=90121) at the TCM Movie Database The Silence of the Lambs (http://www.allrovi.com/movies/movie/v44663) at AllRovi The Silence of the Lambs (http://www.boxofficemojo.com/movies/?id=silenceofthelambs.htm) at Box Office Mojo The Silence of the Lambs (http://www.rottentomatoes.com/m/silence_of_the_lambs/) at Rotten Tomatoes The Silence of the Lambs (http://www.metacritic.com/movie/the-silence-of-the-lambs) at Metacritic The Silence of the Lambs (http://www.mgm.com/view/Movie/1814/The-Silence-of-the-Lambs/) at Metro-Goldwyn-Mayer Criterion Collection essay by Amy Taubin (http://www.criterion.com/current/posts/5)
1992 Unforgiven
508
1992 Unforgiven
Unforgiven
Film poster by Bill Gold
Directed by Produced by Written by Starring Clint Eastwood Clint Eastwood David Webb Peoples Clint Eastwood Gene Hackman Morgan Freeman Richard Harris Lennie Niehaus
Music by
Cinematography Jack N. Green Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Joel Cox Malpaso Productions Warner Bros.
August 7, 1992

[1]
$159,157,447
Unforgiven is a 1992 American Western film produced and directed by Clint Eastwood with a screenplay written by David Webb Peoples. The film tells the story of William Munny, an aging outlaw and killer who takes on one more job years after he had hung up his guns and turned to farming. A dark Western that deals frankly with the uglier aspects of violence and the myth of the Old West, it stars Eastwood in the lead role, with Gene Hackman, Morgan Freeman, and Richard Harris. Eastwood dedicated the movie to deceased directors and mentors Don Siegel and Sergio Leone. The film won four Academy Awards, including Best Picture, Best Director, Best Actor in a Supporting Role (Hackman), and Best Film Editing. Eastwood himself was nominated for the Academy Award for Best Actor for his performance, but he lost to Al Pacino for Scent of a Woman. In 2004, Unforgiven was added to the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant". The film was only the third western to win the Oscar for Best Picture following Cimarron (1931) and Dances With Wolves (1990).
Plot
A group of prostitutes in Big Whiskey, Wyoming, led by Strawberry Alice (Frances Fisher), offers a $1,000 reward to whoever can kill Quick Mike (David Mucci) and "Davey-Boy" Bunting (Rob Campbell), two cowboys who disfigured Delilah Fitzgerald (Anna Levine), one of their own. This upsets the local sheriff, Little Bill Daggett (Gene Hackman), a former gunfighter and now an obsessive keeper of the peace who does not allow guns or criminals in his town. Little Bill had given the two men leniency, despite their crime.
1992 Unforgiven Miles away in Kansas, the Schofield Kid (Jaimz Woolvett), a boastful young man, visits the pig farm of William Munny (Clint Eastwood), seeking to recruit him to kill the cowboys. In his youth, Munny was a bandit who was notorious for being a vicious, cold-blooded murderer, but he is now a repentant widower raising two children and has sworn off alcohol. Though Munny initially refuses to help with the assassination, his farm is failing, putting his children's future in jeopardy. Munny reconsiders a few days later and sets off to catch up with the Kid. On his way, Munny recruits Ned Logan (Morgan Freeman), another retired gunfighter who reluctantly leaves his wife (Cherrilene Cardinal) to go along. Back in Wyoming, gunfighter English Bob (Richard Harris) and his biographer, W. W. Beauchamp (Saul Rubinek), arrive in Big Whiskey, also seeking the reward. Little Bill and his deputies disarm Bob, and Bill beats him savagely, hoping to set an example for other would-be assassins. The next morning Bob is ejected from town, but Beauchamp decides to stay and write about Bill, who has impressed him with his tales of old gunfights and seeming knowledge of the inner workings of a gunfighter's psyche. Munny, Logan and the Kid arrive later amid a rain storm and go to the saloon/whorehouse to discover the cowboys' location. Munny has a bad fever after riding in the rain, and is sitting alone in the saloon when Little Bill and his deputies arrive to confront him. Little Bill has no idea who Munny is, and after finding a pistol on him he beats him brutally and kicks him out onto the street. Logan and the Kid, upstairs getting "advances" on their payment from the prostitutes, escape out a back window. The three regroup at a barn outside of town, where they nurse Munny back to health. Three days later, they ambush a group of cowboys and kill Bunting although it becomes apparent that Logan and Munny no longer have much stomach for murder. Logan decides to return home while Munny and the Kid head to the cowboys' ranch, where the Kid ambushes Quick Mike in an outhouse and kills him. After they escape, a very distraught Kid confesses he had never killed anyone before, and renounces the gunfighter lifestyle. When Little Sue (Tara Frederick) meets the two men to give them the reward, they learn that Logan was captured by Little Bill's men and tortured to death, but not before giving up the identities of his two accomplices. The Kid heads back to Kansas to deliver the reward money to Munny and Logan's families, while Munny drinks half a bottle of whisky and heads into town to take revenge on Bill. That night, Logan's corpse is displayed in a coffin outside the saloon. Inside, Little Bill has assembled a posse to pursue Munny and the Kid. Munny walks in alone and promptly kills Skinny Dubois (Anthony James), the saloon owner and pimp. After some tense dialogue, a gunfight ensues, leaving Bill wounded and several of his deputies dead. Munny orders everyone out before stopping Little Bill from reaching for his pistol. Bill curses Munny before the latter finishes him with a final gunshot. Munny then threatens the townsfolk before finally leaving town, warning that he will return if Logan is not buried properly. The final scene is a bookend shot of Munny's farm, and of Munny paying a final visit to his wife's grave. The epilogue text that follows reads that Munny and his family were rumored to have moved to San Francisco and "prospered in dry goods".
509
Cast
Clint Eastwood as William "Will" Munny Gene Hackman as Little Bill Daggett Morgan Freeman as Ned Logan Richard Harris as English Bob Jaimz Woolvett as The Schofield Kid Saul Rubinek as W. W. Beauchamp
Frances Fisher as Strawberry Alice Anna Levine as Delilah Fitzgerald David Mucci as Quick Mike
1992 Unforgiven Rob Campbell as Davey Bunting Anthony James as Skinny Dubois Tara Frederick as Little Sue Beverley Elliott as Silky Liisa Repo-Martell as Faith Josie Smith as Crow Creek Kate Shane Meier as William Munny Jr.
510
Production
The film was written by David Webb Peoples, who had written the Oscar-nominated film The Day After Trinity and co-wrote Blade Runner.[2] The concept for the film dated as far back as 1976 under the titles The Cut-Whore Killings and The William Munny Killings.[2] Eastwood delayed the project, partly because he wanted to wait until he was old enough to play his character and to savor it as the last of his western films. Many said this was to be Eastwood's last film as director and actor, but he chose to keep directing and he quit acting in his own films with the 2008 film Gran Torino. [2] Much of the cinematography for the film was shot in Alberta in August 1991 by director of photography Jack Green.[3] Filming took place over 52 days between September and October 1991.[4] Production designer Henry Bumstead, who had worked with Eastwood on High Plains Drifter, was hired to create the "drained, wintry look" of the western.[3]
Reception
Unforgiven received universal acclaim. Review aggregator Rotten Tomatoes registers a "Certified Fresh" 97% approval rating among reviews. Many critics acclaimed the film for its noir-ish moral ambiguity and atmosphere. They also acclaimed it as a fitting eulogy to the western genre. Jack Methews of the Los Angeles Times described it as "The finest classical western to come along since perhaps John Ford's 1956 The Searchers." Richard Corliss in Time wrote that the film was "Eastwood's meditation on age, repute, courage, heroism on all those burdens he has been carrying with such grace for decades."[5] However, the film was not without its naysayers, including Gene Siskel and Roger Ebert; though the latter still gave it a positive vote, both criticized the picture for being too long and having too many superfluous characters (such as Harris's English Bob, who enters and leaves without ever meeting the protagonists). Ebert did, however, eventually include the film in his "Great Movies" list.[6]
Home media
Unforgiven was released on Blu-ray Book on February 21, 2012. Special features include an audio commentary by Clint Eastwood biographer Richard Schickel, four documentaries that include "All on Accounta Pullin' a Trigger", "Eastwood & Co.: Making Unforgiven", "Eastwood...A Star" and "Eastwood on Eastwood", and more.[7]
Box office
The film debuted at the top position in its opening weekend.[8][9] Its earnings of more than $13million on its opening weekend was the best ever opening for an Eastwood film.[5] Unforgiven eventually earned $160million worldwide in ticket sales, $101million in the United States alone.[10]
1992 Unforgiven
511
Accolades
Academy Awards
Award [11] Person Clint Eastwood Clint Eastwood Joel Cox Gene Hackman
Best Picture Best Director Best Editing Best Supporting Actor Nominated:
Best Art Direction-Set Decoration Henry Bumstead Janice Blackie-Goodine Best Actor Best Cinematography Best Sound Clint Eastwood Jack N. Green Les Fresholtz Vern Poore Rick Alexander (as Dick Alexander) Rob Young David Webb Peoples
Best Original Screenplay
Others
In June 2008, Unforgiven was listed as the fourth best American film in the western genre (behind The Searchers, High Noon, and Shane) in the American Film Institute's "AFI's 10 Top 10" list.[12][13] The film makes an appearance in AFI's 100 Years... 100 Movies. In 2005, Time.com named it one of the 100 best movies of the last 80 years. It was also admitted to the National Film Registry in 2004. The music for the Unforgiven film trailer that appeared in theatres and on some of the DVD's was composed by Randy J. Shams and Tim Stithem in 1992. American Film Institute recognition AFI's 100 Years...100 Movies #98 AFI's 100 Years...100 Thrills Nominated AFI's 100 Years...100 Heroes and Villains: Sheriff Little Bill Daggett Nominated Villain William Munny Nominated Hero AFI's 100 Years...100 Movie Quotes: "It's a hell of a thing killin' a man. You take away all he's got and all he's ever gonna have." Nominated AFI's 100 Years...100 Movies (10th Anniversary Edition) #68 AFI's 10 Top 10 #4 Western Film In 1992, the film poster designer, longtime Eastwood collaborator Bill Gold, won the prestigious Key Art award from The Hollywood Reporter.[14]
1992 Unforgiven
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References
[1] [2] [3] [4] [5] [6] Hughes, p.38 McGilligan, p. 467 McGilligan, p.469 Hughes, p.39 McGilligan, p.473 "Unforgiven :: rogerebert.com :: Great Movies" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20020721/ REVIEWS08/ 207210301/ 1023). Rogerebert.suntimes.com. . Retrieved 2010-07-09. [7] "Unforgiven [Blu-ray Book (http:/ / www. maxim. com/ movies/ unforgiven-blu-ray-book)"]. . Retrieved 2012-04-02. [8] Fox, David J. (1992-08-18). "Weekend Box Office Eastwood Still Tall in the Saddle" (http:/ / articles. latimes. com/ 1992-08-18/ entertainment/ ca-5744_1_weekend-box-office). The Los Angeles Times. . Retrieved 2010-12-01. [9] Fox, David J. (1992-08-25). "Weekend Box Office 'Unforgiven' at Top for Third Week" (http:/ / articles. latimes. com/ 1992-08-25/ entertainment/ ca-6052_1_weekend-box-office). The Los Angeles Times. . Retrieved 2010-12-01. [10] McGilligan, p.476 [11] "The 65th Academy Awards (1993) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 65th-winners. html). oscars.org. . Retrieved 2011-08-03. [12] American Film Institute (2008-06-17). "AFI Crowns Top 10 Films in 10 Classic Genres" (http:/ / www. comingsoon. net/ news/ movienews. php?id=46072). ComingSoon.net. . Retrieved 2008-06-18. [13] "Top Western" (http:/ / www. afi. com/ 10top10/ western. html). American Film Institute. . Retrieved 2008-06-18. [14] The Hollywood Reporter Key Art Awards (http:/ / www. hollywoodreporter. com/ hr/ awards_festivals/ key_art/ index. jsp)
Bibliography
Hughes, Howard (2009). Aim for the Heart. London: I.B. Tauris. ISBN978-1-84511-902-7. McGilligan, Patrick (1999). Clint: The Life and Legend. London: Harper Collins. ISBN0-00-638354-8.
External links
Unforgiven (http://www.imdb.com/title/tt0105695/) at the Internet Movie Database Unforgiven (http://www.allrovi.com/movies/movie/v51847) at AllRovi Unforgiven (http://www.rottentomatoes.com/m/1041911-unforgiven/) at Rotten Tomatoes Unforgiven (http://www.boxofficemojo.com/movies/?id=unforgiven.htm) at Box Office Mojo Unforgiven (http://www.filmsite.org/unfo.html) at Filmsite.org Unforgiven (http://artsandfaith.com/t100/2005/entry.php?film=91) at the Arts & Faith Top100 Spiritually Significant Films (http://artsandfaith.com/t100/) list Psychoanalytic review of Unforgiven (http://internationalpsychoanalysis.net/2009/11/29/ unforgiven-identification-with-death/) Essay on the film (http://iceberg.arts.ualberta.ca/filmstudies/Unforgiven.htm)
1993 Schindler's List
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Schindler's List
Directed by Produced by Steven Spielberg Steven Spielberg Gerald R. Molen Branko Lustig Steven Zaillian Schindler's Ark by Thomas Keneally Liam Neeson Ben Kingsley Ralph Fiennes Caroline Goodall Jonathan Sagall Embeth Davidtz John Williams
Music by
Cinematography Janusz Kamiski Editing by Studio Distributed by Release date(s) Running time Country Language Michael Kahn Amblin Entertainment Universal Pictures

30 November 1993 (Washington, D.C.) 15 December 1993
186 minutes United States English German Hebrew Polish French $22 million
[1]
Budget Box office
$321,306,305
Schindler's List is a 1993 film about Oskar Schindler, a German businessman who saved the lives of more than a thousand mostly Polish-Jewish refugees during the Holocaust by employing them in his factories. The film was directed by Steven Spielberg, and based on the novel Schindler's Ark by Australian novelist Thomas Keneally. It stars Liam Neeson as Schindler, Ralph Fiennes as Schutzstaffel (SS)-officer Amon Gth, and Ben Kingsley as Schindler's Jewish accountant Itzhak Stern. The film was a box office success and recipient of seven Academy Awards, including Best Picture, Best Director, and Best Original Score, as well as numerous other awards (7 BAFTAs, 3 Golden Globes). In 2007, the American Film Institute ranked the film 8th on its list of the 100 best American films of all time (up one position from its 9th place listing on the 1998 list).
514
Plot
The film begins in 1939 with the German-initiated relocation of Polish Jews from surrounding areas to the Krakw Ghetto shortly after the beginning of World War II. Meanwhile, Oskar Schindler (Liam Neeson), an ethnic German businessman from Moravia, arrives in the city in hopes of making his fortune as a war profiteer. Schindler, a member of the Nazi Party, lavishes bribes upon the Wehrmacht and SS officials in charge of procurement. Sponsored by the military, Schindler acquires a factory for the production of army mess kits. Not knowing much about how to properly run such an enterprise, he gains a close collaborator in Itzhak Stern (Ben Kingsley), an official of Krakow's Judenrat (Jewish Council) who has contacts with the Jewish business community and the black marketers inside the Ghetto. The Jewish businessmen lend Schindler the money for the factory in return for a small share of products produced. Opening the factory, Schindler pleases the Nazis and enjoys his newfound wealth and status as "Herr Direktor", while Stern handles all the administration. Schindler hires Jewish Poles instead of Catholic Poles because they cost less (the workers themselves get nothing; the wages are paid to the SS). Workers in Schindler's factory are allowed outside the ghetto, and Stern falsifies documents to ensure that as many people as possible are deemed "essential" to the German war effort, which saves them from being transported to concentration camps, or being killed. SS-Lieutenant (Untersturmfhrer) Amon Gth (Ralph Fiennes) arrives in Krakw to oversee construction of the new Paszw concentration camp. Once the camp is completed, he orders the final liquidation of the ghetto and Operation Reinhard in Krakw begins, with hundreds of troops emptying the cramped rooms and arbitrarily murdering anyone who protests or appears uncooperative, elderly or infirm. Schindler, watching the massacre from the hills overlooking the area with his mistress, is profoundly affected. He nevertheless is careful to befriend Goeth and, through Stern's attention to bribery, Schindler continues to enjoy SS support and protection. During this time, Schindler bribes Goeth into allowing him to build a sub-camp for his workers, so that he can keep his factory running smoothly and protect them from being randomly executed. As time passes, Schindler acts on information provided by Stern to try and save as many lives as he can. As the war shifts, Goeth receives orders from Berlin commanding him to exhume and destroy the remains of every Jew murdered in the Krakw Ghetto, dismantle Paszw, and ship the remaining Jewsincluding Schindler's workersto the Auschwitz concentration camp. At first, Schindler prepares to leave Krakw with his fortune. He finds himself unable to do so, however, and prevails upon Goeth to allow him to keep his workers so that he can move them to a factory in his old home of Zwittau-Brinnlitz, in Moravia away from the Final Solution, now fully underway in occupied Poland. Goeth eventually acquiesces, but charges a massive bribe for each worker. Schindler and Stern assemble a list of workers who are to be kept off the trains to Auschwitz. "Schindler's List" comprises these "skilled" inmates, and for many of those in Paszw camp, being included means the difference between life and death. Almost all of the people on Schindler's list arrive safely at the new site. The train carrying the Jewish women is accidentally redirected to Auschwitz. The women are taken to what they believe to be the gas chambers; they then weep with joy and immense relief when water falls from the showers. The day after, the women are shown waiting in line for work and being inspected by the camp physician, Dr. Josef Mengele. In the meantime, Schindler rushes immediately to Auschwitz. Intending to rescue all the women, he bribes the camp commander, Rudolf H, with a cache of diamonds in exchange for releasing the women to Brinnlitz. However, a last minute problem arises just when all the women are boarding the train. Several SS officers attempt to hold back the children and prevent them from leaving. Schindler, however, insists that he needs their hands to polish the narrow insides of artillery shells. As a result, the children are released. Once the women arrive in Zwittau-Brinnlitz, Schindler institutes firm controls on the SS guards assigned to the factory, forbidding them to enter the production areas. He permits and encourages the Jews to observe the Sabbath. In order to keep his factory workers alive, he spends much of his fortune bribing Nazi officials and buying shells from other companies, meaning he never actually produces working shells for the seven months his factory is in business. Later, he surprises his wife while she is in the village church during mass, and tells her that she will now be the only woman in his life, a concession he had
1993 Schindler's List refused to grant previously. She goes with him to the factory to assist him. He runs out of money just as the Wehrmacht surrenders, ending the war in Europe. As a Nazi Party member and a self-described "profiteer of slave labour", in 1945, Schindler must flee the advancing Red Army. Although the SS guards have been ordered to liquidate the Jews of Brinnlitz, Schindler persuades them to return to their families as men, not murderers. In the aftermath, he packs a car in the night and bids farewell to his workers. They give him a letter explaining he is not a criminal to them, together with a ring secretly made from a worker's gold dental bridge and engraved with a Talmudic quotation, "Whoever saves one life saves the world entire." Schindler is touched but deeply ashamed, feeling he could have done more to save many more lives, such as selling his car, and selling his Golden Party Badge could have saved one more. Weeping, he considers how many more lives he could have saved as he leaves with his wife during the night. The Schindler Jews, having slept outside the factory gates through the night, are awakened by sunlight the next morning. A Soviet dragoon arrives and announces to the Jews that they have been liberated by the Red Army. The Jews walk to a nearby town in search of food. After a few scenes depicting post-war events and locations, such as the execution of Amon Goeth by hanging for war crimes and a brief summary of what eventually happened to Schindler in his later years, the film returns to the Jews walking to the nearby town. As they walk abreast, the black-and-white frame changes to one in color of present-day Schindler Jews at Schindler's grave site in Jerusalem (where he wanted to be interred).[2] The film ends by showing a procession of now-elderly Jews who worked in Schindler's factory, each of whom reverently sets a stone on his gravea traditional Jewish custom denoting deep gratitude or thanks to the deceased. The actors portraying the major characters walk hand-in-hand with the people they portrayed, placing their stones as they pass. (Ben Kingsley is accompanied by the widow of Itzhak Stern, who died in 1969.) The audience learns that, at the time of the film's release, there were fewer than 4,000 Jews left alive in Poland, but more than 6,000 descendants of the Schindler Jews throughout the world. In the final scene, Liam Neeson (although his face is not visible) places a pair of roses on the grave and stands contemplatively over it. The film concludes with a statement, "In memory of the more than six million Jews murdered"; the closing credits begin with a view of a road paved with headstones culled from Jewish cemeteries during the war (as depicted in the film), before fading to black.
515
Cast
Main
Liam Neeson Oskar Schindler, a German Nazi businessman who saves the lives of over 1,100 Jews by employing them in his factory. Ben Kingsley Itzhak Stern, Schindler's accountant and business partner. Ralph Fiennes Amon Gth, the main antagonist in the film; Goeth is an SS officer assigned to build and run the Paszw concentration camp, and is befriended by Schindler, though he grows steadily suspicious of Schindler's true aims as the film progresses. Embeth Davidtz Helen Hirsch, a young Jewish woman whom Goeth takes to work as his housekeeper, and finds attractive. Caroline Goodall Emilie Schindler, Schindler's wife. Jonathan Sagall Poldek Pfefferberg, a young man who survives with his wife, and provides goods to Schindler from the black market.
516
Secondary
Ezra Dagan Rabbi Lewartow, a rabbi who acquires skills as a welder in Schindler's camp. Malgoscha Gebel Wiktoria Klonowska, Schindler's mistress. Shmuel Levy Wilek Chilowicz. Mark Ivanir Marcel Goldberg. Batrice Macola Ingrid. Andrzej Seweryn Julian Scherner. Friedrich von Thun Rolf Czurda. Krzysztof Luft Herman Toffel. Harry Nehring Leo John. Norbert Weisser Albert Hujar. Adi Nitzan Mila Pfefferberg, Poldek Pfefferberg's wife. Michael Schneider Juda Dresner. Miri Fabian Chaja Dresner. Anna Mucha Danka Dresner. Ben Darby Man in grey. Albert Misak Mordecai Wulkan.
Hans-Michael Rehberg Rudolf Hss. Daniel Del Ponte Dr. Josef Mengele.
Production
Development
Poldek Pfefferberg was one of the Schindlerjuden, and made it his life's mission to tell the story of his savior. Pfefferberg attempted to produce a biopic of Oskar Schindler with MGM in 1963,[3] with Howard Koch writing,[4] but the deal fell through. In 1982, Thomas Keneally published Schindler's Ark, which he wrote after he met Pfefferberg. MCA president Sid Sheinberg sent director Steven Spielberg a New York Times review of the book. Spielberg was astounded by the story of Oskar Schindler, jokingly asking if it was true. Spielberg "was drawn to the paradoxical nature of [Schindler]... It was about a Nazi saving Jews... What would drive a man like this to suddenly take everything he had earned and put it all in the service of saving these lives?" Spielberg expressed enough interest for Universal Pictures to buy the rights to the novel, and in early 1983 Spielberg met with Pfefferberg. Pfefferberg asked Spielberg, "Please, when are you starting?" Spielberg replied, "Ten years from now."[3] (In the end credits of the film, Pfefferberg is credited as an advisor, under the name "Leopold Page.") Spielberg was unsure of his own maturity in making a film about the Holocaust, and the project remained "on [his] guilty conscience". Spielberg tried to pass the project to director Roman Polanski, who turned it down. Polanski's mother was killed at Auschwitz,[5] and he had lived in and survived the Krakw Ghetto. Polanski eventually directed his own Holocaust film, The Pianist, in 2002. Spielberg also offered the film to Sydney Pollack,[4] and Martin Scorsese, who was attached to direct Schindler's List in 1988. However, Spielberg was unsure of letting Scorsese direct the film, as "I'd given away a chance to do something for my children and family about the Holocaust." Spielberg offered him the chance to direct the 1991 remake of Cape Fear instead.[4] Billy Wilder expressed interest in directing the film "as a memorial to most of [his] family, who went to Auschwitz." Spielberg finally decided to direct the film after hearing of the Bosnian Genocide and various Holocaust deniers.[3] With the rise of neo-Nazism after the fall of the Berlin Wall, he worried that people were too accepting of intolerance, as they were in the 1930s. In addition, Spielberg was becoming more involved with his Jewish heritage while raising his children.[6] Sid Sheinberg greenlit the film on one condition: that Spielberg make Jurassic Park first. Spielberg later said, "He knew that once I had directed Schindler I wouldn't be able to do Jurassic Park."[4]
1993 Schindler's List In 1983, Thomas Keneally was hired to adapt his book, and he turned in a 220-page script. Keneally focused on Schindler's numerous relationships, and admitted he did not compress the story enough. Spielberg hired Kurt Luedtke, who had adapted the screenplay of Out of Africa, to write the next draft. Luedtke gave up almost four years later, as he found Schindler's change of heart too unbelievable. During his time as director, Scorsese hired Steven Zaillian to write the script. When he was handed back the project, Spielberg found Zaillian's 115-page draft too short, and asked him to extend it to 195 pages. Spielberg wanted to focus on the Jews in the story. He extended the ghetto liquidation sequence, as he "felt very strongly that the sequence had to be almost unwatchable." He wanted Schindler's transition to be gradual and ambiguous, and not "some kind of explosive catharsis that would turn this into The Great Escape."[4]
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Casting
Liam Neeson auditioned as Oskar Schindler early in the casting process and was cast in December 1992, after Spielberg saw him perform in Anna Christie on Broadway.[4] Warren Beatty participated in a script reading, but Spielberg was concerned that he could not disguise his accent and that he would bring "movie star baggage".[7] Kevin Costner and Mel Gibson expressed interest in portraying Schindler.[4] Neeson felt "[Schindler] enjoyed fookin' [sic] with the Nazis. In Keneally's book it says he was regarded as a kind of a buffoon by them... if the Nazis were New Yorkers, he was from Arkansas. They don't quite take him seriously, and he used that to full effect."[8] To prepare for the role, Neeson was sent tapes of Time Warner CEO Steve Ross, who had a charisma that Spielberg compared to Schindler's.[9] Ralph Fiennes was cast as Amon Goeth after Spielberg viewed his performances in A Dangerous Man: Lawrence After Arabia and Emily Bront's Wuthering Heights. Spielberg said of Fiennes' audition that "I saw sexual evil. It is all about subtlety: there were moments of kindness that would move across his eyes and then instantly run cold." Fiennes put on 28lbs to play the role. He watched historic newsreels and talked to Holocaust survivors who knew Amon Gth. In portraying him, Fiennes said "I got close to his pain. Inside him is a fractured, miserable human being. I feel split about him, sorry for him. He's like some dirty, battered doll I was given and that I came to feel peculiarly attached to." Fiennes looked so much like Amon Gth in costume that when Mila Pfefferberg, a survivor of the events, met him she trembled with fear.[10] Overall, there are 126 speaking parts in the film. Thirty thousand extras were hired during filming. Spielberg cast children of the Schindlerjuden for key Hebrew-speaking roles and hired Catholic Poles for the survivors.[4] Often, German actors playing the SS would come to Spielberg and say, "Thank you for letting me resolve my [family] secrets by playing in your movie."[7] Halfway during the shoot, Spielberg conceived the epilogue where 128 Schindlerjuden pay their respects to Schindler's grave in Jerusalem. The producers scrambled to find the people portrayed in the film.[4]
Filming
Shooting for Schindler's List began on March 1, 1993 in Krakw (Cracow), Poland, and continued for seventy-one days.[3] The crew shot at the real life locations, though the Paszw camp had to be reconstructed in a pit adjacent to the original site, due to post-war changes to the original camp. The crew was forbidden to enter Auschwitz, so they shot at a replica outside the camp.[9] The Polish locals welcomed the filmmakers. There were some antisemitic incidents; anti-Semitic symbols scrawled on local billboards near shooting locations.[4] An elderly woman mistook Fiennes for a Nazi and told him "the Germans were charming people. They didn't kill anybody who didn't deserve it",[10] while Kingsley nearly entered a brawl with an elderly German-speaking businessman who insulted Israeli actor Michael Schneider.[11] Nonetheless, Spielberg stated that at Passover, "all the German actors showed up. They put on yarmulkes and opened up Haggadas, and the Israeli actors moved right next to them and began explaining it to them. And this family of actors sat around and race and culture were just left behind."[11]

"I was hit in the face with my personal life. My upbringing. My Jewishness. The stories my grandparents told me about the Shoah. And Jewish life came pouring back into my heart. I cried all the time." Steven Spielberg on his emotional state during the shoot
[5]
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Shooting Schindler's List was deeply emotional for Spielberg, the subject matter forcing him to confront elements of his childhood, such as the antisemitism he faced. He was furious with himself when he did not "cry buckets" while visiting Auschwitz, and was one of many crew members who did not look on during shooting of the scene where aging Jews are forced to run naked while being selected by Nazi doctors to go to Auschwitz.[9] Several actresses broke down when filming the shower scene, including one who was born in a concentration camp.[7] Kate Capshaw and Spielberg's five children accompanied Spielberg on set, and he later thanked his wife "for rescuing me ninety-two days in a row...when things just got too unbearable." Spielberg's parents and his rabbi visited him on set. Robin Williams called Spielberg every two weeks to cheer him up with various jokes,[3] because there was very little humor on set. Spielberg also ordered various episodes of Seinfeld on VHS to watch in his hotel room after shooting each day.[7] Coincidentally, Jerry Seinfeld's watching of Schindler's List in a theater became the plot of a later Seinfeld episode. Spielberg forewent a salary for the film, calling it "blood money", and believed the film would flop.[3] Spielberg used German and Polish language in scenes to recreate the feeling of being present in the past, and used English to emphasize dramatic points. The director was interested in making the film entirely in German and Polish, but decided "there's too much safety in reading. It would have been an excuse to take their eyes off the screen and watch something else."[7]
Cinematography
Spielberg decided not to plan the film with storyboards, and to shoot the film like a documentary, looking to the documentaries The Twisted Cross (1956)[12] and Shoah (1985) for inspiration. Forty percent of the film was shot with handheld cameras,[13] and the modest budget of $25 million meant the film was shot quickly over seventy-two days. Spielberg felt that this gave the film "a spontaneity, an edge, and it also serves the subject." Spielberg said that he "got rid of the crane, got rid of the Steadicam, got rid of the zoom lenses, [and] got rid of everything that for me might be considered a safety net."[9] Such a style made Spielberg feel like an artist, as he limited his tools for a film he felt didn't have to be commercially successful.[6] This matured Spielberg, who felt that in the past he had always been paying tribute to directors such as Cecil B. DeMille or David Lean.[11] On this film, his shooting style was purely his own. He proudly noted that in this film, there were no crane shots.[4] The decision to shoot the film mainly in black and white lent to the documentary-style of cinematography, which cinematographer Janusz Kamiski compared to German Expressionism and Italian neorealism.[9] Kamiski said that he wanted to give a timeless sense to the film, so the audience would "not have a sense of when it was made."[9] Spielberg was following suit with "[v]irtually everything I've seen on the Holocaust... which have largely been stark, black and white images."[14] Universal chairman Tom Pollock asked Spielberg to shoot the film in a color negative, to allow color VHS copies of the film to be sold, but Spielberg did not want "to beautify events."[9] Black and white did present challenges to the color-familiar crew. Allan Starski, the production designer, had to make the sets darker or lighter than the people in the scenes, so they would not blend. The costumes had to be distinguished from skin tones or colors being used for the sets.[14]
Music
John Williams composed the score for Schindler's List. The composer was amazed by the film, and felt it would be too challenging. He said to Spielberg, "You need a better composer than I am for this film." Spielberg replied, "I know. But they're all dead!"[15] Williams played the main theme on piano, and following Spielberg's suggestion, he hired Itzhak Perlman to perform it on the violin. In an interview with Perlman on Schindler's List, he said: "I couldn't believe how authentic he [John Williams] got everything to sound, and I said, 'John, where did it come from?' and he
1993 Schindler's List said, 'Well I had some practice with Fiddler on the Roof and so on, and everything just came very naturally' and that's the way it sounds." Interviewer: "When you were first approached to play for Schindler's List, did you give it a second thought, did you agree at once, or did you say 'I'm not sure I want to play for movie music'? Perlman: "No, that never occurred to me, because in that particular case the subject of the movie was so important to me, and I felt that I could contribute simply by just knowing the history, and feeling the history, and indirectly actually being a victim of that history."[16] In the scene where the ghetto is being liquidated by the Nazis, the folk song Oyfn Pripetshik (or Afn Pripetshek) (Yiddish: ") is sung by a children's choir. The song was often sung by Spielberg's grandmother, Becky, to her grandchildren.[17] The clarinet solos heard in the film were recorded by Klezmer virtuoso Giora Feidman. Williams won an Academy Award for Best Original Score for Schindler's List, his fifth win.
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Symbols
The girl in the red coat
While the film is shot primarily in black-and-white, red is used to distinguish a little girl (portrayed by Oliwia Dabrowska) in a coat. Later in the film, the girl is appears to be one of the dead Jewish people, recognizable only by the red coat she is still wearing. Although it was unintentional, this character is coincidentally very similar to Roma Ligocka, who was known in the Krakw Ghetto for her red coat. Ligocka, unlike her fictional counterpart, survived the Holocaust. After the film was released, she wrote and published her own story, 'The Girl in the Red Coat: A Memoir (2002, in translation).[18] The scene, however, was constructed on the memories of Zelig Burkhut, survivor of Plaszow (and other work camps). When interviewed by Spielberg before the film was made, Burkhut told of a young girl wearing a pink coat, no older than four, who was shot by a Nazi officer right before his eyes. When being interviewed by The Courier-Mail, he said "it is something that stays with you forever." According to Andy Patrizio of IGN, the girl in the red coat is used to indicate that Schindler has changed: "Spielberg put a twist on her [Ligocka's] story, turning her into one more pile on the cart of corpses to be incinerated. The look on Schindler's face is unmistakable. Minutes earlier, he saw the ash and soot of burning corpses piling up on his car as just an annoyance."[19] Andre Caron wondered whether it was done "to symbolize innocence, hope or the red blood of the Jewish people being sacrificed in the horror of the Holocaust?"[20] Spielberg himself has explained that he only followed the novel, and his interpretation was that "America and Russia and England all knew about the Holocaust when it was happening, and yet we did nothing about it. We didn't assign any of our forces to stopping the march toward death, the inexorable march toward death. It was a large bloodstain, primary red color on everyone's radar, but no one did anything about it. And that's why I wanted to bring the color red in."[21] Although she has no speaking part, the little girl is noted on the Internet Movie Database as the "Red Genia". Her portrayer, Oliwia Dabrowska, was born in Krakow on 28 May 1989 and later appeared in only one other movie.
Candles
The beginning features a family observing the Shabbat. Spielberg said, "to start the film with the candles being lit...would be a rich bookend, to start the film with a normal Shabbat service before the juggernaut against the Jews begins." When the color fades out in the film's opening moments, it gives way to a movie in which smoke comes to symbolize bodies being burnt at Auschwitz. Only at the end do the images of candle fire regain their warmth when Schindler allows his workers to hold Shabbat services. For Spielberg, they represented "just a glint of color, and a glimmer of hope."[4]
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Release
The film opened in New York, Los Angeles, and Toronto on December 15, 1993. The film grossed $96.1 million in the United States and over $321.2 million worldwide.[22] In Germany, over 5.8 million admission tickets were sold. Schindler's List made its US network television premiere on NBC in February 1997. The film was shown without commercials, and fully sponsored by Ford Motor Company. It gained the highest Nielsen rating (to that date) for any movie since NBC's broadcast of Jurassic Park (also directed by Spielberg) in May 1995.[23] (For further information on the telecast, see the "Controversies" section below.) The film was released to DVD on March 9, 2004. The DVD was available in widescreen and fullscreen editions, both being a double-sided disc with the feature film beginning on side A and continuing on side B, along with the special features, which include a documentary introduced by Steven Spielberg. Also released for both formats was a limited edition gift set. The laserdisc gift set was a limited one, with only 10,000 copies manufactured. Besides the DVD, the set included the film's soundtrack, the original novel, and an exclusive photo booklet.[24] Similar to the Laserdisc set, the DVD gift set included the widescreen version of the film, the original novel, the film's soundtrack on CD, a senitype, and a photo booklet titled Schindler's List: Images of the Steven Spielberg Film, all housed in a plexiglass case.[25] The set has since been discontinued.[26] The film will be released on Blu-ray Disc in 2012 as part of Universal's 100th Anniversary celebration. No specific date has been announced as of yet.[27]
Reception
Schindler's List won seven Oscars at the 66th Academy Awards, including Best Picture and Best Director. It was the first black and white film since The Apartment to win the Oscar for Best Picture. Liam Neeson and Ralph Fiennes were nominated for Best Actor and Best Supporting Actor respectively, but did not win.[28] At the British Academy awards, the film won Best Film, the David Lean Award for Direction, Best Supporting Actor (Ralph Fiennes), Cinematography, Editing and Score.[22] Schindler's List won Golden Globes for Best Motion Picture (Drama), Best Director and Best Screenplay, with John Williams awarded the Grammy for the film's musical score.[22] Schindler's List was highly received by many of Spielberg's peers. Filmmaker Billy Wilder reportedly wrote a long letter of appreciation to Spielberg in which he proclaimed, "They couldn't have gotten a better man. This movie is absolutely perfection."[29] Filmmaker Quentin Tarantino has commented that Schindler's List left him "shaken" and that "even though I have seen many films about the Holocaust, none up to that point had managed to get at the feeling of what it was like to be in the inside of a concentration camp."[30] Roman Polanski, who had turned down Spielberg's offer to direct the film, later commented, "I certainly wouldn't have done as good a job as Spielberg because I couldn't have been as objective as he was." Polanski has also cited Schindler's List as an influence on his 1995 film Death and the Maiden.[31] Schindler's List received widespread acclaim from critics. Reviewing Schindlers List for The New York Review of Books, the leading British critic John Gross wrote: Suppose the Disney organization announced that it was planning a film about the Holocaust. Spielbergs films up until now have mostly been fairy tales or adventure stories, or a mixture of both, so I cant pretend, then, that I approached the film without apprehension. My fears were altogether misplaced. Spielberg shows a firm moral and emotional grasp of his material. The film is an outstanding achievement.[32] The success of Schindler's List persuaded filmmaker Stanley Kubrick to abandon his own Holocaust project, Aryan Papers, which would have been about a Jewish boy who survives the war, along with his aunt, by sneaking through Poland while pretending to be a Catholic.[33] Convinced that no film could truly capture the horror of the Holocaust, scriptwriter Frederic Raphael has recalled that Kubrick commented on Schindler's List, "Think that's about the Holocaust? That was about success, wasn't it? The Holocaust is about 6 million people who get killed. Schindler's List is about 600 who don't."[33] Since then, many of the film's detractorsincluding filmmaker Terry
1993 Schindler's List Gilliamhave cited this quote in their criticism of the film.[34] The film was attacked by filmmaker and professor Claude Lanzmann, director of the 9-hour Holocaust documentary Shoah, who called Schindler's List a "kitschy melodrama", and a "deformation" of historical truth. Lanzmann was especially critical of Spielberg for viewing the Holocaust through the eyes of a German. Believing his own film to be the definitive account of the Holocaust, Lanzmann complained, "I sincerely thought that there was a time before Shoah, and a time after Shoah, and that after Shoah certain things could no longer be done. Spielberg did them anyway."[35] Spielberg angrily responded to Lanzmann's criticisms, accusing him of wanting to be "the only voice in the definite account of the Holocaust." He added, "It amazed me that there could be any hurt feelings in an effort to reflect the truth."[36] French New Wave filmmaker Jean-Luc Godard accused Spielberg of using the film to make a profit of tragedy while Schindler's wife, Emilie Schindler, lived in poverty in Argentina.[37] In defense of Spielberg, critic Roger Ebert said, "Has Godard or any other director living or dead done more than Spielberg, with his Holocaust Project, to honor and preserve the memories of the survivors?"[38] Author Thomas Keneally has also disputed claims that Emilie Schindler was never paid for her contributions to the film, "not least because I had recently sent Emilie a check myself."[39] Filmmaker Michael Haneke has criticized the sequence in the film in which Schindler's women are accidentally sent off to Auschwitz and hurdled into showers: "There's a scene in that film when we don't know if there's gas or water coming out in the showers in the camp. You can only do something like that with a naive audience like in the United States. It's not an appropriate use of the form. Spielberg meant well but it was dumb."[40] However, according to one of Schindler's women, Etka Liebgold, this incident is based on fact.[41] Screenwriter and playwright David Mamet also came out against the film, noting, "I think [Spielberg] made it from the best possible motives and it was a subject close to his heart," but then going on to say he felt it was "exploitative" of Spielberg to be making a film that dramatized Holocaust-related events at all. Citing a passage in the Talmud, Mamet argued that silence is the only acceptable response to the Holocaust: "It's in the Talmud that you're not supposed to say anything when someone is in mourning. What's there to say?"[42] Film critic Robert Philip Kolker, in his book A Cinema of Loneliness, attacked the film's portrayal of Goeth as "too unrelievedly brutal. He is a psychopath, and psychopathology is too easy a way to dismiss Nazism and its adherents. [...] Ideological elements are so distorted by dreams of power, authority, and manufactured hatred and convictions of necessity, that the majority of a culture gets caught up in the act of killing the demonized other. There were psychotic Germans, to be sure; but Nazism cannot be reduced simply to psychosis. There are scenes in Schindler's List of German officers in a hysterical frenzy of killing that are, perhaps, more accurate than Goeth's unrelenting murderousness, but also bring with them the old Hollywood representations of Nazis as sophisticated gangsters."[43] Hungarian Jewish author Imre Kertsz, a Holocaust survivor, criticized Spielberg for falsifying the experience of the Holocaust in Schindler's List and for showing it as something that is foreign to the human nature and impossible to recur. He also dismissed the film itself, saying "it is obvious that the American Spielberg, who incidentally wasn't even born until after the war, has and can have no idea of the authentic reality of a Nazi concentration camp... I regard as kitsch any representation of the Holocaust that is incapable of understanding or unwilling to understand the organic connection between our own deformed mode of life (whether in the private sphere or on the level of "civilization" as such) and the very possibility of the Holocaust."[44] In 2004, the Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry.[45] Schindler's List featured on a number of other "best of" lists, including the Time magazine's Top Hundred as selected by critics Richard Corliss and Richard Schickel, Time Out magazine's 100 Greatest Films Centenary Poll conducted in 1995, Roger Ebert's "Great Movies" series, and Leonard Maltin's "100 Must See Movies of the Century". In addition, the Vatican named Schindler's List among the top 45 films ever made.[46]
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1993 Schindler's List The readers of the German film magazine, Cinema, voted Schindler's List the #1 best movie of all time in 2000.[47] In 2002, a Channel 4 poll named Schindler's List the ninth greatest film of all time,[48] and it ranked fourth in the 2005 war films poll.[49] The film was extremely well received in Israel, where it is aired on public television every year on Holocaust Memorial Day, unedited, uncensored and without commercial breaks. Following the success of the film, Spielberg founded the Survivors of the Shoah Visual History Foundation, a non-profit organization with the goal of providing an archive for the filmed testimony of as many survivors of the Holocaust as possible, to save their stories. He continues to finance that work.[22] Spielberg used the money from the film to finance several related documentaries, including The Lost Children of Berlin (1996), Anne Frank Remembered (1995), and The Last Days (1998).[22]
522
Awards
Academy Award
[50] Award Awarded: Best Picture Steven Spielberg Gerald R. Molen Branko Lustig Steven Spielberg Person
Best Director
Best Adapted Screenplay Steven Zaillian Best Cinematography Best Art Direction Janusz Kamiski Ewa Braun Allan Starski Michael Kahn John Williams
Best Film Editing Best Original Score Nominated: Best Actor Best Supporting Actor Best Costume Design Best Sound
Liam Neeson Ralph Fiennes Anna Biedrzycka Sheppard Andy Nelson Steve Pederson Scott Millan Ron Judkins Christina Smith Matthew Mungle Judy Alexander Cory
Best Makeup
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Golden Globe Award

Won Best Motion Picture Drama Best Director Best Screenplay Nominated Best Score Best Supporting Actor Motion Picture Best Actor Motion Picture Drama
American Film Institute recognition

1998 AFI's 100 Years...100 Movies#9[51] 2003 AFI's 100 Years...100 Heroes and Villains: Oskar Schindler#13 Hero Amon Gth#15 Villain AFI's 100 Years...100 Movie Quotes: "The list is an absolute good. The list is life." Nominated[52] 2006 AFI's 100 Years...100 Cheers#3 2007 AFI's 100 Years...100 Movies (10th Anniversary Edition)#8 2008 AFI's 10 Top 10#3 Epic film
Controversies
According to Slovak filmmaker Juraj Herz, the scene in which a group of women confuse an actual shower with a gas chamber is taken directly, shot by shot, from his Zastihla m noc (Night Caught Up with Me, 1986). Herz says he wanted to sue, but was unable to come up with the money to fund the effort.[53] For the 1997 American television showing of the film, at Spielberg's insistence it aired unedited and nearly uncensored, although the sex scene was mildly edited by removing nearly all of the "thrusting". The film was preceded by a recorded introduction by Spielberg himself, explaining why the film was being aired nearly unedited. The telecast was the first ever to receive a TV-M (now TV-MA) rating under the TV Parental Guidelines that had been established at the beginning of that year. Senator Tom Coburn, then an Oklahoma congressman, said that in airing the film, NBC had brought television "to an all-time low, with full-frontal nudity, violence and profanity", adding that airing the film was an insult to "decent-minded individuals everywhere".[54] Under fire
Commemorative plaque
1993 Schindler's List from fellow Republicans as well as from Democrats, Coburn apologized for his criticism, saying: "My intentions were good, but I've obviously made an error in judgment in how I've gone about saying what I wanted to say." He said he hadn't reversed his opinion on airing the film, but said it ought to have been aired later at night when there aren't "large numbers of children watching without parental supervision".[55] The film was subsequently rebroadcast a year later on select PBS stations, once again airing unedited and without Spielberg's prologue. Controversy arose in Germany for the film's television premiere on Pro 7. Heavy protests ensued after the station intended to televise the film separated by two commercial breaks. As a compromise, the broadcast finally included one break, consisting of a short news update and selected commercials (no alcohol and no hygiene products).[56] Since then, subsequent broadcasts in German television did not include commercial breaks. In the Philippines chief censor Henrietta Mendez ordered three cuts of Schindler's List, due to its scenes that displayed female nudity and sexual intercourse, before it could be shown. As a result of these proposed cuts Steven Spielberg pulled the film from screening in the Philippines. As a result of Mendez's actions, Philippine senators demanded the abolition of the Philippine censors board. Senate justice committee chairman Raul Roco stated "such narrow-mindedness precisely shows the dangers of censorship." Mendez argued that "the sex act is sacred and beautiful and should be done in the privacy of the bedroom."[57] The song "Yerushalayim Shel Zahav" ("Jerusalem of Gold") is featured in the film's soundtrack and plays during a key moment near the end of the film. This caused some controversy in Israel when the film was released because the song was written in 1967 and is widely known in Israel as a popfolk song. The song was therefore edited out of the Israeli release of the film and replaced by the song "Eli, Eli", which was written by the Jewish Hungarian poet Hannah Szenes in World War II and is more appropriate for the time period and subject matter of the film.
524
References
[1] "Schindler's List" (http:/ / www. boxofficemojo. com/ movies/ ?id=schindlerslist. htm). Boxofficemojo. . [2] "The Oscar Schindler" (http:/ / www. auschwitz. dk/ bullseye/ new_page_2. htm). The Holocaust FAQ. www.auschwitz.dk. . Retrieved 10 October 2010. [3] McBride, Joseph (1997). Steven Spielberg. Faber and Faber. pp.42427. ISBN0-571-19177-0. [4] Thompson, Anne (1994-01-21). "Making History" (http:/ / www. ew. com/ ew/ article/ 0,,300806,00. html). Entertainment Weekly. . Retrieved 2007-08-08. [5] McBride, Joseph (1997). Steven Spielberg. Faber and Faber. pp.41416. ISBN0-571-19177-0. [6] Face to Face. BBC Two. 1994-01-31. [7] Susan Royal. "An Interview with Steven Spielberg" (http:/ / www. insidefilm. com/ spielberg. html). Inside Film Magazine Online. . Retrieved 2008-10-29. [8] "Oskar Winner" (http:/ / www. ew. com/ ew/ article/ 0,,300807_2,00. html). Entertainment Weekly. 1994-01-21. . Retrieved 2007-08-08. [9] McBride, Joseph (1997). Steven Spielberg. Faber and Faber. pp.42933. ISBN0-571-19177-0. [10] Richard Corliss (1994-02-21). "The Man Behind the Monster" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,980191,00. html). TIME. . Retrieved 2007-08-08. [11] David Ansen; Abigail Kuflik (20 December 1993). "Spielberg's obsession". 122. Newsweek. pp.11216. [12] Steven Spielberg (2006-11-04). The Culture Show (TV). BBC2. [13] Schindler's List DVD insert [14] "Behind The Scenes: Production Notes" (http:/ / www. schindlerslist. com/ main_loader. html). Official site. . Retrieved 2007-08-08. [15] "The man behind the music of 'Star Wars'" (http:/ / today. msnbc. msn. com/ id/ 7749339/ ns/ today-entertainment/ t/ man-behind-music-star-wars/ ). NBC. May 6, 2005. . Retrieved December 27, 2011. [16] "John Williams, Itzhak Perlman - Schindler's List" (http:/ / www. youtube. com/ watch?v=ueWVV_GnRIA). YouTube. "KlezmorimI". . Retrieved 1/8/12. [17] Susan Goldman Rubin (2001). Steven Spielberg. Harry N. Abrams, Inc.. pp.7374. ISBN0-8109-4492-8. [18] The Girl in the Red Coat (http:/ / books. google. com/ books?id=GvsNg4qvxSgC), accessed 15 May 2009 [19] Andy Patrizio (2004-03-10). "Schindler's List" (http:/ / dvd. ign. com/ articles/ 497/ 497689p1. html). IGN. . Retrieved 2007-08-09. [20] Andre Caron. "Spielberg's Fiery Lights" (http:/ / web. archive. org/ web/ 20070828181821/ http:/ / www. sensesofcinema. com/ contents/ 03/ 27/ spielberg_symposium_films_and_moments. html#caron). Senses of Cinema. Archived from the original (http:/ / www. sensesofcinema. com/ 2003/ 27/ spielberg_symposium_films_and_moments/ ) on 2007-08-28. . Retrieved 2007-08-09. [21] David Anker (director), Steven Spielberg (2005-04-05) (TV). Imaginary Witness: Hollywood and the Holocaust. AMC. [22] Freer, Ian (2001). The Complete Steven Spielberg. Virgin Books. pp.220237. ISBN0-7535-0556-8.

[23] "TELEVISION: 'Schindler's' Showing" (http:/ / articles. latimes. com/ 1997-02-25/ entertainment/ ca-32141_1_los-angeles-radio-stations). Los Angeles Times. February 25, 1997. . Retrieved 2 February 2012. [24] "Schindler's List (1993)Laserdisc details" (http:/ / www. imdb. com/ title/ tt0108052/ laserdisc). Internet Movie Database. . Retrieved 2009-01-16. [25] "Schindler's ListCollector's Gift Set DVD" (http:/ / www. filmfreakcentral. net/ dvdreviews/ schindlerslist. htm). Film Freak Central. . Retrieved 2009-01-16. [26] "Schindler's List (1993)" (http:/ / www. amazon. com/ exec/ obidos/ ASIN/ B00012QM9K/ filmfreakcentral). Amazon.com. . Retrieved 2009-01-16. [27] http:/ / www. comingsoon. net/ news/ movienews. php?id=85810 [28] "Schindler's ListAwards and Nominations" (http:/ / movies. yahoo. com/ movie/ 1800205324/ awards). Yahoo! Movies. . Retrieved 2007-08-08. [29] http:/ / books. google. com/ books?id=jf9HBgttTeQC& pg=PA427& lpg=PA427& dq=%22billy+ wilder%22+ %22absolutely+ perfection%22& source=bl& ots=Q0BuV3BrIa& sig=Wi4HBRvkfRDvEWgyawTUG-_3pzA& hl=en& ei=_J5ITrC_CqHD0AGxw6WJCA& sa=X& oi=book_result& ct=result& resnum=1& ved=0CBwQ6AEwAA#v=onepage& q=%22billy%20wilder%22%20%22absolutely%20perfection%22& f=false [30] Angelfire.com (http:/ / www. angelfire. com/ de/ palma/ blog/ index. blog/ 1378661/ tarantino-on-icasualties-of-wari/ ) [31] http:/ / books. google. com/ books?id=Pckg8k3g-PkC& pg=PA167& lpg=PA167& dq=%22that+ film+ challenged+ some+ of+ my+ preconceptions%22& source=bl& ots=myX-mLT6uZ& sig=1YwICWG_tSvjjhPKvN-qeJ_xNJI& hl=en& sa=X& ei=qwtKT63AOYqDtgfQ4sHuAg& ved=0CCEQ6AEwAA#v=onepage& q=%22that%20film%20challenged%20some%20of%20my%20preconceptions%22& f=false [32] John Gross (February 3, 1994). "Hollywood and the Holocaust" (http:/ / www. nybooks. com/ articles/ article-preview?article_id=2334). The New York Review of Books. . Retrieved 13 September 2010. [33] A. Goldmann (August 25, 2005). "Stanley Kubrick's Unrealized Vision" (http:/ / www. jewishjournal. com/ arts/ article/ stanley_kubricks_unrealized_vision_20050826/ ). Jewish Journal.com. . Retrieved February 5, 2012. [34] http:/ / kubrickfilms. tripod. com/ id86. html [35] Lanzmann, Claude (February 2004). "Schindler's List is an impossible story" (http:/ / www. phil. uu. nl/ staff/ rob/ 2007/ hum291/ lanzmannschindler. shtml). University College Utrecht. . Retrieved February 5, 2012. [36] Books.google.com (http:/ / books. google. com/ books?id=DbqATVZHvkQC& printsec=frontcover& dq=steven+ spielberg& hl=en& ei=vyjDTbqdEZK2tweP37S9BQ& sa=X& oi=book_result& ct=book-preview-link& resnum=1& ved=0CDsQuwUwAA#v=onepage& q=lanzmann& f=false) [37] Bill Gibron (April 21, 2007). "Short Cuts Forgotten Gems: In Praise of Love" (http:/ / www. popmatters. com/ pm/ blogs/ shortends_post/ 33421/ short-cuts-forgotten-gems-in-praise-of-love-2001). Pop Matters. . Retrieved April 28, 2007. [38] Roger Ebert (October 18, 2002). "In Praise Of Love" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20021018/ REVIEWS/ 210180306/ 1023). Chicago Sun-Times. . Retrieved April 28, 2007. [39] http:/ / books. google. com/ books?id=vg1Gw6VSK98C& pg=PA265& lpg=PA265& dq=%22searching+ for+ schindler%22+ %22not+ a+ penny%22& source=bl& ots=Dg6TrltJSU& sig=RkeFksEgrI0qvSmwG2tMYk9ZFU0& hl=en& sa=X& ei=7OlTT8X0AY2ftwe7ocGmDQ& ved=0CCQQ6AEwAA#v=onepage& q& f=false [40] http:/ / www. timeout. com/ film/ features/ show-feature/ 9114/ Michael_Haneke_discusses-The_White_Ribbon-. html [41] http:/ / www. oskarschindler. dk/ schindler9a. htm [42] http:/ / www1. salon. com/ feature/ 1997/ 10/ cov_si_24mamet. html [43] Robert Philip Kolker. A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman. Third Edition. p. 320. [44] "Holocaust Reflections" (http:/ / www. english. illinois. edu/ maps/ holocaust/ reflections. htm). . [45] "National Film Registry, List of Films 2004" (http:/ / www. decentfilms. com/ sections/ articles/ vaticanfilmlist. html). National Film Registry. . Retrieved 2007-10-28. [46] "The Vatican Film List Ten Years Later" (http:/ / www. decentfilms. com/ sections/ articles/ vaticanfilmlist. html). Decent Films. . Retrieved 2007-10-28. [47] Cinema.de 100 Magische Filmmomente: Die besten Filme aller Zeiten (http:/ / www. cinema. de/ news/ specials/ m/ magicmoments?object_id=434& artobj_id=1447) [48] "100 Greatest Films" (http:/ / www. channel4. com/ film/ newsfeatures/ microsites/ G/ greatest/ results/ zxyzres_01. html). Channel 4. 2008-04-08. . Retrieved 2008-04-08. [49] "100 Greatest War Films" (http:/ / www. channel4. com/ film/ newsfeatures/ microsites/ W/ greatest_warfilms/ results/ 5-1. html). Channel 4. . Retrieved 2008-04-08. [50] "The 66th Academy Awards (1994) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 66th-winners. html). oscars.org. . Retrieved 2011-08-04. [51] Hoberman, J (October 26, 2004). "Still a Contender" (http:/ / www. villagevoice. com/ 2004-10-26/ film/ still-a-contender/ ). The Village Voice. . Retrieved February 21, 2009. [52] AFI's 100 Years...100 Movie Quotes Nominees (http:/ / www. afi. com/ Docs/ 100Years/ quotes400. pdf) [53] Ivana Kosulicova (2002-01-07). "Drowning the bad times" (http:/ / www. kinoeye. org/ 02/ 01/ kosulicova01. php). Kinoeye. . Retrieved 2007-08-08.
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[54] Reason. "The Minority Leader" (http:/ / www. reason. com/ news/ printer/ 120322. html). Reason. . Retrieved 2007-08-08. [55] Associated Press (1997-02-26). "After rebuke, congressman apologizes for 'Schindler's List' remarks" (http:/ / web. archive. org/ web/ 20071011191648/ http:/ / cnn. com/ US/ 9702/ 26/ schindler. debate/ ). CNN. Archived from the original (http:/ / www. cnn. com/ US/ 9702/ 26/ schindler. debate/ ) on 2007-10-11. . Retrieved 2007-08-08. [56] "Article, February 21, 1997 (German)" (http:/ / www. berlinonline. de/ berliner-zeitung/ archiv/ . bin/ dump. fcgi/ 1997/ 0221/ none/ 0068/ index. html). Berliner Zeitung. 1997-02-21. . Retrieved 2010-01-21. [57] "Schindler's List in Philippines" (http:/ / www. cd. sc. ehu. es/ FileRoom/ documents/ Cases/ 46schindListPhil. html). . Retrieved 15 September 2010.
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External links
Schindler's List (http://www.imdb.com/title/tt0108052/) at the Internet Movie Database Schindler's List (http://tcmdb.com/title/title.jsp?stid=89238) at the TCM Movie Database Schindler's List (http://www.allrovi.com/movies/movie/v119912) at AllRovi The Shoah Foundation (http://dornsife.usc.edu/vhi/), founded by Steven Spielberg to videotape and preserve the testimonies of Holocaust survivors and witnesses. Aerial Evidence for Schindlers ListThrough the Lens of HistoryYad Vashem (http://www1.yadvashem. org/yv/en/exhibitions/our_collections/schindlers_list/index.asp?WT.mc_id=wiki) Schindler's List (film) bibliography via UC Berkeley (http://www.lib.berkeley.edu/MRC/spielberg. html#schindler) Voices on Antisemitism Interview with Ralph Fiennes (http://www.ushmm.org/museum/exhibit/focus/ antisemitism/voices/transcript/?content=20100304) from the U.S. Holocaust Memorial Museum Voices on Antisemitism Interview with Sir Ben Kingsley (http://www.ushmm.org/museum/exhibit/focus/ antisemitism/voices/transcript/?content=20111006) from the U.S. Holocaust Memorial Museum Schindler's List (http://www.rottentomatoes.com/m/schindlers_list/) at Rotten Tomatoes
1994 Forrest Gump
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1994 Forrest Gump

Forrest Gump
Directed by Produced by Robert Zemeckis Wendy Finerman Steve Tisch Charles Newirth Eric Roth Forrest Gump by Winston Groom Tom Hanks Tom Hanks Robin Wright Gary Sinise Mykelti Williamson Sally Field Alan Silvestri
Screenplay by Based on Narrated by Starring
Music by
Cinematography Don Burgess Editing by Distributed by Release date(s) Running time Country Language Budget Box office Arthur Schmidt Paramount Pictures
July 6, 1994
141minutes United States English $55million

[1] [1]
$677,387,716
Forrest Gump is a 1994 American epic comedy-drama romance film based on the 1986 novel of the same name by Winston Groom. The film was directed by Robert Zemeckis, starring Tom Hanks, Robin Wright, Gary Sinise and Sally Field. The story depicts several decades in the life of Forrest Gump, a nave and slow-witted yet athletically prodigious native of Alabama who witnesses, and in some cases influences, some of the defining events of the latter half of the 20th century. The film differs substantially from Winston Groom's novel on which it is based, including Gump's personality and several events that were depicted. Filming took place in late 1993, mainly in Georgia, North Carolina, and South Carolina. Extensive visual effects were used to incorporate the protagonist into archived footage and to develop other scenes. A comprehensive soundtrack was featured in the film, using music intended to pinpoint specific time periods portrayed on screen. Its commercial release made it a top-selling soundtrack, selling over 8million copies worldwide. Released in the United States on July 6, 1994, Forrest Gump was well received by critics and became a commercial success as the top grossing film in North America released that year. The film earned over $677million worldwide during its theatrical run. The film won the Academy Awards for Best Picture, Best Director for Robert Zemeckis, Best Actor for Tom Hanks, Best Adapted Screenplay, Best Visual Effects and Best Film Editing. It also garnered
1994 Forrest Gump multiple other awards and nominations, including Golden Globe Awards, People's Choice Awards and Young Artist Awards, among others. Since the film's release, varying interpretations have been made of the film's protagonist and its political symbolism. In 1996, a themed restaurant opened based on the film, and has since expanded to multiple locations worldwide. The scene of Gump running across the country is often referred to when real-life people attempt the feat. In 2011, the Library of Congress selected Forrest Gump for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant."[2]
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Plot
As he waits at a bus stop, Forrest Gump (Tom Hanks) starts recounting his life story to nearby strangers. His story starts with the leg braces he had to wear as a child, which resulted in him being bullied by other children. He lives with his mother (Sally Field), who tells him that "stupid is as stupid does". Forrest teaches one of their guests, a young Elvis Presley, a hip swinging dance. At school, Forrest meets Jenny (Robin Wright), with whom he immediately falls in love, and they become best friends. Forrest discovers that he can run very fast which, despite his below average intelligence, earns him a scholarship to the University of Alabama after being spotted by Bear Bryant. While in college, he witnesses George Wallace's Stand in the Schoolhouse Door and is named to the All-American football team, and meets President John F. Kennedy. After graduating, Forrest enlists in the Army and is sent to Vietnam, where he becomes friends with Benjamin Buford "Bubba" Blue (Mykelti Williamson), and they agree to go into the shrimping business once the war is over. When their platoon is ambushed, Forrest saves many of the men in his unit, including commanding officer Lt. Dan Taylor (Gary Sinise), but Bubba is killed. Forrest himself is injured and awarded the Medal of Honor by President Lyndon B. Johnson. While recovering from his injuries Forrest sees Lt. Dan, who has had both legs amputated and is furious at Forrest for leaving him a "cripple" and cheating him out of his destiny to die in battle just as his ancestors had died in every single American War. In Washington, Forrest is swept up in an anti-war rally at the National Mall and is reunited with Jenny, who is now part of the hippie counterculture movement. They spend the night walking around the capital, but she leaves with her abusive boyfriend the following day. Forrest discovers an aptitude for ping pong and begins playing for the U.S. Army team, eventually competing against Chinese teams on a goodwill tour. He goes to the White House again and meets President Richard Nixon who provides him a room at the Watergate hotel, where Forrest inadvertently helps expose the Watergate scandal. For his numerous accomplishments, Forrest is invited onto the Dick Cavett Show. He again encounters Lt. Dan, now an embittered drunk living on welfare. Dan is scornful of Forrest's plans to enter the shrimping business and mockingly promises to be Forrest's first mate if he ever succeeds. Using money from a ping pong endorsement, Forrest buys a shrimping boat, fulfilling his wartime promise to Bubba. Lt. Dan keeps his own promise and joins Forrest as first mate. They initially have little luck; but, after Hurricane Carmen destroys every other shrimping boat in the region, the Bubba Gump Shrimp Company becomes a huge success. Having had an epiphany during the hurricane, Lt. Dan finally thanks Forrest for saving his life. Forrest then returns home to care for his ailing mother, who dies soon afterwards. Forrest leaves the company in the hands of Lt. Dan, who invests their wealth in shares from Apple, making them both millionaires. Jenny returns to visit Forrest and stays with him. Forrest asks her to marry him, but she declines and slips away early one morning. Distraught, Forrest decides to go for a run, which turns into a three-year coast to coast marathon. Forrest becomes a celebrity and attracts a band of followers. One day he stops suddenly and returns home. He receives a letter from Jenny asking to meet, which brings him to the bus stop where he began telling his story. Once he and Jenny are reunited, Forrest discovers they have a young son, also named Forrest (Haley Joel Osment). Jenny reveals that she is suffering from an unknown virus. She proposes to him and he accepts. They return to Alabama with Forrest Jr. and marry, but Jenny dies soon after. Forrest waits with Forrest Jr. for the bus to pick him up for his first day of school. As the bus drives away, Forrest sits on the same tree stump where his mother sat on his first day of school and watches his mothers feather bookmark float off in the wind.
1994 Forrest Gump
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Cast
Tom Hanks as Forrest Gump: though at an early age he is deemed to have a below average IQ of 75, he has endearing character and devotion to his loved ones and duties, which brings him into many life-changing situations. Along the way, he encounters many historical figures and events throughout his life. John Travolta was the original choice to play the title role, and admits passing on the role was a mistake.[3] Bill Murray was also considered for the role.[4] Hanks revealed that he signed onto the film after an hour and a half of reading the script.[5] He initially wanted to ease Forrest's pronounced Southern accent, but was eventually persuaded by director Bob Zemeckis to portray the heavy accent stressed in the novel.[5] Hanks agreed to take the role only on the condition that the film was historically accurate. Michael Conner Humphreys portrayed the young Forrest Gump. Hanks revealed in interviews that after hearing Michael's unique accented drawl, he incorporated it into the older character's accent. Robin Wright as Jenny Curran: Gump's childhood friend who he quickly falls in love with, and never stops loving throughout his life. Jenny re-enters his life at various times in adulthood. A survivor of child sexual abuse, Jenny embarks on a different path to Forrest, leading a self-destructive life and becoming part of the hippy movement. She eventually becomes a waitress in Savannah, Georgia where she lives in an apartment with her (and Forrest's) son, Forrest, Junior. They eventually got married, but soon afterwards she died of an unspecified virus which reviewers and authors have speculated to be HIV/AIDS.[6][7][8] Zemeckis reflected on Wright's portrayal of the role, "Robin exudes a kind of strength and, at the same time, a vulnerability. She doesn't bring any of her stardom to the role. You don't look at her on-screen and think that this is Robin Wright's interpretation of the character. She's a real chameleon."[9] Hanna R. Hall portrayed the young Jenny. Gary Sinise as Lieutenant Dan Taylor: Gump and Bubba's commanding officer during the Vietnam War, whose ancestors have died in every American war. After losing his legs in an ambush and being rescued against his will by Forrest, he is initially bitter towards Forrest and falls into a deep depression. He later serves as Forrest's first mate at the Bubba Gump Shrimp Company, gives most of the orders, and regains his will to live and ultimately forgives Forrest for his actions in Vietnam and acknowledges that Gump saved his life. By the end of the film, he is engaged to be married and is sporting "magic legs" titanium alloy prosthetics which allow him to walk again. Mykelti Williamson as Benjamin Buford "Bubba" Blue: Bubba is Gump's Sinise on the film set in 1993 friend whom he meets upon joining the Army. Bubba was originally supposed to be the senior partner in the Bubba Gump Shrimp Company, but due to his death in Vietnam, his commanding officer Lieutenant Dan Taylor took his place. The company posthumously carried his name. Forrest later gave Bubba's mother Bubba's share of the business. Throughout filming, Williamson wore a lip attachment to create Bubba's protruding lip.[10] David Alan Grier, Ice Cube and Dave Chappelle were all offered the role before turning it down.[4][11] Chappelle claimed he believed the film
Hanks on the film set in 1993
1994 Forrest Gump would be unsuccessful and has also admitted that he regrets not taking the role.[4] Sally Field as Mrs. Gump: Forrest's mother, who raises him after his father abandons them. Field reflected on the character, "She's a woman who loves her son unconditionally. ... A lot of her dialogue sounds like slogans, and that's just what she intends."[12] Haley Joel Osment as Forrest Gump, Jr.: Forrest and Jenny's son. Osment was cast in the film after the casting director noticed him in a Pizza Hut commercial.[13] Peter Dobson as Elvis Presley: a house guest Forrest encounters. Although Kurt Russell was uncredited, he provided the voice over for Elvis Presley in the scene where Presley met Gump.[14] Dick Cavett as himself. Cavett played the 1970s version of himself, with makeup applied to make him appear younger. Consequently, Cavett is the only well-known figure in the film to play a cameo role rather than be represented through the use of archival footage.[15] Sam Anderson as Principal Hancock: Forrest's elementary school principal. Geoffrey Blake as Wesley: A member of the SDS group and Jenny's abusive boyfriend. Siobhan Fallon Hogan as Dorothy Harris: The school bus driver who drives both Forrest, and later his son, to school. Sonny Shroyer as Coach Paul "Bear" Bryant: Forrest's football coach of the University of Alabama.
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Grand L. Bush, Conor Kennelly, and Teddy Lane Jr. as the Black Panthers: Members of an organization that protests against the Vietnam War, President Lyndon B. Johnson, and anti-black racism.
Production
Script
"The writer, Eric Roth, departed substantially from the book. We flipped the two elements of the book, making the love story primary and the fantastic adventures secondary. Also, the book was cynical and colder than the movie. In the movie, Gump is a completely decent character, always true to his word. He has no agenda and no opinion about anything except Jenny, his mother and God." director Robert Zemeckis
[16]
The film is based on the 1986 novel by Winston Groom. Both center on the character of Forrest Gump. However, the film primarily focuses on the first eleven chapters of the novel, before skipping ahead to the end of the novel with the founding of Bubba Gump Shrimp Co. and the meeting with Forrest, Jr. In addition to skipping some parts of the novel, the film adds several aspects to Gump's life that do not occur in the novel, such as his needing leg braces as a child and his run across the United States.[17] Gump's core character and personality are also changed from the novel; among other things his film character is less of an autistic savantin the novel, while playing football at the university, he fails craft and gym, but receives a perfect score in an advanced physics class he is enrolled in by his coach to satisfy his college requirements.[17] The novel also features Gump as an astronaut, a professional wrestler, and a chess player.[17] Two directors were offered the opportunity to direct the film before Robert Zemeckis was selected. Terry Gilliam turned down the offer to direct.[18] Barry Sonnenfeld was attached to the film but left to direct Addams Family Values.[19]
Filming
Filming began in August 1993 and ended four months later in December.[20] Although most of the film is set in Alabama, filming took place mainly in Beaufort, South Carolina, as well as parts of coastal Virginia and North Carolina,[5] including a running shot on the Blue Ridge Parkway. The scene of Forrest running through Vietnam while under fire was filmed on Fripp Island, South Carolina.[21] Additional filming took place on the Biltmore Estate in Asheville, NC and along the Blue Ridge Parkway near Boone, NC. The most notable place was Grandfather
1994 Forrest Gump Mountain where a part of the road is named "Forrest Gump Curve"[22] The Gump family home set was built along the Combahee River near Yemassee, South Carolina and the nearby land was used to film Curran's home as well as some of the Vietnam scenes.[23] Over 20palmetto trees were planted to improve the Vietnam scenes.[23] Forrest Gump narrated his life's story in Chippewa Square in Savannah, Georgia as he sat at a bus stop bench. There were other scenes filmed in and around the Savannah area as well, including a running shot on the Houlihan Bridge (Port Wentworth, Georgia) while he was being interviewed by the press, and on West Bay Street in Savannah.[23] Most of the college campus scenes were filmed in Los Angeles at the University of Southern California.
531
Visual effects
Ken Ralston and his team at Industrial Light & Magic were responsible for the film's visual effects. Using CGI techniques, it was possible to depict Gump meeting deceased personages and shaking their hands. Hanks was first shot against a blue screen along with reference markers so that he could line up with the archive footage.[24] To record the voices of the historical figures, voice doubles were hired and special effects were used to alter the mouth movements for the new dialogue.[16] Archival footage was used and with the help of such techniques as chroma key, image warping, morphing, and rotoscoping, Hanks was integrated into it. In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack. To create the effect, stunt actors were initially used for compositing purposes. Then Hanks and Williamson were filmed, with Williamson supported by a cable wire as Hanks ran with him. The explosion was then filmed, and the actors were digitally added to appear just in front of the explosions. The jet fighters and napalm canisters were also added by CGI.[25] The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the "roto-paint" team to paint out his legs from every single frame. At one point, while hoisting himself into his wheelchair, his legs are used for support.[26] The scene where Forrest spots Jenny at a peace rally at the Lincoln Memorial and Reflecting Pool in Washington, D.C., required visual effects to create the large crowd of people. Over two days of filming, approximately 1,500 extras were used.[27] At each successive take, the extras were rearranged and moved into a different quadrant away from the camera. With the help of computers, the extras were multiplied to create a crowd of several hundred thousand people.[5][27]
Release
Critical reception
The film has received mostly positive reviews. The review aggregator website Rotten Tomatoes reported that 71% of critics gave the film a positive review based on a sample of 53reviews, with an average score of 7/10.[28] At the website Metacritic, which utilizes a normalized rating system, the film earned a favorable rating of 82/100 based on 19reviews by mainstream critics.[29] The story was commended by several critics. Roger Ebert of Chicago Sun-Times wrote, "I've never met anyone like Forrest Gump in a movie before, and for that matter I've never seen a movie quite like Forrest Gump. Any attempt to describe him will risk making the movie seem more conventional than it is, but let me try. It's a comedy, I guess. Or maybe a drama. Or a dream...The screenplay by Eric Roth has the complexity of modern fiction...[Hanks'] performance is a breathtaking balancing act between comedy and sadness, in a story rich in big laughs and quiet truths....what a magical movie."[30] Todd McCarthy of Variety wrote that the film "...has been very well worked out on all levels, and manages the difficult feat of being an intimate, even delicate tale played with an appealingly light touch against an epic backdrop."[31] In addition, the film received notable pans from several major reviewers. Anthony Lane of The New Yorker called the film "Warm, wise, and wearisome as hell."[32] Owen Gleiberman of Entertainment Weekly said that the film "...reduces the tumult of the last few decades to a virtual-reality theme park: a baby-boomer version of Disney's America."[33]
1994 Forrest Gump Critics had mixed views on the main character. Gump has been compared to various characters and people including Huckleberry Finn, Bill Clinton, and Ronald Reagan, among others.[34][35][36] Peter Chomo writes that Gump acts as a "...social mediator and as an agent of redemption in divided times".[37] Peter Travers of Rolling Stone called Gump "...everything we admire in the American character honest, brave, loyal...".[38] The New York Times reviewer Janet Maslin called Gump a "...hollow man..." who is "...self-congratulatory in his blissful ignorance, warmly embraced as the embodiment of absolutely nothing."[39] Marc Vincenti of Palo Alto Weekly called the character "...a pitiful stooge taking the pie of life in the face, thoughtfully licking his fingers."[40] Bruce Kawin and Gerald Mast's textbook on film history notes that Forrest Gump's dimness was a metaphor for glamorized nostalgia in that he represented a blank slate by which the Baby Boomer generation projected their memories of those events.[41] Film critic Pauline Kael stated, "I hated it thoroughly."[42] The film is commonly seen as a polarizing one for audiences, with Entertainment Weekly writing in 2004, "Nearly a decade after it earned gazillions and swept the Oscars, Robert Zemeckis's ode to 20th-century America still represents one of cinema's most clearly drawn lines in the sand. One half of folks see it as an artificial piece of pop melodrama, while everyone else raves that it's sweet as a box of chocolates."[43]
532

Produced on a budget of $55million, Forrest Gump opened in 1,595theaters in its first weekend of domestic release, earning $24,450,602.[1] Motion picture business consultant and screenwriter Jeffrey Hilton suggested to producer Wendy Finerman to double the P&A (film marketing budget) based on his viewing of an early print of the film. The budget was immediately increased, per his advice. The film placed first in the weekend's box office, narrowly beating The Lion King, which was in its fourth week of release.[1] For the first ten weeks of its release, the film held the number one position at the box office.[44] The film remained in theaters for 42weeks, earning $329.7million in the United States and Canada, making it the fourth-highest grossing film at that time (behind only E.T. the Extra-Terrestrial, Star Wars IV: A New Hope, and Jurassic Park).[44][45] The film took 66days to surpass $250million and was the fastest grossing Paramount film to pass $100million, $200million, and $300million in box office receipts (at the time of its release).[46][47][48] The film had gross receipts of $329,694,499 in the U.S. and Canada and $347,693,217 in international markets for a total of $677,387,716 worldwide.[1] Even with such revenue, the film was known as a "successful failure"-- due to distributors' and exhibitors' high fees, Paramount's "losses" clocked in at $62 million, leaving executives realizing the necessity of better deals.[49] This has however also been associated with Hollywood accounting, where expenses are inflated in order to minimize profit sharing.
Home media
Forrest Gump was first released on VHS on April 27, 1995, LaserDisc April 28, 1995 (2 Discs Containing the Through The Eyes of Forrest Special Feature), before being released on a two-disc DVD on August 28, 2001. Special features included director and producer commentaries, production featurettes, and screen tests.[50] The film was released on Blu-ray in November 2009.[51]
Accolades
In addition to the following list of awards and nominations, the film was recognized by the American Film Institute on several of its lists. The film ranks 37th on 100 Years... 100 Cheers, 71st on 100 Years... 100 Movies, and 76th on 100 Years... 100 Movies (10th Anniversary Edition). In addition, the quote "Mama always said life was like a box of chocolates. You never know what you're gonna get." was ranked 40th on 100 Years... 100 Movie Quotes.[52] The film also ranked at number 240 on Empire's list of the 500 Greatest Movies of All Time. In December 2011, Forrest Gump was selected for preservation in the Library of Congress' National Film Registry.[53] The Registry said that the film was "honored for its technological innovations (the digital insertion of
1994 Forrest Gump Gump seamlessly into vintage archival footage), its resonance within the culture that has elevated Gump (and what he represents in terms of American innocence) to the status of folk hero, and its attempt to engage both playfully and seriously with contentious aspects of the eras traumatic history."[54]
Award [55] 67th Academy Awards Category Best Performance by an Actor in a Leading [56] Role Best Director [56] [56] Tom Hanks Won Robert Zemeckis Arthur Schmidt Wendy Finerman, Steve Starkey, and Steve Tisch [56] Ken Ralston, George Murphy, Allen Hall and Stephen Rosenbaum [56] Eric Roth Gary Sinise Nominated [57] [57] Rick Carter and Nancy Haigh Don Burgess Daniel C. Striepeke and Hallie D'Amore [57] Alan Silvestri Randy Thom, Tom Johnson, Dennis S. Sands, and William B. Kaplan Gloria S. Borders and Randy Thom [58] Gary Sinise Nominated Nominated Nominated Nominated Nominated Nominated Won Won Tom Hanks Alan Silvestri [60] Ken Ralston Eric Roth [61] [62] Arthur Schmidt Tom Hanks Won Don Burgess Nominated Nominated Nominated Nominated Nominated Won Won Won Won Won Won Won Nominee Result
533
Best Film Editing Best Picture [56]
Best Visual Effects
Best Adapted Screenplay
Best Performance by an Actor in a [57] Supporting Role Best Achievement in Art Direction
Best Achievement in Cinematography Best Makeup [57]
Best Original Score Best Sound Mixing
[57]
Best Sound Editing 1995 Saturn Awards
[57]
Best Supporting Actor (Film) Best Fantasy Film Best Actor (Film) Best Music [60] [59]
[60]
Best Special Effects Best Writing 1995 Amanda Awards 1995 American Cinema Editors 1995 American Comedy Awards [60]
Best Film (International)
Best Edited Feature Film
Funniest Actor in a Motion Picture [63] (Leading Role) Outstanding Achievement in [64] Cinematography in Theatrical Releases
1995 American Society of Cinematographers
1994 Forrest Gump
534
Ken Ralston, George Murphy, Stephen Rosenbaum, Doug Chiang, and Allen Hall Tom Hanks [65] Sally Field Wendy Finerman, Steve Tisch, Steve Starkey, and Robert Zemeckis [65] [65] Don Burgess Robert Zemeckis Arthur Schmidt [65] [66] Eric Roth Ellen Lewis Tom Hanks
1995 BAFTA Film Awards
Outstanding Achievement in Special [65] Effects Best Actor in a Leading Role [65]
Won Nominated Nominated Nominated Nominated Nominated Nominated Nominated Nominated Won
Best Actress in a Supporting Role Best Film [65]
Best Cinematography
David Lean Award for Direction Best Editing [65]
Best Adapted Screenplay 1995 Casting Society of America 1995 Chicago Film Critics Association Awards 1995 Directors Guild of America
Best Casting for Feature Film, Drama Best Actor [67]
Outstanding Directorial Achievement in [68] Motion Pictures [69]
Robert Zemeckis, Charles Newirth, Bruce Moriarity, Cherylanne Martin, and Dana J. Kuznetzkoff Tom Hanks Robert Zemeckis Wendy Finerman Gary Sinise
Won
1995 Golden Globe Awards
Best Actor Motion Picture Drama Best Director Motion Picture Best Motion Picture Drama [69]
Won Won Won Nominated
[69]
Best Supporting Actor Motion [69] Picture Best Supporting Actress Motion [69] Picture Best Original Score [69] [69]
Robin Wright Nominated Alan Silvestri Eric Roth Mykelti Williamson Tom Hanks Nominated Nominated Nominated Nominated Nominated
Best Screenplay Motion Picture 1995 MTV Movie Awards
[70] Best Breakthrough Performance [70] Best Male Performance Best Movie [70] [71]
1995 Motion Picture Sound Editors (Golden Reel Award) 1994 National Board of Review of Motion Pictures
Best Sound Editing [72]
Won Tom Hanks Won Won Won Wendy Finerman, Steve Tisch, Steve Starkey, Charles Newirth Won
Best Actor
Best Supporting Actor Best Picture 1995 PGA Golden Laurel Awards [72]
[72]
Gary Sinise
Motion Picture Producer of the Year [73] Award
1994 Forrest Gump

[74] Favorite All-Around Motion Picture Favorite Dramatic Motion Picture [74] Tom Hanks Won Tom Hanks Won Gary Sinise Nominated Sally Field Nominated Robin Wright
535
1995 People's Choice Awards
Won Won
Favorite Actor in a Dramatic Motion [74] Picture 1995 Screen Actors Guild Awards Outstanding Performance by a Male Actor [75] in a Leading Role Outstanding Performance by a Male Actor [75] in a Supporting Role Outstanding Performance by a Female [75] Actor in a Supporting Role Outstanding Performance by a Female [75] Actor in a Supporting Role 1995 Writers Guild of America Awards 1995 Young Artist Awards Best Screenplay Adapted from Another [76] Medium Best Performance in a Feature Film [77] Young Actor 10 or Younger Best Performance in a Feature Film [77] Young Actress 10 or Younger Best Performance in a Feature Film [77] Young Actor Co-Starring
Nominated
Eric Roth Won Haley Joel Osment Won Hanna R. Hall Won Michael Conner Humphreys Nominated
American Film Institute Lists AFI's 100 Years...100 Movies #71 AFI's 100 Years...100 Laughs Nominated AFI's 100 Years...100 Passions Nominated AFI's 100 Years...100 Heroes and Villains:
Forrest Gump Nominated Hero AFI's 100 Years...100 Movie Quotes: "Mama always said life was like a box of chocolates. You never know what you're gonna get." #40 "Mama says, Stupid is as stupid does." Nominated AFI's 100 Years of Film Scores Nominated AFI's 100 Years...100 Cheers #37 AFI's 100 Years...100 Movies (10th Anniversary Edition) #76 AFI's 10 Top 10 Nominated Epic Film
Author controversy
Winston Groom was paid $350,000 for the screenplay rights to his novel Forrest Gump and was contracted for a 3% share of the film's net profits.[78] However, Paramount and the film's producers did not pay him, using Hollywood accounting to posit that the blockbuster film lost moneya claim belied by the fact that Tom Hanks contracted for the film's gross receipts instead of a salary, and he and director Zemeckis each netted $40million.[78][79] Additionally, Groom was not mentioned once in any of the film's six Oscar-winner speeches.[80]
1994 Forrest Gump
536
Symbolism
Feather
"I don't want to sound like a bad version of 'the child within'. But the childlike innocence of Forrest Gump is what we all once had. It's an emotional journey. You laugh and cry. It does what movies are supposed to do: make you feel alive." producer Wendy Finerman
[36]
Various interpretations have been suggested for the feather present at the opening and conclusion of the film. Sarah Lyall of The New York Times noted several opinions that were made about the feather: "Does the white feather symbolize the unbearable lightness of being? Forrest Gump's impaired intellect? The randomness of experience?"[81] Hanks interpreted the feather as: "Our destiny is only defined by how we deal with the chance elements to our life and that's kind of the embodiment of the feather as it comes in. Here is this thing that can land anywhere and that it lands at your feet. It has theological implications that are really huge."[82] Sally Field compared the feather to fate, saying: "It blows in the wind and just touches down here or there. Was it planned or was it just perchance?"[83] Visual effects supervisor Ken Ralston compared the feather to an abstract painting: "It can mean so many things to so many different people."[84] The feather is stored in a book titled Curious George, Forrest's favorite book, which his mother read to him, connecting the scene's present time with his childhood in the 1940s. The placement of the feather in the book is directly on a picture of the monkey walking on a tightrope. Whether that was intentional or not, it is very symbolic. The feather also has a correlation with Jenny's constant obsession with "becoming a bird and flying far far away" due to the abuse (sexual and physical) she endured from her father. She goes as far in the film as to ask Forrest "if [she] jumped off the bridge, could [she] fly?"
Political interpretations
In Tom Hanks' words, "The film is non-political and thus non-judgmental".[36] Nevertheless, in 1994, CNN's Crossfire debated whether the film promoted conservative values or was an indictment of the counterculture movement of the 1960s. Thomas Byers, in a Modern Fiction Studies article, called the film "an aggressively conservative film".[85]
"...all over the political map, people have been calling Forrest their own. But, Forrest Gump isn't about politics or conservative values. It's about humanity, it's about respect, tolerance and unconditional love." producer Steve Tisch
[85]
It has been noted that while Gump follows a very conservative lifestyle, Curran's life is full of countercultural embrace, complete with drug usage and antiwar rallies, and that their eventual marriage might be a kind of tongue-in-cheek reconciliation.[30] Jennifer Hyland Wang argued in a Cinema Journal article that Curran's death to an unnamed virus "...symbolizes the death of liberal America and the death of the protests that defined a decade [1960s]." She also notes that the film's screenwriter, Eric Roth, when developing the screenplay from the novel, had "...transferred all of Gump's flaws and most of the excesses committed by Americans in the 1960s and 1970s to her [Curran]."[37] Other commentators believe that the film forecast the 1994 Republican Revolution and used the image of Forrest Gump to promote his traditional, conservative values. Jennifer Hyland Wang observes that the film idealizes the 1950s, as evidenced by the lack of whites only signs in Gump's southern childhood, and revisions the 1960s as a period of social conflict and confusion. She argues that this sharp contrast between the decades criticizes the counterculture values and reaffirms conservatism.[86] As viewed by Political Scientist Joe Paskett,[32] this film is "one of the best films of all time."[87] Wang argued that the film was used by Republican politicians to illustrate a "traditional version of recent history" to gear voters towards their ideology for the congressional elections.[37] In addition, presidential candidate Bob Dole cited the film's message in influencing his campaign due to its "...message
1994 Forrest Gump that has made [the film] one of Hollywood's all-time greatest box office hits: no matter how great the adversity, the American Dream is within everybody's reach."[37] In 1995, National Review included Forrest Gump in its list of the "Best 100 Conservative Movies" of all time.[88] Then, in 2009, the magazine ranked the film number four on its 25 Best Conservative Movies of the Last 25 Years list.[89] "Tom Hanks plays the title character, an amiable dunce who is far too smart to embrace the lethal values of the 1960s. The love of his life, wonderfully played by Robin Wright Penn, chooses a different path; she becomes a drug-addled hippie, with disastrous results."[89] James Burton, a professor at Salisbury University, argued that conservatives claimed Forrest Gump as their own due less to the content of the film and more to the historical and cultural context of 1994. Burton claimed that the film's content and advertising campaign were affected by the cultural climate of the 1990s, which emphasized family values and American values - values epitomized in the successful book Hollywood vs. America. He claimed that this climate influenced the apolitical nature of the film, which allowed for many different political interpretations.[90] Burton points out that many conservative critics and magazines (John Simon, James Bowman, the World Report) initially either criticized the film or praised it only for its non-political elements. Only after the popularity of the film was well-established did conservatives embrace the film as an affirmation of traditional values. Burton implies that the liberal-left could have prevented the conservatives from claiming rights to the film, had it chosen to vocalize elements of the film such as its criticism of military values. Instead, the liberal-left focused on what the film omitted, such as the feminist and civil rights movements.[90] Some commentators see the conservative readings of Forrest Gump as indicants of the death of irony in American culture. Vivian Sobchack notes that the film's humor and irony relies on the assumption of the audience's historical (self-) consciousness.[90]
537
Soundtrack
The 32-song soundtrack from the film was released on July 6, 1994. With the exception of a lengthy suite from Alan Silvestri's score, all the songs are previously released; the soundtrack includes songs from Elvis Presley, Fleetwood Mac, Creedence Clearwater Revival, Aretha Franklin, Lynyrd Skynyrd, Three Dog Night, The Byrds, The Doors, Jimi Hendrix, The Mamas And The Papas, The Doobie Brothers, Simon & Garfunkel, Bob Seger, and Buffalo Springfield, Michael McDonald among others. Music producer Joel Sill reflected on compiling the soundtrack: "We wanted to have very recognizable material that would pinpoint time periods, yet we didn't want to interfere with what was happening cinematically."[91] The two-disc album has a variety of music from the 1950s1980s performed by American artists. According to Sills, this was due to Zemeckis' request, "All the material in there is American. Bob (Zemeckis) felt strongly about it. He felt that Forrest wouldn't buy anything but American."[91] The soundtrack reached a peak of second place on the Billboard charts.[91] The soundtrack went on to sell twelvemillion copies, and is one of the top selling albums in the United States.[92] The score for the film was composed and conducted by Alan Silvestri and released on August 2, 1994.
Possible sequel
The screenplay for the sequel was written by Eric Roth in 2001. It is based on the original novel's sequel, Gump and Co. that was written by Winston Groom in 1995. Roth's script begins with Forrest sitting on a bench waiting for his son to return from school. After the September 11 attacks, Roth, Zemeckis, and Hanks decided the story was no longer "relevant."[93] In March 2007, however, it was reported that Paramount producers took another look at the screenplay.[94] On the very first page of the sequel novel, Forrest Gump tells readers "Don't never let nobody make a movie of your life's story," though "Whether they get it right or wrong, it doesn't matter."[95] The first chapter of the book suggests that the real-life events surrounding the film have been incorporated into Forrest's storyline, and that Forrest got a lot
1994 Forrest Gump of media attention as a result of the film.[17] During the course of the sequel novel, Gump runs into Tom Hanks and at the end of the novel is the film's release, including Gump going on The David Letterman Show and attending the Academy Awards.
538
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[46] "Fastest to $100million" (http:/ / www. boxofficemojo. com/ alltime/ fastest. htm?page=100& p=. htm). Box Office Mojo. . Retrieved July 1, 2009. [47] "Fastest to $200million" (http:/ / www. boxofficemojo. com/ alltime/ fastest. htm?page=200& p=. htm). Box Office Mojo. . Retrieved July 1, 2009. [48] "Fastest to $300million" (http:/ / www. boxofficemojo. com/ alltime/ fastest. htm?page=300& p=. htm). Box Office Mojo. . Retrieved July 1, 2009. [49] McDonald, Paul, and Janet Wasko. The Contemporary Hollywood Film Industry. Malden: Blackwell, 2008. Pg:79 # [50] Lowman, Rob (August 28, 2001). "Video Enchanted Forrest the Much-beloved "Forrest Gump" Arrives on DVD with Sweetness Intact" (http:/ / nl. newsbank. com/ nl-search/ we/ Archives?p_product=LA& p_theme=la& p_action=search& p_maxdocs=200& p_topdoc=1& p_text_direct-0=0EE3576468090812& p_field_direct-0=document_id& p_perpage=10& p_sort=YMD_date:D& s_trackval=GooglePM) (Fee required). Beacon Journal. . Retrieved July 2, 2009. 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Retrieved October 21, 2010. [73] "'Forrest Gum,' 'ER,' 'Hoop Dreams' Win Major Awards From Producers" (http:/ / nl. newsbank. com/ nl-search/ we/ Archives?p_product=LA& p_theme=la& p_action=search& p_maxdocs=200& p_topdoc=1& p_text_direct-0=0EF66CD126F48BEA& p_field_direct-0=document_id& p_perpage=10& p_sort=YMD_date:D& s_trackval=GooglePM) (Fee required). Los Angeles Daily News. March 10, 1995. . Retrieved July 2, 2009. [74] "Nominees & Winners for 1995" (http:/ / www. webcitation. org/ 5texBhb67). People's Choice Awards. Archived from the original (http:/ / www. peopleschoice. com/ pca/ awards/ nominees/ index. jsp?year=1995) on October 21, 2010. . Retrieved October 21, 2010. [75] "1st Annual Screen Actors Guild Award Recipients" (http:/ / www. webcitation. org/ 5texGJGVV). Screen Actors Guild. Archived from the original (http:/ / www. sagawards. org/ awards/ nominees-and-recipients/ inaugural-screen-actors-guild-awards#nominee-1577) on October 21, 2010. . Retrieved October 21, 2010. [76] "1995 Award Winners" (http:/ / www. webcitation. org/ 5texP6uds). Writers Guild of America. Archived from the original (http:/ / www. wga. org/ awards/ awardssub. aspx?id=1551) on October 21, 2010. . Retrieved October 21, 2010. [77] "Sixteenth Annual Youth in Film Awards 19931994" (http:/ / www. webcitation. org/ 5texRaYrJ). Young Artist Awards. Archived from the original (http:/ / www. youngartistawards. org/ pastnoms16. htm) on October 21, 2010. . Retrieved October 21, 2010. [78] Horn, John (May 25, 1995). "'Forrest Gump' Has Yet to Make a Net Profit" (http:/ / web. archive. org/ web/ 20090412163902/ http:/ / findarticles. com/ p/ articles/ mi_qn4182/ is_19950525/ ai_n10082506/ ). The Journal Record (FindArticles). Archived from the original (http:/ / findarticles. com/ p/ articles/ mi_qn4182/ is_19950525/ ai_n10082506/ ) on April 12, 2009. . Retrieved July 1, 2009. [79] Davis, Charles E. (Summer 1997). "Accounting is like a box of chocolates: A lesson in cost behavior" (http:/ / www. sciencedirect. com/ science?_ob=ArticleURL& _udi=B6VDD-3SX25BS-2& _user=10& _rdoc=1& _fmt=& _orig=search& _sort=d& view=c& _acct=C000050221& _version=1& _urlVersion=0& _userid=10& md5=268e0c40e03183c434a7233c91814120). Journal of Accounting Education 15 (3): 307318. doi:10.1016/S0748-5751(97)00008-0. . Retrieved July 1, 2009. [80] Turan, Kenneth (March 28, 1995). "Calender Goes to the Oscars Analysis Life Is Like a Box of Oscars But Statues Are Divvied Up, Quite Fittingly" (http:/ / pqasb. pqarchiver. com/ latimes/ access/ 22753498. html?dids=22753498:22753498& FMT=ABS& FMTS=ABS:FT& type=current& date=Mar+ 28,+ 1995& author=KENNETH+ TURAN& pub=Los+ Angeles+ Times+ (pre-1997+ Fulltext)& desc=Calender+ Goes+ to+ the+ Oscars+ Analysis+ Life+ Is+ Like+ a+ Box+ of+ Oscars+ But+ Statues+ Are+ Divvied+ Up,+ Quite+ Fittingly& pqatl=google) (Fee required). Los Angeles Times. . Retrieved June 13, 2010. [81] Lyall, Sarah (July 31, 1994). "It's 'Forrest Gump' vs. Harrumph" (http:/ / www. webcitation. org/ 5texWzYFD). The New York Times. Archived from the original (http:/ / www. nytimes. com/ 1994/ 07/ 31/ weekinreview/ it-s-forrest-gump-vs-harrumph. html) on October 21, 2010. . Retrieved October 21, 2010. [82] Forrest Gump-(Through the eyes of Forrest Gump) (DVD). Paramount Pictures. August 28, 2001. Event occurs at 23:27. [83] Forrest Gump-(Through the eyes of Forrest Gump) (DVD). Paramount Pictures. August 28, 2001. Event occurs at 23:57. [84] Forrest Gump-(Through the eyes of Forrest Gump) (DVD). Paramount Pictures. August 28, 2001. Event occurs at 26:29. [85] Byers, Thomas B. (1996). "History Re-Membered: Forrest Gump, Postfeminist Masculinity, and the Burial of the Counterculture" (http:/ / muse. jhu. edu. libproxy. sdsu. edu/ journals/ modern_fiction_studies/ v042/ 42. 2byers. html). Modern Fiction Studies 42 (2): 419444. doi:10.1353/mfs.1995.0102. . Retrieved July 2, 2009. [86] Wang, Jennifer (Spring, 2000). ""A Struggle of Contending Stories": Race, Gender, and Political Memory in "Forrest Gump"". Cinema Journal 39 (3): 92115. doi:10.1353/cj.2000.0009. [87] Gordinier, Jeff (February 10, 1995). "Mr. Gump Goes to Washington" (http:/ / www. webcitation. org/ 5texZkMKf). Entertainment Weekly. Archived from the original (http:/ / www. ew. com/ ew/ article/ 0,,296004,00. html) on October 21, 2010. . Retrieved October 21, 2010. [88] Quillen, Ed (May 7, 1995). "Why are modern conservatives so enchanted with Forrest Gump?". Denver Post. [89] Miller, John J. (February 23, 2009). "The Best Conservative Movies" (http:/ / www. webcitation. org/ 5texch3Dn). National Review. Archived from the original (http:/ / nrd. nationalreview. com/ article/ ?q=YWQ4MDlhMWRkZDQ5YmViMDM1Yzc0MTE3ZTllY2E3MGM=) on October 21, 2010. . Retrieved October 21, 2010. [90] Burton, James Amos (September 2007). "Film, History and Cultural Memory: Cinematic Representations of Vietnam-Era America During the Culture Wars, 1987-1995". PhD Thesis. [91] Rice, Lynette (August 14, 1994). "Songs Set the Mood for 'Gump'" (http:/ / news. google. com/ newspapers?id=SzcTAAAAIBAJ& sjid=hOoDAAAAIBAJ& pg=5648,4299465& dq=forrest+ gump+ soundtrack). Gainesville Sun. . Retrieved July 3, 2009. [92] "Top Albums at the Recording Industry Association of America" (http:/ / web. archive. org/ web/ 20040619214153/ http:/ / www. riaa. com/ gp/ bestsellers/ topalbums. asp). Recording Industry Association of America. Archived from the original (http:/ / www. riaa. com/ gp/ bestsellers/ topalbums. asp) on June 19, 2004. . Retrieved July 1, 2009.
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[93] Sciretta, Peter (December 7, 2008). "9/11 Killed the Forrest Gump Sequel" (http:/ / www. webcitation. org/ 5texjrGVQ). /Film. Archived from the original (http:/ / www. slashfilm. com/ 2008/ 12/ 07/ 911-killed-the-forrest-gump-sequel/ ) on October 21, 2010. . Retrieved October 21, 2010. [94] Tyler, Josh (March 7, 2007). "Forrest Gump Gets A Sequel" (http:/ / www. webcitation. org/ 5texlRlch). Cinema Blend. Archived from the original (http:/ / www. cinemablend. com/ new/ Forrest-Gump-Gets-A-Sequel-4626. html) on October 21, 2010. . Retrieved October 21, 2010. [95] Groom, Winston (1996). Gump & Co.. Pocket Books. p.1. ISBN0-671-52264-7.
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External links
Forrest Gump (http://www.imdb.com/title/tt0109830/) at the Internet Movie Database Forrest Gump (http://tcmdb.com/title/title.jsp?stid=75434) at the TCM Movie Database Forrest Gump (http://www.allrovi.com/movies/movie/v131221) at AllRovi Forrest Gump (http://www.boxofficemojo.com/movies/?id=forrestgump.htm) at Box Office Mojo Forrest Gump (http://www.rottentomatoes.com/m/forrest_gump/) at Rotten Tomatoes
1995 Braveheart
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1995 Braveheart
Braveheart
Directed by Produced by Mel Gibson Mel Gibson Alan Ladd, Jr. Bruce Davey Stephen McEveety Randall Wallace Angus Macfadyen Mel Gibson Mel Gibson Sophie Marceau Patrick McGoohan Angus Macfadyen Brendan Gleeson Catherine McCormack James Horner
Written by Narrated by Starring
Music by
Cinematography John Toll Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Steven Rosenblum Icon Productions The Ladd Company Paramount Pictures (USA) 20th Century Fox (non-USA)
May 24, 1995
Braveheart is a 1995 epic historical drama film directed by and starring Mel Gibson. The film was written for the screen and then novelized by Randall Wallace. Gibson portrays William Wallace, a 13th century Scottish warrior who led the Scots in the First War of Scottish Independence against King Edward I of England. The film won five Academy Awards at the 68th Academy Awards, including the Academy Award for Best Picture and Best Director, and was nominated for an additional five.
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Plot
In the 13th century, after several years of political unrest, Scotland is invaded and conquered by King Edward I of England (known as "Longshanks") (McGoohan). Young William Wallace witnesses the treachery of Longshanks, survives the death of his father and brother, and is taken abroad by his uncle where he is educated. Years later, Longshanks grants his noblemen land and privileges in Scotland, including Primae Noctis, the right of the lord to take a newly married Scottish woman into his bed on the wedding night. When he returns home, Wallace (Gibson), intending to live peacefully, falls in love with his childhood sweetheart Murron MacClannough (McCormack), and they marry in secret so that she does not have to spend a night in the bed of the English lord. When an English soldier tries to rape Murron, Wallace fights off several soldiers and the two attempt to flee. But Murron is captured and publicly executed by the village sheriff, who proclaims "an assault on the King's soldiers is the same as an assault on the King himself". In retribution, Wallace and several villagers slaughter the English garrison and execute the sheriff. Wallace is now compelled to rebel against the English, and as his legend spreads, hundreds of Scots from the surrounding clans join him. Wallace leads his army to victory at the Battle of Stirling, then sacks the city of York. All the while, Wallace seeks the assistance of Robert the Bruce (Macfadyen), son of nobleman Robert the Elder, and a contender for the Scottish crown. Despite his growing admiration for Wallace and his cause, Robert is dominated by his father, who wishes to secure the throne for his son by submitting to the English. Longshanks, worried by the threat of the rebellion, sends the wife of his son Edward, the French princess Isabella, to try to negotiate with Wallace, hoping that Wallace kills her and the French king declares war on Wallace in revenge. Wallace refuses the bribe sent with Isabella by Longshanks, but after meeting him in person, Isabella becomes enamored with him. Meanwhile, Longshanks prepares an army to invade Scotland. Warned of the coming invasion by Isabella, Wallace implores the Scottish nobility, who are more concerned with their own welfare, that immediate action is needed to counter the threat, and to take back the country. Leading the English army himself, Longshanks confronts the Scots at the Battle of Falkirk where noblemen Lochlan and Mornay betray Wallace. The Scots lose the battle, Wallace is wounded, and Hamish's father is fatally wounded and dies after the battle. As he charges toward the departing Longshanks on horseback, Wallace is intercepted by one of the king's lancers, who turns out to be Robert the Bruce. Remorseful, Bruce gets Wallace to safety before the English can capture him. Wallace kills Mornay and Lochlan for their betrayal, avoids assassination attempts, and wages a protracted guerrilla war against the English. Robert the Bruce, intending to join Wallace and commit troops to the war, sets up a meeting with him in Edinburgh where Robert's father has conspired with other nobles to capture and hand over Wallace to the English. Learning of his treachery, the Bruce disowns his father. Following a tryst with Wallace, Isabella exacts revenge on the now terminally ill Longshanks by telling him she is pregnant with Wallace's child, intent on ending Longshank's line and ruling in his son's place. In London, Wallace is brought before an English magistrate, tried for high treason, and condemned to public torture and beheading. Even after being hanged and mutilated, Wallace refuses to submit to the king by begging for mercy. As cries for mercy come from the watching crowd, the magistrate offers him one final chance. Wallace instead shouts the word "Freedom!" Just before the axe falls, Wallace sees a vision of Murron in the crowd smiling at him. Years after Wallace's death, Robert the Bruce, now Scotland's king, leads a Scottish army before a ceremonial line of English troops on the fields of Bannockburn where he is to formally accept English rule. As he begins to ride toward the English, the Bruce stops and turns back to his troops. Invoking Wallace's memory, he implores them to fight with him as they did with Wallace. He then leads his army into battle against the stunned English, winning the Scots their freedom.
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Cast
Mel Gibson as William Wallace Patrick McGoohan as King Edward I of England Angus Macfadyen as Robert the Bruce Brendan Gleeson as Hamish Campbell Sophie Marceau as Princess Isabella of France Peter Hanly as Prince Edward, Prince of Wales Ian Bannen as the elder Robert the Bruce James Cosmo as Campbell the Elder Catherine McCormack as Murron MacClannough David O'Hara as Stephen Brian Cox as Argyle Wallace James Robinson as young William Wallace
Production
Gibson's production company, Icon Productions had difficulty raising enough money even if he were to star in the film. Warner Bros. was willing to fund the project on the condition that Gibson sign for another Lethal Weapon sequel, which he refused. Paramount Pictures only agreed to American and Canadian distribution of Braveheart after 20th Century Fox partnered for international rights.[1] While the crew spent six weeks shooting on location in Scotland, the major battle scenes were shot in the Republic of Ireland using members of the Irish Army Reserve as extras. To lower costs, Gibson had the same extras portray both armies. The opposing armies are made up of reservists, up to 1,600 in some scenes, who had been given permission to grow beards and swapped their drab uniforms for medieval garb.[2] According to Gibson, he was inspired by the big screen epics he had loved as a child, such as Stanley Kubrick's Spartacus and William Wyler's The Big Country. The film was shot in the anamorphic format with Panavision C- and E-Series lenses.[3] Gibson toned down the film's battle scenes to avoid an NC-17 rating from the MPAA, with the final version being rated R for "brutal medieval warfare."[4] In addition to English being the film's primary language, French, Latin, and Scottish Gaelic are also spoken.
Release and reception

Box office
On its opening weekend, Braveheart grossed US$9,938,276 in the United States and $75.6 million in its box office run in the United States and Canada.[5] Worldwide, the movie grossed $210,409,945 and was the 18th highest grossing film of 1995.[5]
Reviews
Braveheart met with generally positive reviews. Review aggregator Rotten Tomatoes gave the film a score of 79% with an average score of 7/10. The film's depiction of the Battle of Stirling Bridge is often considered one of the best movie battles in cinema history.[6][7] However, in a 2005 poll by British film magazine Empire, Braveheart was #1 on their list of "The Top 10 Worst Best Pictures".[8] Scottish actor and comedian Billy Connolly infamously dismissed Braveheart as "a piece of pure Australian shite."[9]
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Around the world

The film generated huge interest in Scotland and in Scottish history, not only around the world, but also in Scotland itself. Fans come from all over the world to see the places in Scotland where William Wallace fought for Scottish freedom, and also to the places in Scotland and Ireland to see the locations used in the film. At a Braveheart Convention in 1997, held in Stirling the day after the Scottish Devolution vote and attended by 200 delegates from around the world, Braveheart author Randall Wallace, Seoras Wallace of the Wallace Clan, Scottish historian David Ross and Blithn FitzGerald from Ireland gave lectures on various aspects of the film. Several of the actors also attended including James Robinson (Young William), Andrew Weir (Young Hamish), Julie Austin (the young bride) and Mhairi Calvey (Young Murron).
Awards and honors

The movie was nominated for ten Oscars and won five.[10]
Won
Award Best Picture Nominee Mel Gibson Alan Ladd, Jr. Bruce Davey Stephen McEveety Mel Gibson
Best Director
Best Cinematography John Toll Best Sound Editing Lon Bender Per Hallberg Peter Frampton Paul Pattison Lois Burwell
Best Makeup
Nominated
Award Nominee
Best Original Screenplay Randall Wallace Best Original Score Best Sound Mixing James Horner Andy Nelson Scott Millan Anna Behlmer Brian Simmons Steven Rosenblum Charles Knode
Best Film Editing Best Costume Design
American Film Institute Lists AFI's 100 Years...100 Movies - Nominated[11] AFI's 100 Years...100 Thrills - #91 AFI's 100 Years...100 Heroes and Villains: William Wallace - Nominated Hero[12] AFI's 100 Years...100 Movie Quotes: "They may take away our lives, but they'll never take our freedom!" - Nominated[13]
1995 Braveheart AFI's 100 Years of Film Scores - Nominated[14] AFI's 100 Years...100 Cheers - #62 AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated[15] AFI's 10 Top 10 - Nominated Epic Film[16]
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Cultural effects
Lin Anderson, author of Braveheart: From Hollywood To Holyrood, credits the film with playing a significant role in affecting the Scottish political landscape in the mid to late 1990s.[17] With the release of the film in 1995 and the opening of the Scottish Parliament in 1999, the film brought about something of a revival of Scottish nationalism; it was reported that members of the Scottish National Party were seen promoting their party outside where the film was originally shown/filmed. On November 15, 1996, the Stone of Destiny, which had been captured by King Edward I exactly 700 years previously, was returned to the custody of Scotland by Queen Elizabeth II. It is currently stored in Edinburgh Castle, in the Crown Room along with the Crown Jewels of Scotland. However, the Stone must be returned to Westminster Abbey whenever a new British monarch is crowned, after this the Stone will be returned to Scottish custody.
Wallace Monument
In 1997, a 12-ton sandstone statue depicting Mel Gibson as William Wallace in Braveheart was placed in the car park of the Wallace Monument near Stirling, Scotland. The statue, which was the work of Tom Church, a monumental mason from Brechin,[18] included the word "Braveheart" on Wallace's shield. The installation became the cause of much controversy; one local resident stated that it was wrong to "desecrate the main memorial to Wallace with a lump of crap."[19] In 1998 the face on the statue was vandalised by someone wielding a hammer. After repairs were made, the statue was encased in a cage every night to prevent further vandalism. This only incited more calls for the statue to be removed as it then appeared that the Gibson/Wallace figure was imprisoned. The statue was described as "among the most loathed pieces of public art in Scotland."[20] In 2008, the statue was returned to its sculptor to make room for a new visitor centre being built at the foot of the Wallace Monument.[21]
Tom Church's 'Freedom' statue.
Historical accuracy
Randall Wallace, the writer of the screenplay, has acknowledged Blind Harry's 15th century epic poem The Acts and Deeds of Sir William Wallace, Knight of Elderslie as a major inspiration for the film.[22] In defending his script, Randall Wallace has said, "Is Blind Harry true? I don't know. I know that it spoke to my heart and that's what matters to me, that it spoke to my heart."[23] Although some incidents which are not historically accurate are taken from Blind Harry (e.g. the hanging of Scots nobles at the start) there are important aspects of the plot which are based neither on history nor Blind Harry (e.g. Wallace's affair with Princess Isabelle, although this may have been inspired by a play The Wallace by Sydney Goodsir Smith). Elizabeth Ewan describes Braveheart as a film which "almost totally sacrifices historical accuracy for epic adventure".[24] The "brave heart" refers in Scottish history to that of Robert the Bruce, and an attribution by William
1995 Braveheart Edmondstoune Aytoun, in his poem Heart of Bruce, to Sir James the Good: "Pass thee first, thou dauntless heart, As thou wert wont of yore!", prior to Douglas's demise at the Battle of Teba in Andalusia.[25] Sharon Krossa notes that the film contains numerous historical errors, beginning with the wearing of belted plaid by Wallace and his men. In that period "no Scots ... wore belted plaids (let alone kilts of any kind)."[26] Moreover, when Highlanders finally did begin wearing the belted plaid, it was not "in the rather bizarre style depicted in the film."[26] She compares the inaccuracy to "a film about Colonial America showing the colonial men wearing 20th century business suits, but with the jackets worn back-to-front instead of the right way around."[26] "The events aren't accurate, the dates aren't accurate, the characters aren't accurate, the names aren't accurate, the clothes aren't accuratein short, just about nothing is accurate."[27] Peter Traquair has referred to Wallace's "farcical representation as a wild and hairy highlander painted with woad (1,000 years too late) running amok in a tartan kilt (500 years too early)." [28] The belted plaid (feileadh mor) with the baldric (leine) was not introduced until the 16th Century. In 2009, the film was second on a list of "most historically inaccurate movies" in The Times.[29] In the 2007 humorous non-fictional historiography An Utterly Impartial History of Britain, author John O'Farrell notes that Braveheart could not have been more historically inaccurate, even if a "Plasticine dog" had been inserted in the film and the title changed to William Wallace and Gromit.[30] Randall Wallace is very vocal about defending his script from historians who have dismissed the film as a Hollywood perversion of actual events. In the DVD audio commentary of Braveheart, Mel Gibson acknowledges many of the historical inaccuracies but defends his choices as director, noting that the way events were portrayed in the film were much more "cinematically compelling" than the historical fact or conventional mythos.
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Portrayal of Isabella of France

In the film, prior to the Battle of Falkirk, Wallace is shown having an affair with Isabella of France. She later tells the king that she is pregnant, implying that her son, Edward III, was the product of the affair. In fact, Isabella was three years old and living in France at the time, and Edward III was born seven years after Wallace died.[31][32]
Portrayal of Robert the Bruce

Robert the Bruce did change sides between the Scots loyalists and the English more than once in the earlier stages of the Wars of Scottish Independence, but he never betrayed Wallace directly, and it is unlikely that he fought on the English side at the Battle of Falkirk. Later, the Battle of Bannockburn was not a spontaneous battle, he had already been fighting a guerrilla campaign against the English for eight years.
Portrayal of Prince Edward

The depiction of the Prince of Wales (the future Edward II of England) as an effeminate homosexual drew accusations of homophobia against Gibson. The real Edward II did father five children by two different women, but was also thought to have had sexual affairs with men, not least with Piers Gaveston. Gibson replied that "The fact that King Edward throws this character out a window has nothing to do with him being gay ... He's terrible to his son, to everybody."[33] Gibson defended his depiction of Prince Edward as weak and ineffectual, saying, I'm just trying to respond to history. You can cite other examples Alexander the Great, for example, who conquered the entire world, was also a homosexual(sic). But this story isn't about Alexander the Great. It's about Edward II.[34] Gibson asserted that the reason that Longshanks kills his sons lover is because the king is a "psychopath".[35] (This is another inaccuracy, as Piers Gaveston lived on into the reign of Edward II.) Gibson expressed bewilderment that some filmgoers would laugh at this murder:
1995 Braveheart We cut a scene out, unfortunately . . . where you really got to know that character (Edward II) and to understand his plight and his pain. . . . But it just stopped the film in the first act so much that you thought, 'When's this story going to start?'[36]
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Anglophobia
Braveheart has been accused of Anglophobia by some British sources. The film was referred to in The Economist as "xenophobic"[37] and John Sutherland writing in The Guardian stated that, "Braveheart gave full rein to a toxic Anglophobia".[38][39][40] According to The Times, MacArthur said "the political effects are truly pernicious. Its a xenophobic film."[39] The Independent has noted, "The Braveheart phenomenon, a Hollywood-inspired rise in Scottish nationalism, has been linked to a rise in anti-English prejudice".[41]
Soundtrack
The soundtrack for Braveheart was composed and conducted by James Horner, and performed by the London Symphony Orchestra. The soundtrack, comprising 77 minutes of background music taken from significant scenes in the film, was noticeably successful, and album co-producer Simon Rhodes produced a follow-up soundtrack in 1997 titled More Music from Braveheart. International and French versions of the soundtrack have also been released. Several writers have noted the main theme song's resemblance to an earlier theme song for the 1991 anime series 3x3 Eyes, composed by Kaoru Wada.[42][43][44]
Braveheart (1995)
1. "Main Title" 2:51 2. "A Gift of a Thistle" 1:37 3. "Wallace Courts Murron" 4:25 4. "The Secret Wedding" 6:33 5. "Attack on Murron" 3:00 6. "Revenge" 6:23 7. "Murron's Burial" 2:13 8. "Making Plans/Gathering the Clans" 1:52 9. "Sons of Scotland" 6:19 10. "The Battle of Stirling" 5:57 11. "For the Love of a Princess" 4:07 12. "Falkirk" 4:04 13. "Betrayal & Desolation" 7:48 14. "Mornay's Dream" 1:15 15. "The Legend Spreads" 1:09 16. "The Princess Pleads for Wallace's Life" 3:38 17. "'Freedom'/The Execution/Bannockburn" 7:24 18. "End Credits" 7:16
1995 Braveheart
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More Music from Braveheart (1997)

1. "Prologue: 'I Shall Tell You of William Wallace'" [Narration: Robert The Bruce] 2. "Outlawed Tunes on Outlawed Pipes" 3. "The Royal Wedding" [Narration: Robert The Bruce] 4. "'The Trouble with Scotland'" [King Edward The Longshanks] 5. "Scottish Wedding Music" 6. "Prima Noctes" 7. "The Proposal" [William Wallace and Murron] 8. "'Scotland Is Free!'" [William Wallace] 9. "Point of War/Johnny Cope/Up in the Morning Early" 10. "Coversing with the Almighty" [Stephen, William Wallace, Hamish, Campbell] 11. "The Road to the Isles/Glendaruel Highlanders/The Old Rustic Bridge by the Mill" 12. "'Sons of Scotland!'" [William Wallace] 13. "Vision of Murron" 14. "'Unite the Clans!'" [William Wallace] 15. "The Legend Spreads" [Scottish Highlanders] 16. "'Why Do You Help Me?'" [William Wallace And Princess Isabelle] 17. 18. 19. 20. 21. 22. 23. 24. 25. "For the Love of a Princess" "'Not Every Man Really Lives'" [William Wallace and Princess Isabelle] "'The Prisoner Wishes to Say a Word'" [The Executioner and William Wallace] "'After the Beheading' [Robert The Bruce] "'You Have Bled with Wallace!'" [Robert The Bruce] "Warrior Poets" [William Wallace] "Scotland the Brave/The Badge of Scotland/The Meeting of the Waters" "Leaving Glen Urquhart/The Highland Plaid/Jock Wilson's Ball" "Kirkhill/The Argyllshire Gathering/The Braemar Highland Gathering"
Album length: 68:53
References
[1] Michael Fleming (2005-07-25). "Mel tongue-ties studios" (http:/ / www. variety. com/ article/ VR1117926430. html). Daily Variety. . [2] Braveheart 10th Chance To Boost Tourism In Trim (http:/ / www. unison. ie/ meath_chronicle/ stories. php3?ca=41& si=1031035& issue_id=9666), Meath Chronicle, August 28, 2003 . Retrieved 30 April 2007. [3] Chris Probst (1996-06-01). "Cinematic Transcendence". American Cinematographer (Los Angeles, California, United States: American Society of Cinematographers) 77 (6): 76. ISSN0002-7928. [4] Classification and Rating Administration, Motion Picture Association of America. "Reasons for Movie Ratings (CARA)" (http:/ / www. filmratings. com/ ). . [5] "Braveheart (1995)" (http:/ / www. boxofficemojo. com/ movies/ ?id=braveheart. htm). Boxofficemojo.com. . Retrieved 2009-02-27. [6] "The best -- and worst -- movie battle scenes" (http:/ / www. cnn. com/ 2007/ SHOWBIZ/ Movies/ 03/ 29/ movie. battles/ index. html). CNN. 2007-03-30. . Retrieved 2007-04-01. [7] Noah Sanders (2007-03-28). "Great Modern Battle Scenes - Updated!" (http:/ / www. doubleviking. com/ great-modern-battle-scenes-4361-p. html). Double Viking. . Retrieved 2007-04-02. [8] "Mel Gibson's "Braveheart" Voted Worst Oscar Winner" (http:/ / www. hollywood. com/ news/ Mel_Gibsons_Braveheart_Voted_Worst_Oscar_Winner/ 2435436). hollywood.com. . [9] Leo Suryadinata, Nationalism and Globalism, East and West (Singapore: Institute of Southeast Asia Studies) 2000, pg 248 [10] "The 68th Academy Awards (1996) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 68th-winners. html). oscars.org. . Retrieved 2011-10-23. [11] AFI's 100 Years...100 Movies Nominees (http:/ / www. afi. com/ Docs/ 100years/ movies400. pdf) [12] AFI's 100 Years...100 Heroes and Villains Nominees (http:/ / connect. afi. com/ site/ DocServer/ handv400. pdf?docID=245) [13] AFI's 100 Years...100 Movie Quotes Nominees (http:/ / www. afi. com/ Docs/ 100Years/ quotes400. pdf) [14] AFI's 100 Years of Film Scores Nominees (http:/ / www. afi. com/ Docs/ 100years/ scores250. pdf) [15] AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot (http:/ / www. afi. com/ Docs/ 100years/ Movies_ballot_06. pdf)
1995 Braveheart
[16] AFI's 10 Top 10 Ballot (http:/ / www. afi. com/ drop/ ballot. pdf) [17] Boztas, Senay (2005-07-31). "Wallace movie helped Scots get devolution - [Sunday Herald]" (http:/ / www. braveheart. info/ news/ 2005/ sunday_herald/ 2007-07-31/ 51063. html). Braveheart.info. . Retrieved 2009-02-27. [18] "Wallace statue back at home of sculptor" (http:/ / www. thecourier. co. uk/ output/ 2009/ 10/ 16/ newsstory13954661t0. asp). The Courier. 16 October 2009. . Retrieved 17 October 2009. [19] By Hal G.P. Colebatch on 8.8.06 @ 12:07AM. "The American Spectator" (http:/ / www. spectator. org/ dsp_article. asp?art_id=10191). Spectator.org. . Retrieved 2009-02-27. [20] Kevin Hurley (19 September 2004). "They may take our lives but they won't take Freedom" (http:/ / scotlandonsunday. scotsman. com/ williamwallace/ They-may-take-our-lives. 2565370. jp). Scotland on Sunday. . Retrieved 16 October 2009. [21] "Wallace statue back with sculptor" (http:/ / news. bbc. co. uk/ 1/ hi/ scotland/ tayside_and_central/ 8310614. stm). BBC News. 16 October 2009. . Retrieved 16 October 2009. [22] Anderson, Lin. Braveheart: From Hollywood to Holyrood. Luath Press Ltd. (2005), p. 27. [23] Anderson, Lin. "Braveheart: From Hollywood to Holyrood." Luath Press Ltd. (2005): 27. [24] Ewan, Elizabeth. "Braveheart." American Historical Review 100, no. 4 (October 1995): 121921. [25] Lays of the Scottish Cavaliers and Other Poems / Aytoun, W. E. (William Edmondstoune), 1813-1865 (http:/ / infomotions. com/ etexts/ gutenberg/ dirs/ 1/ 0/ 9/ 4/ 10945/ 10945. htm) [26] Krossa, Sharon L.. "Braveheart Errors: An Illustration of Scale" (http:/ / medievalscotland. org/ scotbiblio/ bravehearterrors. shtml). . Retrieved 2009-06-15. [27] Krossa, Sharon L.. "Regarding the Film Braveheart" (http:/ / www. medievalscotland. org/ scotbiblio/ braveheart. shtml). . Retrieved 2009-11-26. [28] Traquar, Peter Freedom's Sword [29] White, Caroline (August 4, 2009). "The 10 most historically inaccurate movies" (http:/ / web. archive. org/ web/ 20110615070116/ http:/ / entertainment. timesonline. co. uk/ tol/ arts_and_entertainment/ film/ article6738785. ece). London: The Times. Archived from the original (http:/ / entertainment. timesonline. co. uk/ tol/ arts_and_entertainment/ film/ article6738785. ece) on 2011-06-15. . Retrieved 2009-08-05. [30] O'Farrell, John (2007), An Utterly Impartial History of Britain, Doubleday, p.126 [31] Ewan, Elizabeth (October 1995). "Braveheart". The American Historical Review (Bloomington: Indiana University Press) 100 (4): 121921. ISSN0002-8762. OCLC01830326. [32] White, Caroline (August 4, 2009). "The 10 most historically inaccurate movies" (http:/ / web. archive. org/ web/ 20110615070116/ http:/ / entertainment. timesonline. co. uk/ tol/ arts_and_entertainment/ film/ article6738785. ece). London: The Times. Archived from the original (http:/ / entertainment. timesonline. co. uk/ tol/ arts_and_entertainment/ film/ article6738785. ece) on 2011-06-15. . Retrieved 2009-08-05. [33] "Gay Alliance has Gibson's 'Braveheart' in its sights" (http:/ / www. nydailynews. com/ archives/ gossip/ 1995/ 05/ 11/ 1995-05-11_gay_alliance_has_gibson_s__b. html), Daily News, May 11, 1995, , retrieved February 13, 2010 [34] The San Francisco Chronicle, May 21, 1995, Mel Gibson Dons Kilt and Directs by Ruth Stein [35] Matt Zoller Seitz. "Mel Gibson talks about Braveheart, movie stardom, and media treachery" (http:/ / www. dallasobserver. com/ Issues/ 1995-05-25/ film/ film_3. html). Dallas Observer. . Retrieved 2008-01-27. [36] USA Today, May 24, 1995, Gibson has faith in family and freedom by Marco R. della Cava [37] "Economist.com" (http:/ / www. economist. com/ PrinterFriendly. cfm?story_id=6941798). Economist.com. 2006-05-18. . Retrieved 2009-02-27. [38] "John Sutherland" (http:/ / www. guardian. co. uk/ film/ 2003/ aug/ 11/ religion. world). The Guardian (London). 2003-08-11. . Retrieved 2010-04-26. [39] "Braveheart battle cry is now but a whisper" (http:/ / www. timesonline. co. uk/ tol/ news/ uk/ scotland/ article546776. ece). London: Times Online. 2005-07-24. . Retrieved 2009-02-27. [40] Colin, McArthur (2003). Brigadoon, Braveheart and the Scots: Distortions of Scotland in Hollywood Cinema (http:/ / books. google. com/ books?id=XMOUo5VUkoQC& printsec=frontcover& dq=Brigadoon,+ Braveheart+ And+ The+ Scots#PPA5,M1). I.B.Tauris. p.5. ISBN1-86064-927-0. . [41] Burrell, Ian (1999-02-08). "Most race attack victims `are white': The English Exiles - News" (http:/ / www. independent. co. uk/ news/ most-race-attack-victims-are-white-the-english-exiles-1069506. html). London: The Independent. . Retrieved 2009-02-27. [42] Martin, Theron. "3x3 Eyes (1991)" (http:/ / www. usaanime. us/ Reviews/ 3x3Eyes. htm). USA Anime. . Retrieved 19 July 2012. [43] Martin, Theron (September 14, 2007). "3x3 Eyes DVDs 1 and 2" (http:/ / www. animenewsnetwork. co. uk/ review/ 3x3-eyes/ dvd-1). Anime News Network. . Retrieved 19 July 2012. [44] "3X3 Eyes: Perfect Collection from Streamline/Orion" (http:/ / www. gamemonkeys. com/ reviews/ 0/ 3x3eyes. htm). Game Monkeys Magazine. 1999. . Retrieved 19 July 2012.
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External links
Braveheart (http://www.imdb.com/title/tt0112573/) at the Internet Movie Database Braveheart (http://www.allrovi.com/movies/movie/v134724) at AllRovi Braveheart (http://www.rottentomatoes.com/m/1065684-braveheart/) at Rotten Tomatoes Braveheart (http://www.boxofficemojo.com/movies/?id=braveheart.htm) at Box Office Mojo Braveheart (http://www.metacritic.com/video/titles/braveheart?q=Braveheart) at Metacritic Roger Ebert's review of Braveheart (http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19950524/ REVIEWS/505240301/1023)
1996 The English Patient
553

The English Patient
Directed by Produced by Screenplay by Based on Starring Anthony Minghella Saul Zaentz Anthony Minghella The English Patientby Michael Ondaatje Ralph Fiennes Kristin Scott Thomas Willem Dafoe Juliette Binoche Naveen Andrews Colin Firth Gabriel Yared
Music by
Cinematography John Seale Editing by Studio Distributed by Release date(s) Running time Country Language Walter Murch Tiger Moth Productions Miramax Films
November 15, 1996
155 minutes United States United Kingdom English German Italian Arabic US$27 million US$231,976,425
Budget Box office
The English Patient is a 1996 romantic drama film based on the novel of the same name by Sri Lankan-Canadian writer Michael Ondaatje. The film, written for the screen and directed by Anthony Minghella, won nine Academy Awards,[1] including Best Picture. Ondaatje worked closely with the filmmakers. Set before and during World War II, The English Patient is a story of love, fate, misunderstanding and healing. Told in a series of flashbacks, the film can best be explained by unwinding it into its two chronological phases.
Plot
The film is set during World War II and depicts a critically burned man, at first known only as "the English patient," who is being looked after by Hana (Juliette Binoche), a French-Canadian nurse in an abandoned Italian monastery. The patient is reluctant to disclose any personal information but through a series of flashbacks, viewers are allowed into his past. It is slowly revealed that he is in fact a Hungarian cartographer, Count Lszl de Almsy (Ralph Fiennes), who was making a map of the Sahara Desert, and whose affair with a married woman, Katharine Clifton (Kristin Scott Thomas), ultimately brought about his present situation. As the patient remembers more, David
1996 The English Patient Caravaggio (Willem Dafoe), a Canadian intelligence operative and former thief, arrives at the monastery. Caravaggio lost his thumbs while being interrogated by a German army officer, and he gradually reveals that it was the patient's actions that had brought about his torture. In addition to the patient's story, the film devotes time to Hana and her romance with Kip (Naveen Andrews), an Indian Sikh sapper in the British Army. Due to various events in her past, Hana believes that anyone who comes close to her is likely to die, and Kip's position as a bomb defuser makes their romance full of tension. In the first phase, set in the late 1930s, the minor Hungarian noble Count Laszlo de Almsy (Fiennes) is co-leader of a Royal Geographical Society archeological and surveying expedition in Egypt and Libya. He and his English partner Madox are at heart academics with limited sophistication in the swirling politics of Europe and North Africa. Shortly after the film begins, both the morale and finances of their expedition are bolstered by a British couple, Geoffrey and Katherine Clifton (Colin Firth and Kristin Scott Thomas) that joins the exploration party. The Count is taken with the gorgeous and refined Katherine. When Geoffrey is often away from the group on other matters, an affair takes wing. The final months before the war's onset bring an archeological triumph: the Count's discovery of an ancient Saharan cave decorated with "swimming figure" paintings dating from prehistoric times, the "Cave of Swimmers". This period also sees the romance between Katherine and the Count rise to a sensuous peak and then seemingly fade. Katherine is plagued with the guilt of infidelity, while the Count shows a streak of jealousy along with an imbalance that will later haunt him. The fall of 1939 and the war bring all excavation at the cave to a halt, and Madox and the Count go their separate ways. Geoffrey Clifton meanwhile has pieced together the outline of the affair, and seeks a sudden and dramatic revenge: crashing his plane, with Katherine aboard, into the Count's desert camp. The wreck kills Geoffrey instantly, seriously injures Katherine, and narrowly misses the Count. He manages to take Katherine into the relative shelter of the swimming figure cave, leaves her with food, water, a flashlight, and a fire, then begins his scorching three day walk back to the nearest town and help. The town is held by the British Army, and the dazed and dehydrated Count, with his non-English name, is unable to coherently explain to officials the plane crash and Katherine's plight. Instead he loses his temper during questioning and is thrown into military jail. He is sent in chains on a train "north to Benghazi", escapes, finds himself behind Afrika Korps lines and quickly trades his desert maps with the Germans for petrol for Madox's biplane, a De Havilland Tiger Moth, which he had left behind at the close of their archaeological expedition. By the time he returns to the cave, Katherine is dead and in all but a physical sense, so is the Count. He manages to bundle Katherine's body into the plane and takes off. Mistaking the Tiger Moth for an RAF reconnaissance aircraft, a German anti-aircraft battery shoots down the plane as Almsy pilots it over the desert. Horribly burned but alive, he is rescued by Bedouin tribesmen. The film's second phase shifts to Italy and the last months of the war. The Count by now is an invalid patient, and wholly dependent by this time on morphine and the care of his French-Canadian nurse Hana, detached from her medical unit and established in a battered but beautiful Italian monastery. That place becomes the focal point for more plot threads, some new and some unfinished from the North African phase, all themed around love, chance, and the backdrop of the war. Hana has seen a fianc and a nursing friend die in the Italian campaign, and is left to wonder if her involvement with a British-Indian lieutenant will break her cycle of love and grief or simply continue it. A visitor to the villa named Caravaggio is in search for the disfigured Count that he believes played a role in his own ill-starred time in Egypt and Libya. For Caravaggio unwittingly stumbled into the wreckage of the Count-Katherine-Geoffrey love triangle, circa 194042. He's lost both thumbs in a grisly interrogation at the hands of the Nazis, and has since hunted down and killed those he believes responsible for his fate. He believes the Count was part of a web of desert spying and intrigue, and knows that he traded maps with the Germans. He confronts him with news of Madox's suicide, and posits that the Count killed the Cliftons. Only a full recounting at the villa of the Cliftons' crash and the Count's map dealings with the Germans to recover Katherine bring Caravaggio to understanding and forgiveness.
554
1996 The English Patient Hana, too, finds reconciliation at the film's end. Her lieutenant survives a brush with death on the war's last day and her hope in love is rekindled. The Count asks for, and dies of, an overdose of morphine from Hana.
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Cast
Ralph Fiennes as Count Lszl Almsy Kristin Scott Thomas as Katharine Clifton Willem Dafoe as David Caravaggio Juliette Binoche as Hana Naveen Andrews as Kip Colin Firth as Geoffrey Clifton Julian Wadham as Madox Jrgen Prochnow as Major Muller Kevin Whately as Sgt. Hardy Clive Merrison as Fenelon-Barnes Nino Castelnuovo as D'Agostino Hichem Rostom as Fouad Peter Rhring as Bermann Geordie Johnson as Oliver Torri Higginson as Mary Liisa Repo-Martell as Jan Raymond Coulthard as Rupert Douglas Philip Whitchurch as Corporal Dade Lee Ross as Spalding Anthony Smee as Beach Interrogation Officer Matthew Ferguson as Young Canadian Soldier Jason Done as Kiss Me Soldier Roger Morlidge as Sergeant Desert Train
Production
In his book The Conversations: Walter Murch and the Art of Editing Film (2002) Michael Ondaatje records his conversations with the film's editor and sound designer Walter Murch, who won two Academy Awards for the film. Murch describes the complexity of editing a film with multiple flashbacks and timeframes; he edited and reedited numerous times and notes that the final film features over 40 time transitions. The film was shot on location in Tunisia and Italy.[2]
Triumph 3HW 350cc motorcycle specified in the novel as Kip's choice of transport and used in the film
556
Reception
The film garnered widespread critical acclaim and was a major award winner as well as a box office success; its awards included the Academy Award for Best Picture, the Golden Globe Award for Best Motion Picture - Drama and the BAFTA Award for Best Film. Juliette Binoche won the Academy Award for Best Supporting Actress, winning out over Lauren Bacall for The Mirror Has Two Faces (it would have been Bacall's only Oscar win, and in her acceptance speech Binoche commented that she had expected Bacall to win). Anthony Minghella took home the Oscar for Best Director. Kristin Scott Thomas and Ralph Fiennes were nominated for Best Actress and Best Actor. Overall, The English Patient was nominated for 12 awards and ultimately walked away with 9. Its presence at the Oscars was so large that upon winning Best Original Song for Evita, Andrew Lloyd Webber joked "Thank goodness there wasn't a song in The English Patient." It is the highest-grossing non-IMAX film (and second highest-grossing film overall) to never reach the weekend box office top 5.[3] The English Patient is one of only three Best Picture winners (Amadeus and The Hurt Locker being the other two) to never enter the weekend box office top 5 since top 10 rankings were first recorded in 1982.[4][5] Chicago Sun Times critic Roger Ebert gave the movie a 4/4 rating, saying "it's the kind of movie you can see twice first for the questions, the second time for the answers."[6] In a Episode 151, aired March 13, 1997 of the sitcom Seinfeld, Elaine Benes (played by Julia Louis-Dreyfus) repeatedly expresses her hatred for the film despite everyone else she knows loving it and is ultimately broken up with by her boyfriend, ignored by her best friends and fired by her employer, J. Peterman. The film has a "Certified Fresh" rating of 83% on Rotten Tomatoes and consensus stating "Though it suffers from excessive length and ambition, director Minghella's adaptation of the Michael Ondaatje novel is complex, powerful, and moving." The film also has a rating of 87% on Metacritic, indicating "universal acclaim".
Awards and honors

1996 Academy Awards[1][7] Won, Best Picture Won, Best Actress in a Supporting Role: Juliette Binoche Won, Best Art Direction-Set Decoration (Stuart Craig and Stephanie McMillan) Won, Best Cinematography (John Seale) Won, Best Costume Design (Ann Roth) Won, Best Director (Anthony Minghella) Won, Best Film Editing (Walter Murch) Won, Best Original Score (Gabriel Yared) Won, Best Sound (Walter Murch, Mark Berger, David Parker, and Christopher Newman) Nominated, Best Actor in a Leading Role: Ralph Fiennes Nominated, Best Actress in a Leading Role: Kristin Scott Thomas Nominated, Best Writing, Screenplay Based on Material from Another Medium (Anthony Minghella)
1997 Golden Globes, USA Won, Best Motion Picture Drama Won, Best Original Score Motion Picture (Gabriel Yared) Nominated, Best Director Motion Picture (Anthony Minghella) Nominated, Best Performance by an Actor in a Motion Picture Drama: Ralph Fiennes
Nominated, Best Performance by an Actress in a Motion Picture Drama: Kristin Scott Thomas Nominated, Best Performance by an Actress in a Supporting Role in a Motion Picture: Juliette Binoche Nominated, Best Screenplay Motion Picture (Anthony Minghella)
1996 The English Patient 1997 BAFTA Awards, UK Won, Best Film Won, Best Cinematography (John Seale) Won, Best Editing (Walter Murch) Won, Best Performance by an Actress in a Supporting Role (Juliette Binoche) Won, Best Screenplay Adapted (Anthony Minghella) Won, Best Music (Gabriel Yared)
557
1997 Berlin Film Festival[8] Won, Silver Bear for Best Actress (Juliette Binoche) Nominated, Golden Bear
References
[1] Van Gelder, Lawrence (March 25, 1997). "'English Patient' Dominates Oscars With Nine, Including Best Picture" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9900E3D6113BF936A15750C0A961958260& scp=4& sq=The English patient& st=cse). The New York Times (The New York Times Company). . Retrieved June 18, 2008. [2] "Film locations for The English Patient" (http:/ / www. movie-locations. com/ movies/ e/ engpatient. html). . Retrieved August 23, 2010. [3] Top Grossing Movies That Never Hit the Top 5 at the Box Office (http:/ / www. boxofficemojo. com/ alltime/ domestic/ never1. htm?page=never5& p=. htm) [4] The English Patient (1996) Weekend Box Office Results (http:/ / www. boxofficemojo. com/ movies/ ?page=weekend& id=englishpatient. htm). Box Office Mojo. Retrieved January 14, 2011. [5] Amadeus (1994) Weekend Box Office Results (http:/ / www. boxofficemojo. com/ movies/ ?page=weekend& id=amadeus. htm). Box Office Mojo. Retrieved January 14, 2011. [6] The English Patient :: rogerebert.com :: Reviews (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19961122/ REVIEWS/ 611220301/ 1023). Chicago Sun-Times. Retrieved June 10, 2008. [7] "The 69th Academy Awards (1997) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 69th-winners. html). oscars.org. . Retrieved 2011-10-23. [8] "Berlinale: 1997 Prize Winners" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1997/ 03_preistr_ger_1997/ 03_Preistraeger_1997. html). berlinale.de. . Retrieved 2012-01-08.
Blakesley, David (2007). "Mapping the other: The English Patient, colonial rhetoric, and cinematic representation". The Terministic Screen: Rhetorical Perspectives on Film. Southern Illinois University Press. ISBN0-8093-2488-1. Massood, Paula J. (2005). "Defusing The English Patient". In Stam; Raengo, Alessandra. Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Blackwell. ISBN0-631-23054-8. Minghella, Anthony (1997). The English Patient: A Screenplay by Anthony Minghella. Methuen Publishing. ISBN0-413-71500-0. Thomas, Bronwen (2000). "Piecing together a mirage: Adapting The English patient for the screen". In Giddings, Robert; Sheen, Erica. The Classic Novel from Page to Screen. Manchester University Press. ISBN0-7190-5230-0. Yared, Gabriel (2007). Gabriel Yared's The English Patient: A Film Score Guide. The Scarecrow Press. ISBN0-8108-5910-6.
558
External links
The English Patient (http://www.imdb.com/title/tt0116209/) at the Internet Movie Database The English Patient (http://www.allrovi.com/movies/movie/v136728) at AllRovi The English Patient (http://www.boxofficemojo.com/movies/?id=englishpatient.htm) at Box Office Mojo The English Patient (http://www.rottentomatoes.com/m/english_patient/) at Rotten Tomatoes Laszlo Almsy: the real English patient (http://lazarus.elte.hu/~zoltorok/almasy/almasyen.htm)
1997 Titanic
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1997 Titanic
Titanic
Theatrical poster
Directed by Produced by Written by Starring Music by James Cameron

James Cameron Jon Landau
James Cameron

Leonardo DiCaprio Kate Winslet
James Horner
Cinematography Russell Carpenter Editing by

Conrad Buff James Cameron Richard A. Harris 20th Century Fox [1] Paramount Pictures [1] Lightstorm Entertainment Paramount Pictures (USA) 20th Century Fox (International) November 1, 1997 (Tokyo International Film Festival) December 19, 1997 (United States)
[1]
Studio
194 minutes United States English $200million

[2][3][4] [5]
$2,185,372,302
Titanic is a 1997 American epic romantic disaster film directed, written, co-produced, and co-edited by James Cameron. A fictionalized account of the sinking of the RMS Titanic, it stars Leonardo DiCaprio and Kate Winslet as members of different social classes who fall in love aboard the ship during its ill-fated maiden voyage. Cameron's inspiration for the film was predicated on his fascination with shipwrecks; he wanted to convey the emotional message of the tragedy, and felt that a love story interspersed with the human loss would be essential to achieving this. Production on the film began in 1995, when Cameron shot footage of the actual Titanic wreck. The modern scenes were shot on board the Akademik Mstislav Keldysh, which Cameron had used as a base when filming the wreck. A reconstruction of the Titanic was built at Playas de Rosarito, Baja California, and scale models and computer-generated imagery were also used to recreate the sinking. The film was partially funded by Paramount Pictures and 20th Century Fox, and, at the time, was the most expensive film ever made, with an estimated budget of $200million. Upon its release on December 19, 1997, the film achieved critical and commercial success. Nominated for fourteen Academy Awards, it won eleven, including the awards for Best Picture and Best Director, tying Ben Hur (1959) for most Oscars won by a single film. With a worldwide gross of over $2billion, it was the first film to reach the billion-dollar mark, remaining the highest-grossing film of all time for twelve years, until Cameron's 2009 film Avatar surpassed its gross in 2010. A 3D version of the film was re-released in theaters (often billed as Titanic 3D)
1997 Titanic on April 4, 2012, to commemorate the centenary of the sinking of the ship.
560
Plot
In 1996, treasure hunter Brock Lovett and his team explore the wreck of RMS Titanic, searching for a valuable diamond necklace called the Heart of the Ocean. They recover Caledon "Cal" Hockley's safe, believing the necklace to be inside, but only find a sketch of a nude woman wearing it, dated April 14, 1912, the night the Titanic hit the iceberg. Hearing about the drawing, an elderly woman named Rose Dawson Calvert calls Lovett and claims that she is the woman depicted in the drawing. She and her granddaughter, Lizzy Calvert, visit him and his team on his salvage ship. When asked if she knows the whereabouts of the necklace, Rose recalls her time aboard the Titanic, revealing that she is Rose DeWitt Bukater, a passenger believed to have died in the sinking. She then begins her story as follows: In 1912, 17-year-old first class passenger Rose boards "Titanic" in Southampton with her fianc Cal and her mother Ruth DeWitt Bukater. Ruth stresses the importance of Rose's engagement, as the marriage would solve the DeWitt Bukaters' secret financial problems. Distraught by her engagement, Rose considers suicide by jumping off the ship's stern; A drifter and artist named Jack Dawson stops her. Discovered with Jack on the stern, Rose tells Cal that she was looking over the ship's edge in curiosity and that Jack saved her from falling. At Rose's insistence, Cal invites Jack to dinner the following night to show his appreciation. Jack and Rose develop a tentative friendship, even though Cal and Ruth are wary of the young third-class man. Following the first-class dinner that night, Rose secretly joins Jack at a party in the ship's third-class quarter. Because Cal and Ruth forbid her to see Jack, Rose attempts to rebuff Jack's continuing advances. She soon realizes, though, that she prefers him over Cal, and meets him at the bow of the ship during what turns out to be the Titanic's final moments of daylight. They then go to Rose's stateroom, where she asks Jack to sketch her while naked and wearing the Heart of the Ocean, Cal's engagement present to her. Afterward, the two evade Cal's bodyguard and make love inside a car in the ship's cargo hold. Going afterwards to the ship's forward well deck, they witness the ship's collision with an iceberg and overhear the ship's officers and designer outline its seriousness. Rose tells Jack that they should warn her mother and Cal. Cal discovers Jack's drawing and a mocking note from Rose in his safe along with the necklace. Furious, he has his bodyguard slip the necklace into Jack's coat pocket. Accused of stealing it, Jack is arrested, taken down to the Master-at-arms's office and handcuffed to a pipe. Cal puts the necklace in his coat. Rose runs away from Cal and her mother (who has boarded a lifeboat) and releases Jack. The ship then starts to launch flares in order to attract any nearby ships. Once Jack and Rose reach the deck, Cal and Jack persuade her to board another lifeboat, Cal claiming that he has arranged for himself and Jack to get off safely. After she boards, Cal tells Jack that the arrangement is only for himself. As Rose's boat lowers, she realizes that she cannot leave Jack, and jumps back on board the Titanic to reunite with him. Infuriated, Cal takes a pistol and chases them into the flooding first-class dining saloon. After exhausting his ammunition, Cal realizes to his chagrin that he gave his coat with the diamond to Rose. With the situation now dire, he returns to the boat deck and boards a lifeboat by pretending to look after a lost child. Jack and Rose return to the top deck. All lifeboats have departed and passengers are falling to their deaths as the stern rises out of the water. The ship breaks in half, and the stern side rises 90-degrees into the air. As it sinks, Jack and Rose ride the stern into the ocean. Jack helps Rose onto a wall panel only able to support one person's weight. Holding the panel's edge, he assures her she will die an old woman, warm in her bed. Meanwhile, Fifth Officer Harold Lowe has commandeered a lifeboat to search for survivors. He saves Rose, but is unable to reach Jack before he dies from hypothermia. Rose and the other survivors are taken by the RMS Carpathia to New York, where Rose gives her name as Rose Dawson. She hides from Cal on Carpathia's deck as he searches for her. She learns later that he committed suicide after losing his fortune in the Wall Street Crash of 1929.
1997 Titanic Her story complete, Rose goes alone to the stern of Lovett's ship. There she takes out the Heart of the Ocean, which has been in her possession all along, and drops it into the ocean. While seemingly asleep in her bed, the photos on her dresser are a visual chronicle that she lived a free life inspired by Jack. The young Rose is then seen reuniting with Jack at the Grand Staircase of the RMS Titanic, applauded and congratulated by those who perished on the ship.
561
Cast
Fictional characters
Leonardo DiCaprio as Jack Dawson: Cameron said he needed the cast to feel as though they were really on the Titanic, relive its liveliness, and "to take that energy and give it to Jack, [...] an artist who is able to have his heart soar".[6] Jack is portrayed as a penniless man from Chippewa Falls, Wisconsin who has toured various parts of the world, primarily Paris. He wins two tickets onto the RMS Titanic in a poker game and travels as a third-class passenger with his friend Fabrizio. He is attracted to Rose at first sight and meets her when she attempts to throw herself off the stern of the ship. This enables him to mix with the first-class passengers for a night. When casting the role, various established actors, including Matthew McConaughey, Chris O'Donnell, Billy Crudup and Stephen Dorff, were considered, but Cameron felt that a few of the actors were too old for the part of a 20-year-old.[7][8][9][10] "Tom Cruise expressed an interest in [portraying] the character, though his superstar asking price was never taken seriously."[11] Cameron considered Jared Leto for the role but he refused to audition.[12] DiCaprio, 22 years old at the time, was brought to Cameron's attention by casting director Mali Finn.[11] Initially, he did not want to portray the character, and refused to read his first romantic scene on the set (see below). Cameron said, "He read it once, then started goofing around, and I could never get him to focus on it again. But for one split second, a shaft of light came down from the heavens and lit up the forest." Cameron strongly believed in DiCaprio's acting ability, and told him, "Look, I'm not going to make this guy brooding and neurotic. I'm not going to give him a tic and a limp and all the things you want." Cameron rather envisioned the character as a James Stewart type.[11] Kate Winslet as Rose DeWitt Bukater: Cameron said Winslet "had the thing that you look for" and that there was "a quality in her face, in her eyes," that he "just knew people would be ready to go the distance with her".[6] Rose is a 17-year-old girl, originally from Philadelphia, who is forced into an engagement to 30-year-old Cal Hockley so she and her mother, Ruth, can maintain their high-class status after her father's death had left the family debt-ridden. Rose boards the RMS Titanic with Cal and Ruth, as a first-class passenger, and meets Jack. Winslet said of her character, "She has got a lot to give, and she's got a very open heart. And she wants to explore and adventure the world, but she [feels] that's not going to happen."[6] Gwyneth Paltrow, Claire Danes, and Gabrielle Anwar had been considered for the role.[11][13][14] When they turned it down, 22-year-old Winslet campaigned heavily for the role. She sent Cameron daily notes from England, which led Cameron to invite her to Hollywood for auditions. As with DiCaprio, casting director Mali Finn originally brought her to Cameron's attention. When looking for a Rose, Cameron described the character as "an Audrey Hepburn type" and was initially uncertain about casting Winslet even after her screen test impressed him.[11] After she screen tested with DiCaprio, Winslet was so thoroughly impressed with him, that she whispered to Cameron, "He's great. Even if you don't pick me, pick him." Winslet sent Cameron a single rose with a card signed "From Your Rose" and lobbied him by phone. "You don't understand!" she pleaded one day when she reached him by mobile phone in his Humvee. "I am Rose! I don't know why you're even seeing anyone else!" Her persistence, as well as her talent, eventually convinced him to cast her in the role.[11] Billy Zane as Caledon Nathan "Cal" Hockley: Cal is Rose's 30-year-old fianc. He is arrogant and snobbish, and the heir to a steel fortune in Pittsburgh. He becomes increasingly embarrassed, jealous, and cruel about Rose's relationship with Jack. He later commits suicide after losing his fortune in the Wall Street Crash of 1929. The part was originally offered to Matthew McConaughey.[11]
1997 Titanic Frances Fisher as Ruth DeWitt Bukater: Rose's widowed mother, who arranges her daughter's engagement to Cal to maintain her family's high-society status. She loves her daughter but believes that social position is more important. She scorns Jack, even though he saved her daughter's life. Gloria Stuart as Rose Dawson Calvert: Rose narrates the film in a modern-day framing device. Cameron stated, "In order to see the present and the past, I decided to create a fictional survivor who is [close to] 101 years, and she connects us in a way through history."[6] The 100-year-old Rose gives Lovett information regarding the "Heart of the Ocean" after he discovers a nude drawing of her in the wreck. She tells the story of her time aboard the ship, mentioning Jack for the first time since the sinking. At 87, Stuart had to be made up to look older for the role.[11] Of casting Stuart, Cameron stated, "My casting director found her. She was sent out on a mission to find retired actresses from the Golden Age of the thirties and forties."[15] Cameron said that he did not know who Stuart was, and Fay Wray was also considered for the role. "But [Stuart] was just so into it, and so lucid, and had such a great spirit. And I saw the connection between her spirit and [Winslet's] spirit," stated Cameron. "I saw this joie de vivre in both of them, that I thought the audience would be able to make that cognitive leap that it's the same person."[11] Winslet and Stuart stated their belief that the character dies at the end of the film,[16][17] while Cameron states in his DVD commentary that he prefers to leave the viewers to form their own interpretation of the ending.[18] Stuart died on September 26, 2010, at age 100, approximately the same age elder Rose was in the film.[19] Bill Paxton as Brock Lovett: A treasure hunter looking for the "Heart of the Ocean" in the wreck of the Titanic in the present. Time and funding for his expedition are running out. He later reflects at the film's conclusion that, despite thinking about Titanic for three years, he has never understood it until he hears Rose's story. Suzy Amis as Lizzy Calvert: Rose's granddaughter, who accompanies her when she visits Lovett on the ship. Danny Nucci as Fabrizio De Rossi: Jack's Italian best friend, who boards the RMS Titanic with him after Jack wins two tickets in a poker game. Fabrizio does not board a lifeboat when the Titanic sinks and is killed when one of the ship's funnels breaks and crashes into the water. David Warner as Spicer Lovejoy: An ex-Pinkerton constable, Lovejoy is Cal's English valet and bodyguard, who keeps an eye on Rose and is suspicious about the circumstances surrounding Jack's rescue of her. He dies when the Titanic splits in half, causing him to fall into a massive opening. Jason Barry as Thomas "Tommy" Ryan: An Irish third-class passenger who befriends Jack and Fabrizio. Tommy is killed when he is accidentally pushed forward and shot by a panicked First Officer Murdoch.
562
Historical characters
Although not - and not intended to be - an entirely historically accurate depiction of events,[20] the film does include dramatisations of various historical characters: Kathy Bates as Margaret "Molly" Brown: Brown is looked down on upon by other first-class women, including Ruth, as "vulgar" and "new money" due to her sudden wealth. She is friendly to Jack and lends him a dinner jacket (bought for her son) when he is invited to dinner in the first-class dining saloon. Although Brown was a real person, Cameron chose not to portray her real-life actions. Molly Brown was dubbed "The Unsinkable Molly Brown" by historians because she, with the support of other women, commandeered Lifeboat 6 from Quartermaster Hichens.[21] Some aspects of this altercation are portrayed in Cameron's film. Victor Garber as Thomas Andrews: The ship's builder, Andrews is portrayed as a very kind and pleasant man who is modest about his grand achievement. After the collision, he tries to convince the others, particularly Ismay, that it is a "mathematical certainty" that the ship will sink. He is depicted during the sinking of the ship as standing next to the clock in the first-class smoking room, lamenting his failure to build a strong and safe ship. Bernard Hill as Captain Edward John Smith: Smith planned to make the Titanic his final voyage before retiring. He retreats into the bridge as the ship sinks, dying when water bursts through the windows whilst he clings to the
1997 Titanic ship's wheel. It is often disputed whether he died this way or later froze to death, as he was reported seen near the overturned Collapsible B.[22] Jonathan Hyde as Joseph Bruce Ismay: Ismay is portrayed as a rich, ignorant first-class man. In the film, he uses his position as White Star Line managing director to influence Captain Smith to go faster with the prospect of an earlier arrival in New York and favorable press attention; while this action appears in popular portrayals of the disaster, it is unsupported by evidence.[23][24] After the collision, he struggles to comprehend that his "unsinkable" ship is doomed, later sneaking on board a lifeboat to escape. Eric Braeden as Colonal John Jacob Astor IV: A first-class passenger whom Rose calls the richest man on the ship. The film depicts Astor and his 18-year-old wife Madeleine as being introduced to Jack by Rose in the first-class dining saloon. During the introduction, Astor asks if Jack is connected to the 'Boston Dawsons', a question Jack neatly deflects by saying that he is instead affiliated with the Chippewa Falls Dawsons. Astor is last seen as the Grand Staircase glass dome implodes and water surges in. In reality, Astor died after being crushed when one of the ship's funnels collapsed.[25] Bernard Fox as Colonal Archibald Gracie IV: The film depicts Gracie making a comment to Cal that "women and machinery don't mix", and congratulating Jack for saving Rose from falling off the ship, though he is unaware that it was a suicide attempt. Fox also portrayed lookout Frederick Fleet in the 1958 film A Night to Remember. Michael Ensign as Benjamin Guggenheim: A mining magnate traveling in first-class. He shows off his French mistress Madame Aubert to his fellow passengers while his family waits for him at home. When Jack joins the other first-class passengers for dinner after his rescue of Rose, Guggenheim refers to him as a "bohemian". Jonathan Evans-Jones as Wallace Hartley: The ship's bandmaster and violinist who plays uplifting music with his colleagues on the boat deck as the ship sinks. As the final plunge begins, he leads the band in a final performance of Nearer, My God, to Thee, to the tune of Bethany,[26][27] and dies in the sinking. Ewan Stewart as First Officer William Murdoch: The officer who is put in charge of the bridge on the night the ship struck the iceberg. During a rush for the lifeboats, Murdoch shoots Tommy Ryan as well as another passenger in a momentary panic, then commits suicide out of guilt, a fictional account that was met with criticism. When Murdoch's nephew Scott saw the film, he objected to his uncle's portrayal as damaging to Murdoch's heroic reputation.[28] A few months later, Fox vice-president Scott Neeson went to Dalbeattie, Scotland, where Murdoch lived, to deliver a personal apology, and also presented a 5000 donation to Dalbeattie High School to boost the school's William Murdoch Memorial Prize.[29] Cameron apologized on the DVD commentary, but noted that there were officers who fired gunshots to enforce the "women and children first" policy.[30] Jonathan Phillips as Second Officer Charles Lightoller. The film depicts Lightoller telling Captain Smith that it will be difficult to see icebergs with no breaking water. He is seen brandishing a gun and threatening to use it to keep order. He can be seen on top of Collapsible B when the first funnel collapses. Lightoller was the most senior officer to survive the disaster. Mark Lindsay Chapman as Chief Officer Henry Wilde: The ship's chief officer, who lets Cal on board a lifeboat because he has a child in his arms. Before he dies, he tries to get the boats to return to the sinking site to rescue passengers by blowing his whistle. After he freezes to death, Rose uses his whistle to attract the attention of Fifth Officer Lowe, which leads to her rescue. Ioan Gruffudd as Fifth Officer Harold Lowe: The only ship's officer who led a lifeboat to retrieve survivors of the sinking on the icy waters. The film depicts Lowe rescuing Rose. Edward Fletcher as Sixth Officer James Moody: The ship's only junior officer who died in the sinking. The film depicts Moody admitting Jack and Fabrizio onto the ship only moments before it departs from Southampton. Moody is later shown following Mr. Murdoch's orders to put the ship to full speed ahead, and informs First Officer Murdoch about the iceberg.
563
1997 Titanic James Lancaster as Father Thomas Byles: Father Byles, a Catholic priest from England, is portrayed praying and consoling passengers during the ship's final moments. Lew Palter and Elsa Raven as Isidor Straus and Ida Straus: Isidor is a former owner of R.H. Macy and Company, a former congressman from New York, and a member of the New York and New Jersey Bridge Commission. During the sinking, his wife Ida is offered a place in a lifeboat, but refuses, saying that she will honor her wedding pledge by staying with Isidor. They are last seen lying on their bed embracing each other as water fills their stateroom. Martin Jarvis as Sir Cosmo Duff-Gordon: A Scottish baronet who is rescued in Lifeboat 1. He and his wife were among only 12 people in Lifeboat #1, whose capacity was 40. He was accused of bribing the boat's crewmen not to row back and rescue those struggling in the water, but the British Board of Trade's inquiry into the disaster cleared them of any wrongdoing and a letter written by the secretary further clears their name.[31] Rosalind Ayres as Lady Duff-Gordon: A world-famous fashion designer and Sir Cosmo's wife. She is rescued in Lifeboat 1 with her husband. She and her husband never lived down rumors that they had forbidden the lifeboat's crew to return to the wreck site in case they would be swamped.[32][33][34] Rochelle Rose as Nol Leslie, Countess of Rothes: The Countess is shown to be friendly with Cal and the DeWitt Bukaters. Despite being of a higher status in society than Sir Cosmo and Lady Duff-Gordon, she is kind, and helps row the boat and even looks after the steerage passengers. Scott G. Anderson as Frederick Fleet: The lookout who saw the iceberg. Fleet escapes the sinking ship aboard Lifeboat 6. Paul Brightwell as Quartermaster Robert Hichens: One of the ship's six quartermasters and at the ship's wheel at the time of collision. He is in charge of lifeboat 6. He refuses to go back and pick up survivors after the sinking and eventually the boat is commandeered by Molly Brown. Martin East as Reginald Lee: The other lookout in the crow's nest. He survives the sinking. Simon Crane as Fourth Officer Joseph Boxhall: The officer in charge of firing flares and manning Lifeboat 2 during the sinking. He is shown on the bridge wings helping the seamen firing the flares. Gregory Cooke as Jack Phillips: Senior wireless operator on board the Titanic whom Captain Smith ordered to send the distress signal. Craig Kelly as Harold Bride: Junior wireless operator on board the Titanic. Liam Tuohy as Chief Baker Charles Joughin: The baker appears in the film on top of the railing with Jack and Rose as the ship sinks, drinking brandy from a flask. According to the real Joughin's testimony he rode the ship down and stepped into the water without getting his hair wet. He also admitted to hardly feeling the cold, most likely thanks to alcohol.[35] Terry Forrestal as Chief Engineer Joseph G. Bell: Bell and his men worked until the last minute to keep the lights and the power on in order for distress signals to get out. Bell and all of the engineers died in the bowels of the Titanic. Kevin De La Noy as Third Officer Herbert Pitman: In charge of Lifeboat 5.
564
Cameos
Several crew members of the Akademik Mstislav Keldysh appear in the film, including Anatoly Sagalevich, creator and pilot of the Mir Deep Submergence Vehicle.[36] Anders Falk, who filmed a documentary about the film's sets for the Titanic Historical Society, cameoes in the film as a Swedish immigrant whom Jack Dawson meets when he enters his cabin. Ed and Karen Kamuda, then President and Vice President of the Society, were extras in the film.[37] James Cameron and Barry Dennen also cameo as praying men. Greg Ellis and Oliver Page both play cameo parts as a Carpathia Steward and Steward Barnes respectively.
1997 Titanic The boat seen alongside Titanic is the SS Nomadic, Titanic's tender ship which survives to this day.
565
Pre-production
Writing and inspiration
"The story could not have been written better...The juxtaposition of rich and poor, the gender roles played out unto death (women first), the stoicism and nobility of a bygone age, the magnificence of the great ship matched in scale only by the folly of the men who drove her hell-bent through the darkness. And above all the lesson: that life is uncertain, the future unknowable...the unthinkable possible." James Cameron
[38]
James Cameron had a fascination with shipwrecks, and, for him, the RMS Titanic was "the Mount Everest of shipwrecks."[39][40][41] He was almost past the point in his life when he felt he could consider an undersea expedition, but said he still had "a mental restlessness" to live the life he had turned away from when he switched from the sciences to the arts in college. So when an IMAX film was made from footage shot of the wreck itself, he decided to seek Hollywood funding to "pay for an expedition and do the same thing." It was "not because I particularly wanted to make the movie," Cameron said. "I wanted to dive to the shipwreck."[11] Cameron wrote a scriptment for a Titanic film,[42] met with 20th Century Fox executives including Peter Chernin, and pitched it as "Romeo and Juliet on the Titanic".[11][] Cameron stated, "They were like, 'Oooooohkaaaaaay a three-hour romantic epic? Sure, that's just what we want. Is there a little bit of Terminator in that? Any Harrier jets, shoot-outs, or car chases?' I said, 'No, no, no. It's not like that.'"[11] The studio was dubious about the idea's commercial prospects, but, hoping for a long term relationship with Cameron, they gave him a greenlight.[11][11][11] Cameron convinced Fox to promote the film based on the publicity afforded by shooting the Titanic wreck itself,[42] and organized several dives to the site over a period of two years.[38] "My pitch on that had to be a little more detailed," said Cameron. "So I said, 'Look, we've got to do this whole opening where they're exploring the Titanic and they find the diamond, so we're going to have all these shots of the ship." Cameron stated, "Now, we can either do them with elaborate models and motion control shots and CG and all that, which will cost X amount of money or we can spend X plus 30 per cent and actually go shoot it at the real wreck."[11] The crew shot at the real wreck in the Atlantic Ocean eleven times in 1995 and actually spent more time with the ship than its passengers. At that depth, with a water pressure of 6,000 pounds per square inch, "one small flaw in the vessel's superstructure would mean instant death for all on board." Not only were the dives high-risk, but adverse conditions prevented Cameron from getting the high quality footage that he wanted.[11] During one dive, one of the submersibles collided with Titanic's hull, damaging both sub and ship and leaving fragments of the submersible's propeller shroud scattered around the superstructure. The external bulkhead of Captain Smith's quarters collapsed, exposing the interior. The area around the entrance to the Grand Staircase was also damaged.[43] Descending to the actual site made both Cameron and crew want "to live up to that level of reality.... But there was another level of reaction coming away from the real wreck, which was that it wasn't just a story, it wasn't just a drama," he said. "It was an event that happened to real people who really died. Working around the wreck for so much time, you get such a strong sense of the profound sadness and injustice of it, and the message of it." Cameron stated, "You think, 'There probably aren't going to be many filmmakers who go to Titanic. There may never be another one maybe a documentarian." Due to this, he felt "a great mantle of responsibility to convey the emotional message of it to do that part of it right, too".[11] After filming the underwater shots, Cameron began writing the screenplay.[42] He wanted to honor the people who died during the sinking, so he spent six months researching all of the Titanic's crew and passengers.[38] "I read everything I could. I created an extremely detailed timeline of the ship's few days and a very detailed timeline of the last night of its life," he said.[11] "And I worked within that to write the script, and I got some historical experts to analyze what I'd written and comment on it, and I adjusted it."[11] He paid meticulous attention to detail, even
1997 Titanic including a scene depicting the Californian's role in Titanic's demise, though this was later cut (see below). From the beginning of the shoot, they had "a very clear picture" of what happened on the ship that night. "I had a library that filled one whole wall of my writing office with "Titanic stuff," because I wanted it to be right, especially if we were going to dive to the ship," he said. "That set the bar higher in a way it elevated the movie in a sense. We wanted this to be a definitive visualization of this moment in history as if you'd gone back in a time machine and shot it."[11] Cameron felt the Titanic sinking was "like a great novel that really happened", yet the event had become a mere morality tale; the film would give audiences the experience of living the history.[38] The treasure hunter Brock Lovett represented those who never connected with the human element of the tragedy,[36] while the blossoming romance of Jack and Rose, he believed, would be the most engaging part of the story: when their love is finally destroyed, the audience would mourn the loss.[38] "All my films are love stories," Cameron said, "but in Titanic I finally got the balance right. It's not a disaster film. It's a love story with a fastidious overlay of real history."[11] Cameron then framed the romance with the elderly Rose to make the intervening years palpable and poignant.[38] For him, the end of the film leaves open the question if the elderly Rose was in a conscious dream or had died in her sleep.[18]
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Scale modeling
Harland and Wolff, the RMS Titanic's builders, opened their private archives to the crew, sharing blueprints that were thought lost. For the ship's interiors, production designer Peter Lamont's team looked for artifacts from the era. The newness of the ship meant every prop had to be made from scratch.[] Fox acquired 40 acres of waterfront south of Playas de Rosarito in Mexico, and began building a new studio on May 31, 1996. A horizon tank of seventeen million gallons was built for the exterior of the reconstructed ship, providing 270 degrees of ocean view. The ship was built to full scale, but Lamont removed redundant sections on the superstructure and forward well deck for the ship to fit in the tank, with the remaining sections filled with digital models. The lifeboats and funnels were shrunk by ten percent. The boat deck and A-deck were working sets, but the rest of the ship was just steel plating. Within was a fifty-foot lifting platform for the ship to tilt during the sinking sequences. Towering above was a 162 feet (unknown operator: u'strong'm) tall tower crane on 600 feet (unknown operator: u'strong'm) of rail track, acting as a combined construction, lighting, and camera platform.[36] The sets representing the interior rooms of the Titanic were reproduced exactly as originally built, using photographs and plans from the Titanic's builders. "The liner's first class staircase, which figures prominently in the script was constructed out of real wood and actually destroyed in the filming of the sinking." The rooms, the carpeting, design and colors, individual pieces of furniture, decorations, chairs, wall paneling, cutlery and crockery with the White Star Line crest on each piece, completed ceilings, and costumes were among the designs true to the originals. Cameron additionally hired two Titanic historians, Don Lynch and Ken Marschall, to authenticate the historical detail in the film.[11]
Production
The modern day scenes of the expedition were shot on the Akademik Mstislav Keldysh in July 1996.[36] Principal photography for Titanic began in September 1996 at the newly-built Fox Baja Studios.[36] The poop deck was built on a hinge which could rise from zero to ninety degrees in a few seconds as the ship's stern rose during the sinking.[44] For the safety of the stuntmen, many props were made of foam rubber.[45] By November 15, the boarding scenes were being shot.[44] Cameron chose to build his RMS Titanic on the starboard side as a study of weather data showed prevailing north-to-south wind which blew the funnel smoke aft. This posed a problem for shooting the ship's departure from Southampton, as it was docked on its port side. Any writing on props and costumes had to be reversed, and if someone walked to their right in the script, they had to walk left during shooting. In post-production, the film was flipped to the correct direction.[46]
1997 Titanic A full time etiquette coach was hired to instruct the cast on the manners of the upper class gentility in 1912.[11] Despite this, several critics picked up on anachronisms in the film, not least involving the two main stars.[47][48][49] Cameron sketched Jack's nude portrait of Rose for a scene which he feels has the backdrop of repression.[11] "You know what it means for her, the freedom she must be feeling. It's kind of exhilarating for that reason," he said.[11] The nude scene was DiCaprio and Winslet's first scene together. "It wasn't by any kind of design, although I couldn't have designed it better. There's a nervousness and an energy and a hesitance in them," Cameron stated. "They had rehearsed together, but they hadn't shot anything together. If I'd had a choice, I probably would have preferred to put it deeper into the body of the shoot." He said he and his crew "were just trying to find things to shoot" because the big set was not yet ready. "It wasn't ready for months, so we were scrambling around trying to fill in anything we could get to shoot." After seeing the scene on film, Cameron felt it worked out considerably well.[11] However, other times on the set were not as smooth. The shoot was an arduous experience that "cemented Cameron's formidable reputation as 'the scariest man in Hollywood'. He became known as an uncompromising, hard-charging perfectionist" and a "300-decibel screamer, a modern-day Captain Bligh with a megaphone and walkie-talkie, swooping down into people's faces on a 162ft crane".[50] Winslet chipped a bone in her elbow during filming, and had been worried that she would drown in the 17m-gallon water tank the ship was to be sunk in. "There were times when I was genuinely frightened of him. Jim has a temper like you wouldn't believe," she said.[] "'God damn it!' he would yell at some poor crew member, 'that's exactly what I didn't want!'"[] Her co-star, Bill Paxton, was familiar with Cameron's work ethic from his earlier experience with him. "There were a lot of people on the set. Jim is not one of those guys who has the time to win hearts and minds," he said.[] The crew felt that Cameron had an evil alter ego, and nicknamed him "Mij" (Jim spelt backwards).[] In response to the criticism, Cameron stated, "Film-making is war. A great battle between business and aesthetics."[] During shooting on the Akademik Mstislav Keldysh, an angry crew member put the dissociative drug PCP into the soup that Cameron and various others ate one night, which sent more than 50 people to the hospital.[11] "There were people just rolling around, completely out of it. Some of them said they were seeing streaks and psychedelics," said actor Lewis Abernathy.[11] Cameron managed to vomit before the drug took a full hold. Abernathy was shocked at the way he looked. "One eye was completely red, like the Terminator eye. A pupil, no iris, beet red. The other eye looked like he'd been sniffing glue since he was four."[11][] The person behind the poisoning was never caught.[16][51] The filming schedule was intended to last 138 days but grew to 160. Many cast members came down with colds, flu, or kidney infections after spending hours in cold water, including Winslet. In the end, she decided she would not work with Cameron again unless she earned "a lot of money".[51] Several others left and three stuntmen broke their bones, but the Screen Actors Guild decided, following an investigation, that nothing was inherently unsafe about the set.[51] Additionally, DiCaprio said there was no point when he felt he was in danger during filming.[52] Cameron believed in a passionate work ethic and never apologized for the way he ran his sets, although he acknowledged: I'm demanding, and I'm demanding on my crew. In terms of being kind of militaresque, I think there's an element of that in dealing with thousands of extras and big logistics and keeping people safe. I think you have to have a fairly strict methodology in dealing with a large number of people.[51] The costs of filming Titanic eventually began to mount, and finally reached $200million.[2][3][4] Fox executives panicked, and suggested an hour of specific cuts from the three-hour film. They argued the extended length would mean fewer showings, thus less money even though long epics are more likely to help directors win Oscars. Cameron refused, telling Fox, "You want to cut my movie? You're going to have to fire me! You want to fire me? You're going to have to kill me!" he said.[11] The executives did not want to start over, because it would mean the loss of their entire investment, but they also initially rejected Cameron's offer of forfeiting his share of the profits as an empty gesture; they felt that profits would be unlikely.[11] Cameron explained forfeiting his share as complex. "...the short version is that the film cost proportionally much more than T2 and True Lies. Those films went up seven or eight percent from the initial budget. Titanic also had a large budget to begin with, but it went up a lot more," said Cameron. "As the producer and director, I take responsibility for the studio that's writing the checks, so I made it less
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1997 Titanic painful for them. I did that on two different occasions. They didn't force me to do it; they were glad that I did."[11]
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Post-production
Effects
Cameron wanted to push the boundary of special effects with his film, and enlisted Digital Domain to continue the developments in digital technology which the director pioneered while working on The Abyss and Terminator 2: Judgment Day. Many previous films about the RMS Titanic shot water in slow motion, which did not look wholly convincing.[53] He encouraged them to shoot their 45-foot (unknown operator: u'strong'm) long miniature of the ship as if "we're making a commercial for the White Star Line".[54] Afterwards, digital water and smoke were added, as were extras captured on a motion capture stage. Visual effects supervisor Rob Legato scanned the faces of many actors, including himself and his children, for the digital extras and stuntmen. There was also a 65-foot (unknown operator: u'strong'm) long model of the ship's stern that could break in two repeatedly, the only miniature to be used in water.[53] For scenes set in the ship's engines, footage of the SS Jeremiah O'Brien's engines were composited with miniature support frames and actors shot against a greenscreen.[55] In order to save money, the first class lounge was a miniature set incorporated into a greenscreen backdrop.[56] An enclosed 5000000 US gallons (unknown operator: u'strong' l) tank was used for sinking interiors, in which the entire set could be tilted into the water. In order to sink the Grand Staircase, 90000 US gallons (unknown operator: u'strong' l) of water were dumped into the set as it was lowered into the tank. Unexpectedly, the waterfall ripped the staircase from its steel-reinforced foundations, although no one was hurt. The 744-foot (unknown operator: u'strong'm) long exterior of the RMS Titanic had its first half lowered into the tank, but being the heaviest part of the ship meant it acted as a shock absorber against the water; to get the set into the water, Cameron had much of the set emptied and even smashed some of the promenade windows himself. After submerging the dining saloon, three days were spent shooting Lovett's ROV traversing the wreck in the present.[36] The post-sinking scenes in the freezing Atlantic were shot in a 350000 US gallons (unknown operator: u'strong' l) tank,[57] where the frozen corpses were created by applying a powder on actors that crystallized when exposed to water, and wax was coated on hair and clothes.[] The climactic scene, which features the breakup of the ship directly before it sinks, as well as its final plunge to the bottom of the Atlantic, involved a tilting full-sized set, 150 extras and 100 stunt performers. Cameron criticized previous Titanic films for depicting the final plunge of the liner as sliding gracefully underwater. He "wanted to depict it as the terrifyingly chaotic event that it really was".[11] When carrying out the sequence, people needed to fall off the increasingly tilting deck, plunging hundreds of feet below and bouncing off of railings and propellers on the way down. A few attempts to film this sequence with stunt people resulted in some minor injuries and Cameron halted the more dangerous stunts. The risks were eventually minimized "by using computer generated people for the dangerous falls".[11]
Editing
There was one "crucial historical fact" Cameron chose to omit from the film the ship that was close to the Titanic, but had turned off its radio for the night and did not hear their SOS calls. "Yes, the [SS] Californian. That wasn't a compromise to mainstream filmmaking. That was really more about emphasis, creating an emotional truth to the film," stated Cameron. He said there were aspects of retelling the sinking that seemed important in pre and post-production, but turned out to be less important as the film evolved. "The story of the Californian was in there; we even shot a scene of them switching off their Marconi radio set," said Cameron. "But I took it out. It was a clean cut, because it focuses you back onto that world. If Titanic is powerful as a metaphor, as a microcosm, for the end of the world in a sense, then that world must be self-contained."[11]
1997 Titanic During the first assembly cut, Cameron altered the planned ending, which had given resolution to Brock Lovett's story. In the original version of the ending, Brock and Lizzy see the elderly Rose at the stern of the boat, and fear she is going to commit suicide. Rose then reveals that she had the "Heart of the Ocean" diamond all along, but never sold it, in order to live on her own without Cal's money. She tells Brock that life is priceless and throws the diamond into the ocean, after allowing him to hold it. After accepting that treasure is worthless, Brock laughs at his stupidity. Rose then goes back to her cabin to sleep, whereupon the film ends in the same way as the final version. In the editing room, Cameron decided that by this point, the audience would no longer be interested in Brock Lovett and cut the resolution to his story, so that Rose is alone when she drops the diamond. He also did not want to disrupt the audience's melancholy after the Titanic's sinking.[58] The version used for the first test screening featured a fight between Jack and Lovejoy which takes place after Jack and Rose escape into the flooded dining saloon, but the test audiences disliked it.[59] The scene was written to give the film more suspense, and featured Cal (falsely) offering to give Lovejoy, his valet, the "Heart of the Ocean" if he can get it from Jack and Rose. Lovejoy goes after the pair in the sinking first class dining room. Just as they are about to escape him, Lovejoy notices Rose's hand slap the water as it slips off the table behind which she is hiding. In revenge for framing him for the "theft" of the necklace, Jack attacks him and smashes his head against a glass window, which explains the gash on Lovejoy's head that can be seen when he dies in the completed version of the film. In their reactions to the scene, test audiences said it would be unrealistic to risk one's life for wealth, and Cameron cut it for this reason, as well as for timing and pacing reasons. Many other scenes were cut for similar reasons.[59]
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Music and soundtrack

The soundtrack album for Titanic was composed by James Horner. For the vocals heard throughout the film, subsequently described by Earle Hitchner of The Wall Street Journal as "evocative", Horner chose Norwegian singer Sissel Kyrkjeb, mononymously known as "Sissel". Horner knew Sissel from her album Innerst I Sjelen, and he particularly liked how she sang "Eg veit i himmerik ei borg" ("I Know in Heaven There Is a Castle"). He had tried twenty-five or thirty singers before he finally chose Sissel as the voice to create specific moods within the film.[60] Horner additionally wrote the song "My Heart Will Go On" in secret with Will Jennings because Cameron did not want any songs with singing in the film.[61] Cline Dion agreed to record a demo with the persuasion of her husband Ren Anglil. Horner waited until Cameron was in an appropriate mood before presenting him with the song. After playing it several times, Cameron declared his approval, although worried that he would have been criticized for "going commercial at the end of the movie".[61] Cameron also wanted to appease anxious studio executives and "saw that a hit song from his movie could only be a positive factor in guaranteeing its completion".[11]
Release
Initial screening
20th Century Fox and Paramount Pictures co-financed Titanic, with Paramount handling the North American distribution and Fox handling the international release. They expected Cameron to complete the film for a release on July 2, 1997. The film was to be released on this date "in order to exploit the lucrative summer season ticket sales when blockbuster films usually do better".[11] In April, Cameron said the film's special effects were too complicated and that releasing the film for summer would not be possible.[11] With production delays, Paramount pushed back the release date to December 19, 1997.[62] "This fueled speculation that the film itself was a disaster." However, a preview screening in Minneapolis on July 14 "generated positive reviews" and "[c]hatter on the internet was responsible for more favorable word of mouth about the [film]". This eventually led to more positive media coverage.[11]
1997 Titanic The film premiered on November 1, 1997, at the Tokyo International Film Festival,[63] where reaction was described as "tepid" by The New York Times.[64] However, positive reviews started to appear back in the United States; the official Hollywood premiere occurred on December 14, 1997, where "the big movie stars who attended the opening were enthusiastically gushing about the film to the world media".[11]
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Box office
Including revenue from the 2012 reissue, Titanic has earned $658,672,302 in North America and $1,526,700,000 in other countries, for a worldwide total of $2,185,372,302.[5] It became the highest-grossing film of all time worldwide in 1998, and remained so for twelve years, until Avatar, also written and directed by Cameron, surpassed it in 2010.[65] On March 1, 1998,[66] it became the first film to earn more than $1billion worldwide,[67] and on the weekend April 1315, 2012a century after the original vessel's founderingTitanic became the second film to cross the $2billion threshold during its 3D re-release.[68] Box Office Mojo estimates that Titanic is the fifth highest-grossing film of all time in North America when adjusting for ticket price inflation.[69] Initial theatrical run The film received steady attendance after opening in North America on Friday, December 19, 1997. By the end of that same weekend, theaters were beginning to sell out. The film earned $8,658,814 on its opening day and $28,638,131 over the opening weekend from 2,674 theaters, averaging to about $10,710 per venue, and ranking number one at the box office, ahead of the eighteenth James Bond film, Tomorrow Never Dies. By New Year's Day, Titanic had made over $120million, had increased in popularity and theaters continued to sell out. Its biggest single day took place on Saturday, February 14 (Valentine's Day), 1998, making $13,048,711, more than six weeks after it debuted in North America.[70][71] It stayed at number one for fifteen consecutive weeks in North America, which remains a record for any film.[72] The film stayed in theaters in North America for almost ten months, before finally closing on Thursday, October 1, 1998 with a final domestic gross of $600,788,188.[73] Outside North America, the film made double its North American gross, generating $1,242,413,080[74] and accumulating a grand total of $1,843,201,268 worldwide from its initial theatrical run.[75] Commercial analysis Before its release, various film critics predicted the film would be a significant disappointment at the box office, especially due to it being the most expensive film ever made at the time.[50][76][77][78] When it was shown to the press in autumn of 1997, "it was with massive forebodings" since the "people in charge of the screenings believed they were on the verge of losing their jobs because of this great albatross of a picture on which, finally, two studios had to combine to share the great load of its making".[77] Cameron also thought he was "headed for disaster" at one point during filming. "We labored the last six months on Titanic in the absolute knowledge that the studio would lose $100m. It was a certainty," he stated.[50] As the film neared release, "particular venom was spat at Cameron for what was seen as his hubris and monumental extravagance". A film critic for the Los Angeles Times wrote that "Cameron's overweening pride has come close to capsizing this project" and that the film was "a hackneyed, completely derivative copy of old Hollywood romances".[50]
"It's hard to forget the director on the stage of the Shrine Auditorium in LA, exultant, pumping a golden Oscar statuette into the air and shouting: 'I'm the king of the world!' As everyone knew, that was the most famous line in Titanic, exclaimed by Leonardo DiCaprio's character as he leaned into the wind on the prow of the doomed vessel. Cameron's incantation of the line was a giant 'eff off', in front of a television audience approaching a billion, to all the naysayers, especially those sitting right in front of him." [50] Christopher Goodwin of The Times on Cameron's response to Titanic's criticism
When the film became a success, with an unprecedented box office performance, it was credited as "the love story [that] stole the world's hearts".[76] "The first batch of people to see it [were] gob smacked by the sheer scale and intimacy of the production. They emerged from the cinema, tear stained and emotionally flabbergasted."[78] The film
1997 Titanic was playing on 3,200 screens a full ten weeks after it opened,[77] and out of its fifteen straight weeks on top of the charts, jumped 43% in total sales in its ninth week of release. It earned over $20million a week for ten weeks,[79] and after fourteen weeks into its run, it was still bringing in more than $1m a week.[77] Although teenage girls, as well as young women in general, who would see the film several times and subsequently caused "Leo-Mania", were often credited with having primarily propelled the film to its all-time box office record,[80] other reports have attributed the film's success to "[p]ositive word of mouth and repeat viewership" due to the love story combined with the ground-breaking special effects.[79][11] The film's impact on men has also been especially credited.[78][81][82] Now considered one of the films that "make men cry",[][82] MSNBC's Ian Hodder stated that men admire Jack's sense of adventure, stowing away on a steamship bound for America. "We cheer as he courts a girl who was out of his league. We admire how he suggests nude modeling as an excuse to get naked. So when [the tragic ending happens], an uncontrollable flood of tears sinks our composure," he said.[81] Titanic's ability to make men cry was briefly parodied in the 2009 film Zombieland, where character Tallahassee (Woody Harrelson), when recalling the death of his young son, states: "I haven't cried like that since Titanic."[83][84] Also addressing the sentimentality of the film, Benjamin Willcock of DVDActive.com said that, as a fourteen-year-old male, he had wanted to see Starship Troopers instead, but was overruled by an uncle and friends. "Little did I know that I would be seeing a film that would become the biggest, most successful motion picture event of all time," he stated. "I was also blissfully unaware that it would turn out to be so much more than 'some epic love story'".[78] In 2010, the BBC analyzed the stigma over men crying during Titanic and films in general. "Middle-aged men are not 'supposed' to cry during movies," stated Finlo Rohrer of the website, citing the ending of Titanic as having generated such tears, adding that "men, if they have felt weepy during [this film], have often tried to be surreptitious about it." Professor Mary Beth Oliver, of Penn State University, stated, "For many men, there is a great deal of pressure to avoid expression of 'female' emotions like sadness and fear. From a very young age, males are taught that it is inappropriate to cry, and these lessons are often accompanied by a great deal of ridicule when the lessons aren't followed." She said, "Indeed, some men who might sneer at the idea of crying during Titanic will readily admit to becoming choked up during Saving Private Ryan or Platoon." For men in general, the idea of sacrifice for a "brother" is a more suitable source of emotion.[82] Titanic's catchphrase "I'm the king of the world!" became one of the film industry's more popular quotations.[85][86] According to Richard Harris, a psychology professor at Kansas State University, who studied why people like to cite films in social situations, using film quotations in everyday conversation is similar to telling a joke and a way to form solidarity with others. "People are doing it to feel good about themselves, to make others laugh, to make themselves laugh", he said.[86] Cameron explained the film's success as having significantly benefited from the experience of sharing. "When people have an experience that's very powerful in the movie theatre, they want to go share it. They want to grab their friend and bring them, so that they can enjoy it," he said. "They want to be the person to bring them the news that this is something worth having in their life. That's how Titanic worked."[87] Media Awareness Network stated, "The normal repeat viewing rate for a blockbuster theatrical film is about 5%. The repeat rate for Titanic was over 20%."[8] The box office receipts "were even more impressive" when factoring in "the film's 3 hour and 14 minute length meant that it could only be shown three times a day compared to a normal movie's four showings". In response to this, "[m]any theatres started midnight showings and were rewarded with full houses until almost 3:30 am".[8] Titanic held the record for box office gross for twelve years.[88] Cameron's most recent film, Avatar, was considered the first film with a genuine chance at surpassing its worldwide gross,[89][90] and did so in 2010.[65] Various explanations for why the film was able to successfully challenge Titanic were given. For one, "Two-thirds of Titanic's haul was earned overseas, and Avatar [tracked] similarly... Avatar opened in 106 markets globally and was no. 1 in all of them" and the markets "such as Russia, where Titanic saw modest receipts in 1997 and 1998, are
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1997 Titanic white-hot today" with "more screens and moviegoers" than ever before.[91] Brandon Gray, president of Box Office Mojo, said that while Avatar may beat Titanic's revenue record, the film is unlikely to surpass Titanic in attendance. "Ticket prices were about $3 cheaper in the late 1990s."[89] In December 2009, Cameron had stated, "I don't think it's realistic to try to topple Titanic off its perch. Some pretty good movies have come out in the last few years. Titanic just struck some kind of chord."[79] In a January 2010 interview, he gave a different take on the matter once Avatar's performance was easier to predict. "It's gonna happen. It's just a matter of time," he said.[90]
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Critical reception
Titanic garnered mostly positive reviews from film critics. Review aggregate website Rotten Tomatoes reports the film as holding an overall 88% "Certified Fresh" approval rating based on 161 reviews, with a rating average of 7.8 out of 10. The site's general consensus is that the film is "[a] mostly unqualified triumph for Cameron, who offers a dizzying blend of spectacular visuals and old-fashioned melodrama".[11] At Metacritic, which assigns a weighted mean rating out of 0100 reviews from film critics, the film has a rating score of 74 based on 34 reviews, classified as a generally favorably reviewed film.[92] With regard to the film's overall design, Roger Ebert stated, "It is flawlessly crafted, intelligently constructed, strongly acted, and spellbinding... Movies like this are not merely difficult to make at all, but almost impossible to make well." He credited the "technical difficulties" with being "so daunting that it's a wonder when the filmmakers are also able to bring the drama and history into proportion" and "found [himself] convinced by both the story and the sad saga".[93] He named it as his ninth best film of 1997.[94] On the television program Siskel & Ebert, the film received "two thumbs up" and was praised for its accuracy in recreating the ship's sinking; Ebert described the film as "a glorious Hollywood epic, well-crafted and well worth the wait" and Gene Siskel found Leonardo DiCaprio "captivating".[95] James Berardinelli stated, "Meticulous in detail, yet vast in scope and intent, Titanic is the kind of epic motion picture event that has become a rarity. You don't just watch Titanic, you experience it."[96] It was named his second best film of 1997.[97] Almar Haflidason of the BBC wrote that "[t]he sinking of the great ship is no secret, yet for many exceeded expectations in sheer scale and tragedy" and that "when you consider that it tops a bum-numbing three-hour running time, then you have a truly impressive feat of entertainment achieved by Cameron".[98] Joseph McBride of Boxoffice Magazine concluded, "To describe Titanic as the greatest disaster movie ever made is to sell it short. James Cameron's recreation of the 1912 sinking of the 'unsinkable' liner is one of the most magnificent pieces of serious popular entertainment ever to emanate from Hollywood."[] The romantic and emotionally-charged aspects of the film were equally praised. Andrew L. Urban of Urban Cinefile said, "You will walk out of Titanic not talking about budget or running time, but of its enormous emotive power, big as the engines of the ship itself, determined as its giant propellers to gouge into your heart, and as lasting as the love story that propels it."[99] Owen Gleiberman of Entertainment Weekly described the film as, "A lush and terrifying spectacle of romantic doom. Writer-director James Cameron has restaged the defining catastrophe of the early 20th century on a human scale of such purified yearning and dread that he touches the deepest levels of popular moviemaking."[100] Janet Maslin of The New York Times commented that "Cameron's magnificent Titanic is the first spectacle in decades that honestly invites comparison to Gone With the Wind."[] Richard Corliss of Time magazine, on the other hand, wrote a mostly negative review, criticizing the lack of interesting emotional elements.[101] Some reviewers felt that the story and dialogue were weak, while the visuals were spectacular. Kenneth Turan's review in the Los Angeles Times was particularly scathing. Dismissing the emotive elements, he stated, "What really brings on the tears is Cameron's insistence that writing this kind of movie is within his abilities. Not only is it not, it is not even close.",[102] and later claimed that the only reason that the film won Oscars was because of its box office total.[103] Barbara Shulgasser of The San Francisco Examiner gave Titanic one star out of four, citing a friend as saying, "The number of times in this unbelievably badly-written script that the two [lead characters] refer to each other by name was an indication of just how dramatically the script lacked anything more interesting for the actors to say."[104] Also, filmmaker Robert Altman called it "the most dreadful piece of work I've ever seen in my entire
1997 Titanic life".[105] In his 2012 study of the lives of the passengers on the Titanic, historian Richard Davenport-Hines says "Cameron's film diabolized rich Americans and educated English, anathematizing their emotional restraint, good tailoring, punctilious manners and grammatical training, while it made romantic heroes of the poor Irish and the unlettered".[106] Titanic suffered backlash in addition to its success. In 2003, the film topped a poll of "Best Film Endings",[107] and yet it also topped a poll by The Film programme as "the worst movie of all time".[108] The British film magazine Empire reduced their rating of the film from the maximum five stars and an enthusiastic review, to four stars with a less positive review in a later edition, to accommodate its readers' tastes, who wanted to disassociate themselves from the hype surrounding the film, and the reported activities of its fans, such as those attending multiple screenings.[109] In addition to this, positive and negative parodies and other such spoofs of the film abounded and were circulated on the internet, often inspiring passionate responses from fans of various opinions of the film.[110] Benjamin Willcock of DVDActive.com did not understand the backlash or the passionate hatred for the film. "What really irks me...," he said, "are those who make nasty stabs at those who do love it." Willcock stated, "I obviously don't have anything against those who dislike Titanic, but those few who make you feel small and pathetic for doing so (and they do exist, trust me) are way beyond my understanding and sympathy."[11] Cameron responded to the backlash, and Kenneth Turan's review in particular. "Titanic is not a film that is sucking people in with flashy hype and spitting them out onto the street feeling let down and ripped off," he stated. "They are returning again and again to repeat an experience that is taking a 3-hour and 14-minute chunk out of their lives, and dragging others with them, so they can share the emotion." Cameron emphasized people from all ages (ranging from 8 to 80) and from all backgrounds were "celebrating their own essential humanity" by seeing it. He described the script as earnest and straightforward, and said it intentionally "incorporates universals of human experience and emotion that are timeless and familiar because they reflect our basic emotional fabric" and that the film was able to succeed in this way by dealing with archetypes. He did not see it as pandering. "Turan mistakes archetype for cliche," he said. "I don't share his view that the best scripts are only the ones that explore the perimeter of human experience, or flashily pirouette their witty and cynical dialogue for our admiration."[111] Empire eventually reinstated its original five star rating of the film, commenting, "It should be no surprise then that it became fashionable to bash James Cameron's Titanic at approximately the same time it became clear that this was the planet's favourite film. Ever. Them's the facts."[112]
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Accolades
Titanic began its awards sweep starting with the Golden Globes, winning four, namely Best Motion Picture (Drama), Best Director, Best Original Score, and Best Song.[113] Kate Winslet and Gloria Stuart were also nominees, but lost.[114] It won the ACE "Eddie" Award, ASC Award, Art Directors Guild Award, Cinema Audio Society Awards, Screen Actors Guild Award (Best Supporting Actress for Gloria Stuart), The Directors Guild of America Award, and Broadcast Film Critics Association Award (Best Director for James Cameron), and The Producer Guild of America Award.[115] It was also nominated for ten BAFTA awards, including Best Film and Best Director; however, it failed to win any.[2] The film garnered fourteen Academy Awards nominations, tying the record set in 1950 by Joseph L. Mankiewicz's All About Eve[116] and won eleven, including the Best Picture and Best Director.[2][117] It also picked up the awards for Best Cinematography, Best Costume Design, Best Visual Effects, Best Sound (Gary Rydstrom, Tom Johnson, Gary Summers, Mark Ulano), Best Sound Effects Editing, Best Original Dramatic Score, Best Film Editing, Best Original Song, and Best Art Direction.[2][118] Kate Winslet, Gloria Stuart and the make-up artists were the three nominees that did not win. James Cameron's original screenplay and Leonardo DiCaprio were not nominees.[] It was the second film to win eleven Academy Awards, after Ben-Hur.[2] The Lord of the Rings: The Return of the King would also match this record in 2004, with its eleven wins from eleven nominations.
1997 Titanic Titanic won the 1997 Academy Award for Best Original Song, as well as three Grammy Awards for Record of the Year, Song of the Year, and Best Song Written Specifically for a Motion Picture or Television.[2][119] The film's soundtrack became the best-selling primarily orchestral soundtrack of all time, and became a worldwide success, spending sixteen weeks at number-one in the United States, and was certified diamond for over eleven million copies sold in the United States alone.[120] The soundtrack also became the best-selling album of 1998 in the U.S.[121] "My Heart Will Go On" won the Grammy Awards for Best Song Written Specifically for a Motion Picture or for Television. The film also won Best Male Performance for Leonardo DiCaprio and Best Movie at the MTV Movie Awards, Best Film at the People's Choice Awards, and Favorite Movie at the 1998 Kids' Choice Awards.[2] It won various awards outside the United States, including the Awards of the Japanese Academy as the Best Foreign Film of the Year.[2] Titanic eventually won nearly ninety awards and had an additional forty-seven nominations from various award-giving bodies around the world.[2] Additionally, the book about the making of the film was at the top of The New York Times' bestseller list for several weeks, "the first time that such a tie-in book had achieved this status".[11] Since its release, Titanic has appeared on the American Film Institute's award-winning 100 Years series. So far, it has ranked on the following six lists:
AFI's 100 Years...100 Thrills Passions Songs Rank Source Notes
574
25 37 14
[122] [123] [124]
A list of the top 100 thrilling films in American cinema, compiled in 2001. A list of the top 100 love stories in American cinema, compiled in 2002. A list of the top 100 songs in American cinema, compiled in 2004. Titanic ranked 14th for Cline Dion's "My Heart Will Go On". A list of the top 100 film quotations in American cinema, compiled in 2005. Titanic ranked 100th for Jack Dawson's yell of "I'm the king of the world!" A 2007 (10th anniversary) edition of 1997's list of the 100 best films of the past century. Titanic was not eligible when the original list was released. The 2008 poll consisted of the top ten films in ten different genres. Titanic ranked as the sixth best epic film.
Movie quotes
100
[]
Movies
83
[125]
AFI's 10 Top 10
[126]
Home media
Titanic was released worldwide in widescreen and pan and scan formats on VHS and laserdisc on September 1, 1998.[127] The VHS was also made available in a deluxe boxed gift set with a mounted filmstrip and six lithograph prints from the movie. A DVD version was released on August 31, 1999 in a widescreen-only (non-anamorphic) single-disc edition with no special features other than a theatrical trailer. Cameron stated at the time that he intended to release a special edition with extra features later. This release became the best-selling DVD of 1999 and early 2000, becoming the first DVD ever to sell one million copies.[128] At the time, fewer than 5% of all U.S. homes had a DVD player. "When we released the original Titanic DVD, the industry was much smaller, and bonus features were not the standard they are now," said Meagan Burrows, Paramount's president of domestic home entertainment, which made the film's DVD performance even more impressive.[11] Titanic was re-released to DVD on October 25, 2005 when a three-disc Special Collector's Edition was made available in the United States and Canada. This edition contained a newly restored transfer of the film, as well as various special features.[129] An international two and four-disc set followed on November 7, 2005.[11][130] The two-disc edition was marketed as the Special Edition, and featured the first two discs of the three-disc set, only PAL-enabled. A four-disc edition, marketed as the Deluxe Collector's Edition, was also released on November 7, 2005.[] Also, available only in the United Kingdom, a limited 5-disc set of the film, under the title Deluxe Limited Edition, was released with only 10,000 copies manufactured. The fifth disc contains Cameron's documentary Ghosts of the
1997 Titanic Abyss, which was distributed by Walt Disney Pictures. Unlike the individual release of Ghosts of the Abyss, which contained two discs, only the first disc was included in the set.[11] As regards to television broadcasts, the film airs occasionally across the United States on networks such as TNT.[131] To permit the scene where Jack draws the nude portrait of Rose to be shown on network and specialty cable channels, in addition to minor cuts, the sheer, see-through robe worn by Winslet was digitally painted black. Turner Classic Movies also began to show the film, specifically during the days leading up to the 82nd Academy Awards.[132] The film has also aired on ABC Family (since February 19, 2011) and A&E, most recently on June 3, 2011. 2D and 3D Blu-ray editions are scheduled to be released on September 10, 2012.
575
3D conversion
A 2012 re-release, also known as Titanic in 3D,[133] was created by re-mastering the original to 4K resolution and post-converting to stereoscopic 3D format. The Titanic 3D version took 60 weeks and $18million to produce, including the 4K restoration.[134] The 3D conversion was preformed by Stereo D[135] and Sony with Slam Content's Panther Records remastering the soundtrack.[136] Digital 2D and in 2D IMAX versions were also struck from the new 4K master created in the process.[137] The only scene entirely redone for the re-release was Rose's view of the night sky at sea, on the morning of April 15, 1912. The scene was replaced with an accurate view of the night-sky star pattern, including the Milky Way, adjusted for the location in the North Atlantic Ocean in April 1912. The change was prompted by astrophysicist Neil deGrasse Tyson, who had criticized the scene for showing an unrealistic star pattern. He agreed to send film director Cameron a corrected view of the sky, which was the basis of the new scene.[138] The 3D version of Titanic premiered at the Royal Albert Hall in London on March 27, 2012, with James Cameron and Kate Winslet in attendance,[139] and entered general release on April 4, 2012, six days shy of the centenary of RMS Titanic embarking on her maiden voyage.[140][141][142] Rolling Stone film critic Peter Travers rated the reissue 3.5 stars out of 4 explaining he found it "pretty damn dazzling". He said, "The 3D intensifies Titanic. You are there. Caught up like never before in an An accurate view of the Milky Way at night was intimate epic that earns its place in the movie time capsule."[143] used to replace Rose's view of the night sky at sea, such as in this photo from Paranal Writing for Entertainment Weekly, Owen Gleiberman gave the film an Observatory. The view was adjusted to match the A grade. He wrote, "For once, the visuals in a 3-D movie don't look North Atlantic at 4:20am on April 15, 1912. darkened or distracting. They look sensationally crisp and alive."[144] However, Richard Corliss of Time who was very critical in 1997 remained in the same mood, "I had pretty much the same reaction: fitfully awed, mostly water-logged." In regards to the 3D effects, he noted the "careful conversion to 3D lends volume and impact to certain moments ... [but] in separating the foreground and background of each scene, the converters have carved the visual field into discrete, not organic, levels."[145] Ann Hornaday for The Washington Post found herself asking "whether the film's twin values of humanism and spectacle are enhanced by Cameron's 3-D conversion, and the answer to that is: They aren't." She further added that the "3-D conversion creates distance where there should be intimacy, not to mention odd moments in framing and composition."[146] The film grossed an estimated $4.7million on the first day of its re-release in North America (including midnight preview showings) and went on to make $17.3million over the weekend, finishing in third place.[147][148] Outside of North America it earned $35.2million finishing second,[149] and improved on its performance the following weekend by topping the box office with $98.9million.[150] China has proven to be its most successful territory where it earned $11.6million on its opening day,[151] going on to earn a record-breaking $67million in its opening week
1997 Titanic and taking more money in the process than it did in the entirety of its original theatrical run.[150] The reissue has earned $57.8million in North America and $284.3million from other territories (with over $100 million coming from China alone), for a worldwide total of $342.1million.[152]
576
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[91] Ball, Sarah (January 6, 2010). "Why 'Avatar' Could Out-Earn 'Titanic'. James Cameron is king of the box office again, but will his latest eclipse his Titanic success?" (http:/ / www. newsweek. com/ id/ 229545). Newsweek. . Retrieved January 9, 2010. [92] "Titanic" (http:/ / www. metacritic. com/ movie/ titanic). Metacritic. . Retrieved December 7, 2006. [93] Roger Ebert (December 19, 1997). "Titanic" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19971219/ REVIEWS/ 712190303/ 1023). Chicago Sun-Times. . Retrieved December 7, 2006. [94] "Siskel & Ebert At the Movies-Best of 1997 1 of 2" (http:/ / www. youtube. com/ watch?v=hw5J4O9MbfQ). YouTube. . Retrieved August 3, 2010. [95] "Siskel & Ebert Titanic review" (http:/ / bventertainment. go. com/ tv/ buenavista/ ebertandroeper/ index2. html?sec=1& subsec=1987). At the Movies. . Retrieved January 19, 2010. [96] Berardinelli, James. "A Film Review by James Berardinelli" (http:/ / www. reelviews. net/ movies/ t/ titanic. html). Reelviews.net. . Retrieved January 19, 2010. [97] Berardinelli, James. "James Berardinelli Top 10 of 1997" (http:/ / www. reelviews. net/ movies/ SPECIAL/ 97list. html). Reelviews.net. . Retrieved January 19, 2010. [98] Almar Haflidason (August 2007). "Titanic (1997)" (http:/ / www. bbc. co. uk/ films/ 2000/ 12/ 19/ titanic_1997_review. shtml). BBC. . Retrieved December 26, 2008. [99] Giles, Jeff (December 16, 2009). "Total Recall: James Cameron Movies. We take a look at the career of the visionary director of Avatar" (http:/ / www. rottentomatoes. com/ m/ avatar/ news/ 1860969/ total_recall_james_cameron_movies). Rotten Tomatoes. . Retrieved January 19, 2010. [100] "Titanic (1997) Critical Debates" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20000101/ CRITICALDEBATE/ 40308080). Chicago Sun-Times. . Retrieved January 19, 2010. [101] Corliss, Richard (December 8, 1997). "Down, Down To A Watery Grave" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,987509,00. html). Time. . Retrieved July 22, 2008. [102] Kenneth Turan (December 19, 1997). "Titanic" (http:/ / web. archive. org/ web/ 20070302104338/ http:/ / www. calendarlive. com/ movies/ reviews/ cl-movie971230-17,0,634482. story). Los Angeles Times. Archived from the original (http:/ / www. calendarlive. com/ movies/ reviews/ cl-movie971230-17,0,634482. story) on March 2, 2007. . Retrieved February 19, 2007. [103] Lubin, pp. 89 [104] Barbara Shulgasser (December 19, 1997). "Titanic Filmakers Should Have Sunk More Money Into the Script" (http:/ / www. sfgate. com/ cgi-bin/ article. cgi?f=/ e/ a/ 1997/ 12/ 19/ WEEKEND6914. dtl). The San Francisco Examiner. . Retrieved February 19, 2007. [105] Roger Friedman (March 23, 2002). "Altman: Titanic Worst Movie Ever" (http:/ / www. foxnews. com/ story/ 0,2933,47613,00. html). Fox News. . Retrieved December 2, 2008. [106] Davenport-Hines, Richard (2012). Titanic Lives: Migrants and Millionaires, Conmen and Crew. UK: HarperCollins. [107] "Titanic voted 'best' film ending" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ film/ 3194176. stm). BBC News Online. October 15, 2003. . Retrieved June 15, 2007. [108] "Titanic sinks in worst film poll" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ film/ 3242607. stm). BBC News Online. November 5, 2003. . Retrieved June 15, 2007. [109] Stephenson, John-Paul (October 2005). "Reviewing Symbolic Capital" (http:/ / journal. media-culture. org. au/ 0510/ 06-stephenson. php). M/C Journal: A Journal of Media and Culture 8 (5). . Retrieved September 11, 2009. [110] "Clash of the Titanic" (http:/ / www. ericdsnider. com/ snide/ clash-of-the-titanic). . Retrieved October 14, 2007. [111] "He's Mad as Hell at Turan. James Cameron Gets the Last Word on Our Critic's 'Titanic'" (http:/ / articles. latimes. com/ 1998/ mar/ 28/ entertainment/ ca-33428). Los Angeles Times. March 28, 1998. . Retrieved February 22, 2010. [112] Adam Smith. "Review of Titanic" (http:/ / www. empireonline. com/ reviews/ review. asp?FID=3396). Bauer Consumer Media. . Retrieved August 20, 2010. [113] "Titanic sweeps Golden Globes" (http:/ / news. bbc. co. uk/ 1/ hi/ world/ 48591. stm). BBC News Online. January 19, 1998. . Retrieved February 19, 2007. [114] "Nominations for the 55th Golden Globe Awards" (http:/ / news. bbc. co. uk/ 1/ hi/ world/ 47182. stm). BBC. January 17, 1998. . Retrieved February 19, 2007. [115] "Titanic Awards and Nominations" (http:/ / imdb. com/ title/ tt0120338/ awards). Internet Movie Database. . Retrieved January 19, 2010. [116] "Can Anything Stop the Raising of Titanic on March 23?" (http:/ / web. archive. org/ web/ 20080725153001/ http:/ / www. observer. com/ node/ 40199). New York Observer. February 22, 1998. Archived from the original (http:/ / www. observer. com/ node/ 40199) on 2008-07-25. . Retrieved December 1, 2010. [117] "Titanic" (http:/ / awardsdatabase. oscars. org/ ampas_awards/ DisplayMain. jsp?curTime=1251110213821). The Academy of Motion Picture Arts and Sciences. . Retrieved January 19, 2010. [118] "The 70th Academy Awards (1998) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 70th-winners. html). oscars.org. . Retrieved November 19, 2011. [119] "Grammy Award Winners" (http:/ / www. grammy. org/ GRAMMY_Awards/ Winners/ Results. aspx). The Recoeding Academy. . Retrieved January 6, 2010. [120] "Gold & Platinum July28, 2009" (http:/ / riaa. com/ goldandplatinumdata. php?table=SEARCH_RESULTS). Recording Industry Association of America. . Retrieved July 28, 2009.
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[121] "The Billboard 200: 1998" (http:/ / web. archive. org/ web/ 20080208083930/ http:/ / www. billboard. com/ bbcom/ charts/ yearend_chart_display. jsp?f=The+ Billboard+ 200& g=Year-end+ Albums& year=1998). Billboard Magazine. Archived from the original (http:/ / www. billboard. com/ bbcom/ charts/ yearend_chart_display. jsp?f=The+ Billboard+ 200& g=Year-end+ Albums& year=1998) on February 8, 2008. . [122] "AFI's 100 Years...100 Thrills" (http:/ / www. afi. com/ Docs/ tvevents/ pdf/ thrills100. pdf). American Film Institute. . Retrieved January 19, 2010. [123] "AFI's 100 Years...100 Passions" (http:/ / web. archive. org/ web/ 20110716072352/ http:/ / connect. afi. com/ site/ DocServer/ passions100. pdf?docID=248). American Film Institute. Archived from the original (http:/ / connect. afi. com/ site/ DocServer/ passions100. pdf?docID=248) on 2011-07-16. . Retrieved January 19, 2010. [124] "AFI's 100 Years...100 Songs" (http:/ / web. archive. org/ web/ 20110716072059/ http:/ / connect. afi. com/ site/ DocServer/ songs100. pdf?docID=244). American Film Institute. Archived from the original (http:/ / connect. afi. com/ site/ DocServer/ songs100. pdf?docID=244) on 2011-07-16. . Retrieved January 19, 2010. [125] AFI's official PDF of the 1998 and 2007 rankings (registration required) "AFI's 100 Years...100 Movies" (http:/ / web. archive. org/ web/ 20110721205639/ http:/ / connect. afi. com/ site/ DocServer/ 100Movies. pdf?docID=301). American Film Institute. AFI's official PDF of the 1998 and 2007 rankings (registration required). Retrieved January 19, 2010. [126] "AFI's Top Ten Epic" (http:/ / web. archive. org/ web/ 20110716071851/ http:/ / connect. afi. com/ site/ DocServer/ TOP10. pdf?docID=441). American Film Institute. Archived from the original (http:/ / connect. afi. com/ site/ DocServer/ TOP10. pdf?docID=441) on 2011-07-16. . Retrieved January 19, 2010. [127] Titanic [VHS] (1997). ISBN 0-7921-5171-2 [128] Arnold, Thomas K (March 28, 2005). "Special editions go full steam ahead" (http:/ / www. usatoday. com/ life/ movies/ news/ 2005-03-28-dvd-special-editions_x. htm). USAToday. . Retrieved January 19, 2010. [129] ASIN:B000ANVQ0K, Titanic (Three-Disc Special Collector's Edition) (1997)(July 10, 2010) [130] ASIN(amazon.co.uk):B000A8NZ54, Titanic (2 Disc Special Edition) [1997] [DVD](January 19, 2010) [131] "Titanic" (http:/ / www. tnt. tv/ title/ ?oid=454250). Turner Broadcasting System. . Retrieved August 7, 2010. [132] "Turner Classic Movies' Annual 31 DAYS OF OSCAR(R) To Go Full Circle with Special 360 Edition in February" (http:/ / multivu. prnewswire. com/ mnr/ tcm/ 41860/ ). Turner Broadcasting System. . Retrieved July 10, 2010. [133] "Titanic (1997) - IMDb", IMDb.com, 2012, webpage: IM120338 (http:/ / www. imdb. com/ title/ tt0120338/ ). [134] "Coming in 60 weeks: 'Titanic' in 3D version", Times of India, October 30, 2011, webpage: TOI-8599 (http:/ / articles. timesofindia. indiatimes. com/ 2011-10-30/ us/ 30338599_1_james-cameron-3d-titanic). Retrieved March 27, 2012. [135] "Inside the 3-D Conversion of Titanic'" (http:/ / www. nytimes. com/ interactive/ 2012/ 03/ 29/ movies/ titanic-3d-conversion. html). The New York Times. March 30, 2012. . [136] Slam Content | CrunchBase Profile (http:/ / www. crunchbase. com/ company/ slam-content) [137] Douglas, Edward (October 12, 2011). "A Preview of James Cameron's Titanic 3D Rerelease" (http:/ / www. comingsoon. net/ news/ movienews. php?id=83123). ComingSoon.net (CraveOnline). . Retrieved November 18, 2011. [138] O'Neill, Ian (April 2, 2012). "'Titanic' Accuracy Tightened by Neil deGrassee Tyson" (http:/ / news. discovery. com/ space/ neil-degrasse-tyson-tightens-titanic-accuracy-120402. html). Discovery News. . Retrieved April 12, 2012. [139] "Kate Winslet, James Cameron at Titanic 3D premiere" (http:/ / www. timesonline. com/ entertainment/ movies/ kate-winslet-james-cameron-at-titanic-d-premiere/ article_554f69e8-a736-5cba-8cad-08ede46ddc12. html). The Beaver County Times. Associated Press. March 27, 2012 [updated April 2]. . Retrieved April 12, 2012. [140] "Titanic Official Movie Site" (http:/ / www. titanicmovie. com/ ). Paramount Pictures. . Retrieved February 7, 2012. [141] Semigran, Ali (February 8, 2012). "'Titanic' in 3-D to set sail two days earlier" (http:/ / insidemovies. ew. com/ 2012/ 02/ 08/ titanic-3d-release-date). . Retrieved April 6, 2012. [142] "Paramount Pictures, Twentieth Century Fox and Lightstorm Entertainment to Set Sail Again with James Cameron's Oscar-Winning "Titanic" with a Worldwide 3D Re-release on April 6, 2012" (http:/ / web. archive. org/ web/ 20110721133852/ http:/ / www. paramount. com/ news/ press-releases/ paramount-pictures-twentieth-century-fox-and-lightstorm-entertainment-to-set-sail-again-with-james-c) (Press release). Paramount Pictures. May 19, 2011. Archived from the original (http:/ / www. paramount. com/ news/ press-releases/ paramount-pictures-twentieth-century-fox-and-lightstorm-entertainment-to-set-sail-again-with-james-c) on 2011-07-21. . Retrieved May 19, 2011. [143] Travers, Peter (April 5, 2012). "Movie Reviews - Titanic 3D" (http:/ / www. rollingstone. com/ movies/ reviews/ titanic-3d-20120405). Rolling Stone. . Retrieved April 6, 2012. [144] Gleiberman, Owen (April 4, 2012). "Titanic 3D Review" (http:/ / www. ew. com/ ew/ article/ 0,,20483133_20584572,00. html?cnn=yes). Entertainment Weekly. . Retrieved April 6, 2012. [145] Corliss, Richard (April 4, 2012). "Titanic, TIME and Me" (http:/ / entertainment. time. com/ 2012/ 04/ 04/ titanic-time-and-me/ ). Time. . Retrieved April 6, 2012. [146] Hornaday, Ann (April 4, 2012). "'Titanic 3-D' review" (http:/ / www. washingtonpost. com/ goingoutguide/ titanic-3d-movie-review/ 2012/ 04/ 05/ gIQAfaezxS_story. html). The Washington Post. . Retrieved April 6, 2012. [147] Young, John (April 5, 2012). "'Titanic 3D' leaves port with $4.4 million on Wednesday, so was the 3-D conversion worth it?" (http:/ / insidemovies. ew. com/ 2012/ 04/ 05/ titanic-3d-box-office-opening). Entertainment Weekly. . Retrieved April 8, 2012.
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[148] Subers, Ray (April 8, 2012). "Weekend Report: 'Hunger Games' Three-peats, Passes $300 Million Over Easter" (http:/ / www. boxofficemojo. com/ news/ ?id=3412& p=. htm). Box Office Mojo. . Retrieved April 17, 2012. [149] Subers, Ray (April 10, 2012). "Around-the-World Roundup: 'Titanic 3D' Can't Stop 'Wrath'" (http:/ / www. boxofficemojo. com/ news/ ?id=3414& p=. htm). Box Office Mojo. . Retrieved April 17, 2012. [150] "Around-the-World Roundup: 'Titanic 3D' Opens to Record-Setting $67 Million in China" (http:/ / boxofficemojo. com/ news/ ?id=3421& p=. htm). Box Office Mojo. April 16, 2012. . Retrieved April 15, 2012. [151] Subers, Ray (April 10, 2012). "'Titanic 3D' Has Huge Opening Day in China" (http:/ / www. boxofficemojo. com/ news/ ?id=3416& p=. htm). Box Office Mojo. . Retrieved April 17, 2012. [152] Titanic "Titanic 3D (2012) International Box Office results" (http:/ / www. boxofficemojo. com/ movies/ ?page=intl& id=titanic3d. htm). Box Office Mojo. Titanic. Retrieved May 23, 2012.
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Further reading
Frakes, Randall (1998). Titanic: James Cameron's Illustrated Screenplay. New York: Harper. ISBN0-06-095307-1. Cameron, Stephen (1998). Titanic: Belfast's Own. Ireland: Wolfhound Press. ISBN0-86327-685-7. Mireille Majoor; James Cameron (2003). Titanic: Ghosts of the Abyss. New York: Scholastic. ISBN1-895892-31-7. Molony, Senan (2005). Titanic: A Primary Source History. Canada: Gareth Stevens. ISBN0-8368-5980-4. Marsh, Ed W.; Kirkland, Douglas (1998). James Cameron's Titanic. London: Boxtree. ISBN0-7522-2404-2. Parisi, Paula (1998). Titanic and the Making of James Cameron (http://books.google.ca/ books?id=7A9ws0inw4YC&lpg=PP1&dq=James Cameron&pg=PP1#v=onepage&q&f=true). London: Orion. ISBN0-7528-1799-X. Sandler, Kevin S.; Studlar, Gaylyn, eds. (1999). Titanic: Anatomy of a Blockbuster. Piscataway, NJ: Rutgers University Press. ISBN978-0-8135-2669-0. Ballard, Robert (1987). The Discovery of the Titanic. Canada: Grand Central Publishing. ISBN0-446-67174-6. Lynch, Donald (1992). Titanic: An Illustrated History. New York: Madison Press Books. ISBN978-0-7868-6401-0. Lubin, David M. (1999). "Titanic" (BFI Modern Classics). London: BFI Publishing. ISBN0-85170-760-2.
External links
Official website (http://www.titanicmovie.com/menu.html) Titanic (http://www.imdb.com/title/tt0120338/) at the Internet Movie Database Titanic (http://tcmdb.com/title/title.jsp?stid=454250) at the TCM Movie Database Titanic (http://www.allrovi.com/movies/movie/v158894) at AllRovi Titanic (http://www.rottentomatoes.com/m/titanic/) at Rotten Tomatoes Titanic (http://www.metacritic.com/movie/titanic) at Metacritic Titanic (http://www.boxofficemojo.com/movies/?id=titanic.htm) at Box Office Mojo Titanic (http://www.the-numbers.com/movies/1997/TITAN.php) at The Numbers
1998 Shakespeare in Love
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Shakespeare in Love
Directed by Produced by John Madden David Parfitt Donna Gigliotti Harvey Weinstein Edward Zwick Marc Norman Marc Norman Tom Stoppard Gwyneth Paltrow Joseph Fiennes Geoffrey Rush Colin Firth Ben Affleck Judi Dench Stephen Warbeck
Written by Starring
Music by
Cinematography Richard Greatrex Editing by Distributed by David Gamble Miramax Films (US) Alliance Atlantis (CAN) Universal Studios (Worldwide)

December 3, 1998 (US) January 29, 1999 (UK)
123 minutes United Kingdom United States English $25 million

[1] [1]
$289,317,794
Shakespeare in Love is a 1998 British-American romantic comedy-drama film directed by John Madden, written by Marc Norman and playwright Tom Stoppard. The film depicts a love affair involving playwright William Shakespeare (Joseph Fiennes) at the time that he was writing the play Romeo and Juliet. The story is fiction, though several of the characters are based on real people. In addition, many of the characters, lines, and plot devices are references to Shakespeare's plays. Shakespeare in Love won seven Oscars, including Best Picture, Best Actress (Gwyneth Paltrow) and Best Supporting Actress (Judi Dench).
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Plot
William Shakespeare (Joseph Fiennes) is a poor playwright for Philip Henslowe (Geoffrey Rush), owner of The Rose Theatre, in 1593 London. After learning that his love was cheating on him with his patron, Shakespeare burns his new comedy, Romeo and Ethel the Pirate's Daughter, rewriting it as the tragedy Romeo and Juliet. Suffering from writer's block, he is unable to complete the play, but begins auditions for Romeo. A young man named Thomas Kent is cast in the role after impressing Shakespeare with his performance and his love of Shakespeare's previous work. Kent is actually Viola de Lesseps (Gwyneth Paltrow), the daughter of a wealthy merchant who desires to act but, since women are banned from the stage, she must disguise herself. After Shakespeare discovers his star's true identity, he and Viola begin a passionate secret affair. Inspired by her, Shakespeare writes quickly, and benefits from the advice of playwright and friendly rival Christopher 'Kit' Marlowe (Rupert Everett). Shakespeare and Viola know, however, that their romance is doomed. He is married, albeit long separated from his wife, while Viola's parents have arranged her betrothal to Lord Wessex (Colin Firth), an aristocrat who needs money. When Viola is summoned to the court of Queen Elizabeth I (Judi Dench), Shakespeare dons a woman's disguise to accompany her as her cousin. At court, he persuades Wessex to bet 50 that a play cannot capture the nature of true love. If Romeo and Juliet is a success, Shakespeare as playwright will win the money. The Queen, who enjoys Shakespeare's plays, agrees to witness the wager. Edmund Tilney (Simon Callow), the Master of the Revels, the Queen's official in charge of the theatres, learns that there is a woman in the theatre company at The Rose playhouse, and orders the theatre closed for violating morality and the law. Left without a stage or lead actor, it seems that Romeo and Juliet must close before it even opens, until Richard Burbage (Martin Clunes), the owner of a competing theatre, the Curtain, offers his stage to Shakespeare. Shakespeare assumes the lead role of Romeo, with a boy actor (Daniel Brocklebank), playing Juliet. Viola learns that the play will be performed on her wedding day, and after the ceremony secretly travels to the theatre. Shortly before the play begins, the boy playing Juliet starts experiencing the voice change of puberty. Viola replaces him and plays Juliet to Shakespeare's Romeo. Their passionate portrayal of two lovers inspires the entire audience. Tilney arrives at the theatre with Wessex, who has deduced his new bride's location. Tilney plans to arrest the audience and cast for indecency, but the Queen is in attendance. Although she recognizes Viola, the Queen does not unmask her, instead declaring that the role of Juliet is being performed by Thomas Kent. However, even a queen is powerless to end a lawful marriage, so she orders "Kent" to fetch Viola so that she may sail with Wessex to the Colony of Virginia. The Queen also states that Romeo and Juliet has accurately portrayed true love so Wessex must pay Shakespeare 50, the exact amount Shakespeare requires to buy a share in the Lord Chamberlain's Men. The Queen then directs "Kent" to tell Shakespeare to write something "a little more cheerful next time, for Twelfth Night". Viola and Shakespeare part, resigned to their fates. The film closes as Shakespeare begins to write Twelfth Night, Or What You Will imagining his love washed ashore in a strange land after a shipwreck and musing, "For she will be my heroine for all time, and her name will be...Viola", a strong young woman castaway who disguises herself as a young man.
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Cast
Joseph Fiennes as William Shakespeare Gwyneth Paltrow as Viola de Lesseps Colin Firth as Lord Wessex Ben Affleck as Ned Alleyn Geoffrey Rush as Philip Henslowe Judi Dench as Queen Elizabeth I. Tom Wilkinson as Hugh Fennyman Rupert Everett as Christopher 'Kit' Marlowe Imelda Staunton as Nurse Daniel Brocklebank as Sam Gosse|Juliet Antony Sher as Dr. Moth Martin Clunes as Richard Burbage Simon Callow as Edmund Tilney Jim Carter as Ralph Bashford Jill Baker as Lady de Lesseps Patrick Barlow as Will Kempe
Mark Williams as Wabash Simon Day as First Boatsman Joe Roberts as John Webster
Production
The original idea for Shakespeare in Love came to screenwriter Marc Norman in the late 1980s. He pitched a draft screenplay to director Edward Zwick. The screenplay attracted Julia Roberts who agreed to play Viola. However, Zwick disliked Norman's screenplay and hired the playwright Tom Stoppard to improve it (Stoppard's first major success had been with the Shakespeare-themed play Rosencrantz & Guildenstern Are Dead).[2] The film went into production in 1991 at Universal Pictures, with Zwick as director, but although sets and costumes were in construction, Shakespeare had not yet been cast, because Julia Roberts insisted that only Daniel Day-Lewis could play the role. Day-Lewis was uninterested, and when Roberts failed to persuade him, she withdrew from the film, six weeks before shooting was due to begin. The production went into turnaround, and Zwick was unable to persuade other studios to take up the screenplay.[2] Eventually, Zwick got Miramax interested in the screenplay, but Miramax chose John Madden as director. Miramax boss Harvey Weinstein acted as producer, and successfully persuaded Ben Affleck to take a small role as Ned Alleyn.[3] The film was considerably reworked after the first test screenings. The scene with Shakespeare and Viola in the punt was re-shot, to make it more emotional, and some lines were re-recorded to clarify the reasons why Viola had to marry Wessex. The ending was re-shot several times, until Stoppard eventually came up with the idea of Viola suggesting to Shakespeare that their parting could inspire his next play.[4]
References to Shakespeare's work

The main source for much of the action in the film is Romeo and Juliet. Will and Viola play out the famous balcony and bedroom scenes; like Juliet, Viola has a witty nurse, and is separated from Will by a gulf of duty (although not the family enmity of the play: the "two households" of Romeo and Juliet are supposedly inspired by the two rival playhouses). In addition, the two lovers are equally "star-crossed" they are not ultimately destined to be together (since Viola is of rich and socially ambitious merchant stock and is promised to marry Lord Wessex, while
1998 Shakespeare in Love Shakespeare himself is poor and already married). There is also a Rosaline, with whom Will is in love at the beginning of the film. Many other plot devices used in the film are common in various Shakespearean comedies and in the works of the other playwrights of the Elizabethan era: the Queen disguised as a commoner, the cross-dressing disguises, mistaken identities, the sword fight, the suspicion of adultery (or, at least, cheating), the appearance of a "ghost" (cf. Macbeth), and the "play within a play". The film also has sequences in which Shakespeare and the other characters utter words that will later appear in his plays: On the street, Shakespeare hears a Puritan preaching against the two London stages: "The Rose smells thusly rank, by any name! I say, a plague on both their houses!" Two references in one, both to Romeo and Juliet; first, "A rose by any other name would smell as sweet" (Act II, scene ii, lines 1 and 2); second, "a plague on both your houses" (Act III, scene I, line 94). Backstage of a performance of The Two Gentlemen of Verona, Shakespeare sees William Kempe in full make-up, silently contemplating a skull, a reference to Hamlet. Shakespeare utters the lines "Doubt thou the stars are fire, / Doubt that the sun doth move" (from Hamlet) to Philip Henslowe. As Shakespeare's writer's block is introduced, he is seen crumpling balls of paper and throwing them around his room. They land near props which represent scenes in his several plays: a skull (Hamlet), and an open chest (The Merchant of Venice). Viola, as well as being Paltrow's character in the film, is the lead character in Twelfth Night who dresses as a man after the supposed death of her brother. At the end of the film, Shakespeare imagines a shipwreck overtaking Viola on her way to America, inspiring the second scene of his next play, Twelfth Night, and perhaps also The Tempest. Shakespeare writes a sonnet to Viola which begins: "Shall I compare thee to a summer's day?" (from Sonnet 18).[5] Shakespeare tells Henslowe that he still owes him for "one gentleman of Verona", a reference to Two Gentlemen of Verona, part of which we also see being acted before the Queen later in the film. In the boat, when Shakespeare tells Viola, disguised as Thomas Kent, of his ladys beauty and charms, she dismisses his praise, as no real woman could live up to the ideal. This is a set up for Sonnet 130, My mistress eyes are nothing like the sun. Christopher Marlowe appears in the film as the master playwright whom the characters within the film consider the greatest English dramatist of that time this is accurate, yet also humorous, since everyone in the film's audience knows what will eventually happen to Shakespeare. Marlowe gives Shakespeare a plot for his next play, "Romeo and Ethel the Pirate's Daughter"[6] ("Romeo is Italian...always in and out of love...until he meets...Ethel. The daughter of his enemy! His best friend is killed in a duel by Ethel's brother or something. His name is Mercutio.") Marlowe's Doctor Faustus is quoted repeatedly: "Was this the face that launched a thousand ships/ And burned the topless towers of Ilium?" A reference is also made to Marlowe's final, unfinished play The Massacre at Paris in a scene wherein Marlowe (Rupert Everett) seeks payment for the final act of the play from Richard Burbage (Martin Clunes). Burbage promises the payment the next day, so Marlowe refuses to part with the pages and departs for Deptford, where Marlowe was killed[7]. The only surviving text of The Massacre at Paris is an undated quarto that is too short to represent the complete original play and in all probability it is a memorial reconstruction by the actors who performed the work.[8] The child John Webster, who torments mice, is a reference to a leading figure in the succeeding generation of playwrights.[9] His plays (The Duchess of Malfi, The White Devil) are known for their blood and gore, which is why he says that he enjoys Titus Andronicus and why, when asked by the Queen, he says of Romeo and Juliet "I liked it
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1998 Shakespeare in Love when she stabbed herself". When the clown Will Kempe (Patrick Barlow) says to Shakespeare that he would like to play in a drama, he is told that "they would laugh at Seneca if you played it," a reference to the Roman tragedian renowned for his sombre and bloody plot lines which were a major influence on the development of English tragedy. Will is shown signing a paper repeatedly, with many relatively illegible signatures visible. This is a reference to the fact that several versions of Shakespeare's signature exist, and in each one he spelled his name differently.
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Inaccuracies
The film is "not constrained by worries about literary or historical accuracy" and includes anachronisms such as a reference to Virginia tobacco plantations, when there was no Virginia.[10] The most apparent deviation from the actual literary history is the made-up play title "Romeo and Ethel" allegedly preceding the present version. In fact, the story of Romeo and Juliet had been invented before Shakespeare. It was well-known from Arthur Brooke's 1562 narrative poem "The Tragical History of Romeus and Juliet [11]", which itself was rooted in an Italian original[12]).
Reception
Janet Maslin made the film an "NYT Critics' Pick", calling it "pure enchantment"; according to Maslin, the film is "far richer and more deft than the other Elizabethan film in town (Elizabeth); she notes "Gwyneth Paltrow, in her first great, fully realized starring performance, makes a heroine so breathtaking that she seems utterly plausible as the playwright's guiding light."[10] According to Roger Ebert, who gave the film (four stars out of four):[6] "The contemporary feel of the humor (like Shakespeare's coffee mug, inscribed "Souvenir of Stratford-Upon-Avon") makes the movie play like a contest between "Masterpiece Theatre" and Mel Brooks. Then the movie stirs in a sweet love story, juicy court intrigue, backstage politics and some lovely moments from "Romeo and Juliet"... Is this a movie or an anthology? I didn't care. I was carried along by the wit, the energy and a surprising sweetness." Shakespeare in Love was among 1999's box office number-one films in the United Kingdom. The U.S. box office reached over $100 million; including the box office from the rest of the world, the film took in over $289 million.[1]
Accolades
Award 71st Academy Awards [13] Best Picture Category Recipient(s) David Parfitt, Donna Gigliotti, Marc Norman, Harvey Weinstein and Edward Zwick Gwyneth Paltrow Judi Dench Martin Childs and Jill Quertier Sandy Powell Stephen Warbeck Outcome Won Won Won Won Won Won
Best Actress Best Supporting Actress Best Art Direction Best Costume Design Best Original Musical or Comedy Score
587
Best Original Screenplay Best Director Best Supporting Actor Best Cinematography Best Film Editing Best Makeup Best Sound Marc Norman and Tom Stoppard John Madden Geoffrey Rush Richard Greatrex David Gamble Lisa Westcott and Veronica Brebner Robin O'Donoghue, Dominic Lester and Peter Glossop Won Nominated Nominated Nominated Nominated Nominated Nominated Won Won Won Nominated Nominated
52nd British Academy Film Awards
BAFTA Award for Best Film BAFTA Award for Best Actress in a Supporting Judi Dench Role BAFTA Award for Best Editing BAFTA Award for Best Direction BAFTA Award for Best Actress in a Leading Role BAFTA Award for Best Actor in a Leading Role BAFTA Award for Best Actor in a Supporting Role BAFTA Award for Best Actor in a Supporting Role BAFTA Award for Best Cinematography BAFTA Award for Best Original Screenplay BAFTA Award for Best Makeup and Hair BAFTA Award for Best Sound David Gamble John Madden Gwyneth Paltrow
Joseph Fiennes
Nominated
Geoffrey Rush
Nominated
Tom Wilkinson
Nominated Nominated Nominated Nominated Nominated Nominated Nominated Nominated Nominated
Richard Greatrex Marc Norman and Tom Stoppard Lisa Westcott Robin O'Donoghue, Dominic Lester, Peter Glossop, and John Downer Stephen Warbeck Sandy Powell Martin Childs
Anthony Asquith Award for Film Music BAFTA Award for Best Costume Design BAFTA Award for Best Production Design 49th Berlin International [14] Film Festival Directors Guild of America Awards 1998 56th Golden Globe Awards Golden Bear Silver Bear Outstanding Directorial Achievement in Motion Pictures Golden Globe Award for Best Motion Picture Musical or Comedy Golden Globe Award for Best Actress Motion Picture Musical or Comedy Golden Globe Award for Best Screenplay Golden Globe Award for Best Director Golden Globe Award for Best Supporting Actor Motion Picture Golden Globe Award for Best Supporting Actress Motion Picture
Marc Norman and Tom Stoppard John Madden
Won Nominated
Won Gwyneth Paltrow
Won Won Nominated Nominated
Marc Norman and Tom Stoppard John Madden Geoffrey Rush
Judi Dench
Nominated
588
Outstanding Performance by a Cast in a Motion Picture Outstanding Performance by a Male Actor in a Leading Role Outstanding Performance by a Female Actor in a Leading Role Joseph Fiennes
5th Screen Actors Guild Awards
Won
Nominated
Gwyneth Paltrow
Won
Writers Guild of America Awards 1998 1998 New York Film Critics Circle Awards
Best Original Screenplay
Marc Norman and Tom Stoppard
Won
Best Screenplay
Marc Norman and Tom Stoppard
Won
American Film Institute recognition: AFI's 100 Years...100 Passions #50 [15] AFI's 100 Years...100 Laughs Nominated[16]
Trivia
It has been reported by The Sunday Telegraph that the film had an impact on the British Royal Family in prompting the revival of the title of Earl of Wessex, which had been extinct since the 11th century. Prince Edward was originally to have been titled Duke of Cambridge following his marriage to Sophie Rhys-Jones in 1999, the year after the film's release. However, after watching Shakespeare in Love, he reportedly became attracted to the title of the character played by Colin Firth, and asked Queen Elizabeth II to be given the title of Earl of Wessex instead.[17] The writers of Shakespeare in Love were sued in 1999 by Faye Kellerman, author of the book The Quality of Mercy. Kellerman claimed that the story was lifted from her book, a detective novel in which Shakespeare and a cross-dressing Jewish woman attempt to solve a murder. Miramax Films derided the claim of similarity as an "absurd...publicity stunt".[18][19] After the film's release, certain publications, including Private Eye, noted strong similarities between the film and the 1941 novel No Bed for Bacon, by Caryl Brahms and S. J. Simon, which also features Shakespeare falling in love and finding inspiration for his later plays. In a foreword to a subsequent edition of No Bed for Bacon (which traded on the association by declaring itself "A Story of Shakespeare and Lady Viola in Love") Ned Sherrin, Private Eye insider and former writing partner of Brahms', confirmed that he had lent a copy of the novel to Stoppard after he joined the writing team,[20] but that the basic plot of the film had been independently developed by Marc Norman, who was unaware of the earlier work. The film's plot can claim a tradition in fiction reaching back to Alexandre Duval's "Shakespeare amoureux ou la Piece a l'Etude" (1804), in which Shakespeare falls in love with an actress who is playing Richard III.[21]
Cultural influence
The film was spoofed and homaged, along with Star Wars, in the 1999 short film George Lucas in Love. The film was seen and frequently interrupted by Brenda Meeks in Scary Movie.
Stage adaptation
In October 2011 the show-business paper Variety reported that Disney Theatrical Productions, linked to Miramax through former owners Disney Corporation, intend to mount a stage version of the movie in London. Co-producer will be Sonia Friedmann Productions. The writer will again be Stoppard and he will be joined by director Jack O'Brien and designer Bob Crowley, who worked with Stoppard on his Coast of Utopia trilogy and The Invention of Love.[22]
589
References
[1] "Shakespeare in Love (1998)" (http:/ / www. boxofficemojo. com/ movies/ ?id=shakespeareinlove. htm). Box Office Mojo. IMDb. Retrieved 2012-02-19. [2] Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), p. 327. [3] Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), p. 328-30. [4] Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), p. 330-1. [5] Atkins, Carl (2007). Shakespeare's Sonnets: With Three Hundred Years of Commentary. Madison, NJ: Farleigh Dickinson University Press. p.69. ISBN978-0-8386-4163-7. [6] Ebert, Roger (December 25, 1998). "Shakespeare in Love" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19981225/ REVIEWS/ 812250306/ 1023). Chicago Sun-Times. . Retrieved 2012-02-16. [7] Greenwich 2000 (2010-01-05). "Greenwich England: Deptford" (http:/ / wwp. greenwich2000. com/ info/ local/ deptford. htm). Wwp.greenwich2000.com. . Retrieved 2010-07-05. [8] Probes, Christine McCall (2008). "Senses, signs, symbols and theological allusion in Marlowe's The Massacre at Paris". In Deats, Sara Munson; Logan, Robert A.. Placing the plays of Christopher Marlowe: Fresh Cultural Contexts. Aldershot, England: Ashgate. pp.149. ISBN0754662047. [9] Burt, Richard (2002). Shakespeare After Mass Media. London: Macmillan. p.306. ISBN978-0-3122-9454-0. [10] Maslin, Janet (December 11, 1998). "Shakespeare Saw a Therapist?" (http:/ / movies. nytimes. com/ movie/ review?res=9B05E4D9103AF932A25751C1A96E958260). The New York Times. . Retrieved 2012-02-16. [11] http:/ / www. shakespeare-navigators. com/ romeo/ BrookeIndex. html [12] http:/ / www. americanrepertorytheater. org/ inside/ articles/ articles-vol4-i3-how-romeus-became-romeot [13] "The 71st Academy Awards (1999) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 71st-winners. html). Oscars.org. . Retrieved 2011-11-19. [14] "Berlinale: 1999 Prize Winners" (http:/ / www. berlinale. de/ en/ archiv/ jahresarchive/ 1999/ 03_preistr_ger_1999/ 03_Preistraeger_1999. html). Berlinale.de. . Retrieved 2012-02-04. [15] "AFI's 100 Years... 100 Passions" (http:/ / www. afi. com/ 100years/ passions. aspx) (web). . Retrieved 2012-03-30. [16] "AFI's 100 Years...100 Laughs Nominees" (http:/ / www. afi. com/ Docs/ 100Years/ laughs500. pdf) (PDF). . Retrieved 2012-02-16. [17] Richard Eden (12 December 2010). "Royal wedding: Prince William asks the Queen not to make him a duke" (http:/ / www. telegraph. co. uk/ news/ uknews/ royal-wedding/ 8196402/ Royal-wedding-Prince-William-asks-the-Queen-not-to-make-him-a-duke. html). The Telegraph. . Retrieved 12 December 2010. [18] "Novelist sues Shakespeare makers" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ the_oscars_1999/ 301620. stm). BBC News. 1999-03-23. . Retrieved 2008-06-30. [19] "Writer sues makers of 'Shakespeare in Love'" (http:/ / web. archive. org/ web/ 20080404074204/ http:/ / www. cnn. com/ SHOWBIZ/ Movies/ 9903/ 23/ shakespeare. lawsuit). CNN. 1999-03-23. Archived from the original (http:/ / www. cnn. com/ SHOWBIZ/ Movies/ 9903/ 23/ shakespeare. lawsuit) on 2008-04-04. . Retrieved 2008-06-30. [20] "Closed government" (http:/ / findarticles. com/ p/ articles/ mi_qa3724/ is_199902/ ai_n8830211/ ?tag=content;col1). The Spectator. 6 February 1999. . Retrieved 2009-04-13. [21] Portillo, Rafael; Salvador, Mercedes (2003). Pujante, ngel-Luis; Hoenselaars, Ton. ed. Four Hundred Years of Shakespeare in Europe. Newark, DE: University of Delaware Press. p.182. ISBN0-87413-812-4. [22] Gordon Cox (21 October 2011). "'Shakespeare' to take stage" (http:/ / www. variety. com/ article/ VR1118044864?categoryid=15& cs=1& cmpid=RSS|News|LatestNews). Variety (London). . Retrieved 25 October 2011.
External links
Shakespeare in Love (http://www.imdb.com/title/tt0138097/) at the Internet Movie Database Shakespeare in Love (http://www.allrovi.com/movies/movie/v174142) at AllRovi Shakespeare in Love (http://www.boxofficemojo.com/movies/?id=shakespeareinlove.htm) at Box Office Mojo Shakespeare in Love (http://www.rottentomatoes.com/m/shakespeare_in_love/) at Rotten Tomatoes
1999 American Beauty
590

American Beauty
Directed by Produced by Written by Starring Music by Sam Mendes Bruce Cohen Dan Jinks Alan Ball Kevin Spacey Annette Bening Thomas Newman
Cinematography Conrad Hall Editing by Distributed by Release date(s) Running time Country Language Budget Box office Tariq Anwar Christopher Greenbury DreamWorks Pictures
September 17, 1999

[1]
American Beauty is a 1999 American drama film directed by Sam Mendes and written by Alan Ball. Kevin Spacey stars as office worker Lester Burnham, who has a midlife crisis when he becomes infatuated with his teenage daughter's best friend, Angela (Mena Suvari). Annette Bening co-stars as Lester's materialistic wife, Carolyn, and Thora Birch plays their insecure daughter, Jane; Wes Bentley, Chris Cooper, and Allison Janney also feature. The film has been described by academics as a satire of American middle class notions of beauty and personal satisfaction; analysis has focused on the film's explorations of romantic and paternal love, sexuality, beauty, materialism, self-liberation, and redemption. Ball began writing American Beauty as a play in the early 1990s, partly inspired by the media circus around the Amy Fisher trial in 1992. He shelved the play after realizing the story would not work on stage. After several years as a television screenwriter, Ball revived the idea in 1997 when attempting to break into the film industry. The modified script had a cynical outlook that was influenced by Ball's frustrating tenures writing for several sitcoms. Producers Dan Jinks and Bruce Cohen took American Beauty to DreamWorks; the fledgling film studio bought Ball's script for $250,000, outbidding several other production bodies. DreamWorks financed the $15million production and served as the North American distributor. American Beauty marked acclaimed theater director Mendes' film debut; courted after his successful productions of the musicals Oliver! and Cabaret, Mendes was nevertheless only given the job after twenty others were considered and several "A-list" directors turned down the opportunity. Spacey was Mendes' first choice for the role of Lester, even though DreamWorks had urged the director to consider better-known actors; similarly, the studio suggested several actors for the role of Carolyn until Mendes offered the part to Bening without DreamWorks' knowledge. Principal photography took place between December 1998 and February 1999 on soundstages at the Warner Bros. backlot in Burbank, California and on location in Los Angeles. Mendes' dominant style was deliberate and composed; he made extensive use of static shots and slow pans and
1999 American Beauty zooms to generate tension. Cinematographer Conrad Hall complemented Mendes' style with peaceful shot compositions to contrast with the turbulent on-screen events. During editing, Mendes made several changes that gave the film a less cynical tone. Released in North America on September15, 1999, American Beauty was positively received by critics and audiences alike; it was the best-reviewed American film of the year and grossed over $350million worldwide. Reviewers praised most aspects of the production, with particular emphasis on Mendes, Spacey and Ball; criticism tended to focus on the familiarity of the characters and setting. DreamWorks launched a major campaign to increase American Beauty's chances of Academy Award success; at the 72nd Academy Awards the following year, the film won Best Picture, Best Director, Best Actor (for Spacey), Best Original Screenplay and Best Cinematography.
591
Plot
Lester Burnham (Kevin Spacey) is a middle-aged magazine writer who despises his job. His wife, Carolyn (Annette Bening), is an ambitious real-estate broker; their sixteen-year-old daughter, Jane (Thora Birch), abhors her parents and has low self-esteem. The Burnhams' new neighbors are retired United States Marine Corps Colonel Frank Fitts (Chris Cooper) and his introverted wife, Barbara (Allison Janney); their teenage son, Ricky (Wes Bentley), is a secret marijuana smoker and drug dealer whom the colonel subjects to a strict disciplinarian lifestyle. Ricky, who had been forced into a military academy and mental hospital, spends time recording his surroundings with a camcorder; he keeps dozens of taped videos in his bedroom. Lester becomes infatuated with Jane's cheerleader friend, Angela Hayes (Mena Suvari), after seeing her perform a half-time dance routine at a high school basketball game. He begins to have sexual fantasies about Angela, during which red rose petals are a recurring motif. Carolyn begins an affair with a business rival, Buddy Kane (Peter Gallagher). When Lester is about to be laid off his job he blackmails his boss for $60,000 and quits, taking employment serving fast food. He buys his dream car and starts working out after he overhears Angela tell Jane that she would find him sexually attractive if he improved his physique. He begins smoking marijuana bought from Ricky and flirts with Angela whenever she visits Jane. Jane becomes involved with Ricky and they bond over what Ricky considers the most beautiful imagery he has filmed: a plastic bag dancing in the wind.[2] Lester discovers Carolyn's infidelity but reacts indifferently. Buddy ends the affair, saying he is facing an expensive divorce. Frank becomes suspicious of Lester and Ricky's friendship, and finds his son's footage of Lester lifting weights while nude, which Ricky captured by chance. Carolyn becomes distraught, loads a gun and drives home. That night, after watching Ricky and Lester through Lester's garage window, Frank mistakenly concludes the pair are sexually involved. He later beats Ricky and accuses him of being gay. Ricky falsely admits the charge and goads his father into kicking him out of their home. Ricky convinces Jane to flee with him to New York City, and tells the vain Angela she is ordinary. Frank confronts Lester and attempts to kiss him; Lester rebuffs the colonel, who leaves. Lester finds a distraught Angela, who begins to seduce him. After learning that Angela is a virgin, Lester stops and comforts her; the pair instead bond over their shared frustrations. Angela goes to the bathroom and Lester smiles at a family photograph in his kitchen. A gunshot sounds and blood splatters on the wall. Ricky and Jane find Lester's body. Carolyn is seen crying in the bedroom, and Frank returns home, bloodied, a gun missing from his collection. Lester's closing narration describes meaningful experiences during his life; he says that despite his death he is happy, as there's so much beauty in the world.[2]
592
Themes and analysis

Multiple interpretations
Academics have offered many possible readings of American Beauty; film critics are similarly divided, not so much about the quality of the film as their interpretations of it.[3] Described by many as about "the meaning of life" or "gender identification" or "the hollow existence of the American suburbs",[4] the film has defied categorization by even the filmmakers. Mendes is indecisive, saying the script seemed to be about something different each time he read it: "a mystery story, a kaleidoscopic journey through American suburbia, a series of love stories... it was about imprisonment... loneliness [and] beauty. It was funny; it was angry, sad."[5] The literary critic and author Wayne C. Booth concludes that the film resists any one interpretation: "[American Beauty] cannot be adequately summarized as 'here is a satire on what's wrong with American life'; that plays down the celebration of beauty. It is more tempting to summarize it as 'a portrait of the beauty underlying American miseries and misdeeds'; but that plays down the scenes of cruelty and horror, and Ball's disgust with our mores. It cannot be summarized with either Lester's or Ricky's philosophical statements about what life is or how one should live..."[3] He argues that the problem of interpreting the film is tied with that of finding its centera controlling voice who "[unites] all of the choices".[6][5] He contends that in American Beauty's case it is neither Mendes nor Ball.[7] Mendes considers the voice to be Ball's, but even while the writer was "strongly influential" on set,[5] he often had to accept deviations from his vision,[7] particularly ones that transformed the cynical tone of his script into something more optimistic.[8] With "innumerable voices intruding on the original author's," Booth says, those who interpret American Beauty "have forgotten to probe for the elusive center". According to Booth, the film's true controller is the creative energy "that hundreds of people put into its production, agreeing and disagreeing, inserting and cutting".[3]
Imprisonment and redemption

Mendes called American Beauty a rites of passage film about imprisonment and escape from imprisonment. The monotony of Lester's existence is established through his gray, nondescript workplace and characterless clothing.[] In these scenes, he is often framed as if trapped, "reiterating rituals that hardly please him". He masturbates in the confines of his shower;[9] the shower stall evokes a jail cell and the shot is the first of many where Lester is confined behind bars or within frames,[][] such as when he is reflected behind columns of numbers on a computer monitor, "confined [and] nearly crossed out".[9] The academic and author Jody W. Pennington argues that Lester's journey is the story's center.[10] His sexual reawakening through meeting Angela is the first of several turning points as he begins to "[throw] off the responsibilities of the comfortable life he has come to despise".[11] After Lester shares a joint with Ricky, his spirit is released and he begins to rebel against Carolyn.[12] Changed by Ricky's "attractive, profound confidence", Lester is convinced that Angela is attainable and sees that he must question his "banal, numbingly materialist suburban existence"; he takes a job at a fast-food outlet, which allows him to regress to a point when he could "see his whole life ahead of him".[13] When Lester is caught masturbating by Carolyn, his angry retort about their lack of intimacy is the first time he says aloud what he thinks about her.[14] By confronting the issue and Carolyn's "superficial investments in others", Lester is trying to "regain a voice in a home that [only respects] the voices of mother and daughter".[13] His final turning point comes when he and Angela almost have sex;[15] after she confesses her virginity, he no longer thinks of her as a sex object, but as a daughter.[16] He holds her close and "wraps her up". Mendes called it "the most satisfying end to [Lester's] journey there could possibly have been". With these final scenes, Mendes intended to show Lester at the conclusion of a "mythical quest". After Lester gets a beer from the refrigerator, the camera pushes toward him, then stops facing a hallway down which he walks "to meet his fate".[15][17] Having begun to act his age again, Lester achieves closure.[16] As he smiles at a family photo, the camera pans slowly from Lester to the kitchen wall, onto which blood spatters as a gunshot rings out; the slow pan reflects the peace of Lester's death.[18] His body is discovered by Jane and Ricky. Mendes said that Ricky's staring into Lester's dead eyes is "the culmination of the
1999 American Beauty theme" of the film: that beauty is found where it is least expected.[19]
593
Conformity and beauty

Like other American films of 1999such as Fight Club, Bringing Out the Dead and MagnoliaAmerican Beauty instructs its audience to "[lead] more meaningful lives".[20] The film argues the case against conformity, but does not deny that people need and want it; even the gay characters just want to fit in.[21] Jim and Jim, the Burnhams' other neighbors, are a satire of "gay bourgeois coupledom",[22] who "[invest] in the numbing sameness" that the film criticizes in heterosexual couples.[23][24] The feminist academic and author Sally R. Munt argues that American Beauty uses its "art house" trappings to direct its message of non-conformity primarily to the middle classes, and that this approach is a "clich of bourgeois preoccupation... the underlying premise being that the luxury of finding an individual 'self' through denial and renunciation is always open to those wealthy enough to choose, and sly enough to present themselves sympathetically as a rebel."[11] Professor Roy M. Anker argues that the film's thematic center is its direction to the audience to "look closer". The opening combines an unfamiliar viewpoint of the Burnhams' neighborhood with Lester's narrated admission that he will soon die, forcing audiences to consider their own mortality and the beauty around them.[25] It also sets a series of mysteries; Anker asks, "from what place exactly, and from what state of being, is he telling this story?... if he's already dead, why bother with whatever it is he wishes to tell about his last year of being alive?... There is also the question of how Lester has diedor will die." Anker believes the preceding sceneJane's discussion with Ricky about the possibility of his killing her fatheradds further mystery.[26] Professor Ann C. Hall disagrees; she says by presenting an early resolution to the mystery, the film allows the audience to put it aside "to view the film and its philosophical issues".[27] Through this examination of Lester's life, rebirth and death, American Beauty satirizes American middle class notions of meaning, beauty and satisfaction.[28] Even Lester's transformation only comes about because of the possibility of sex with Angela; he therefore remains a "willing devotee of the popular media's exultation of pubescent male sexuality as a route to personal wholeness".[29] Carolyn is similarly driven by conventional views of happiness; from her belief in "house beautiful" domestic bliss to her car and gardening outfit, Carolyn's domain is a "fetching American millennial vision of Pleasantville, or Eden".[30] The Burnhams are unaware that they are "materialists philosophically, and devout consumers ethically" who expect the "rudiments of American beauty" to give them happiness. Anker argues that "they are helpless in the face of the prettified economic and sexual stereotypes... that they and their culture have designated for their salvation."[31] The film presents Ricky as its "visionary... its spiritual and mystical center".[32] He sees beauty in the minutiae of everyday life, videoing as much as he can for fear of missing it. He shows Jane what he considers the most beautiful thing he has filmed: a plastic bag, tossing in the wind in front of a wall. He says capturing the moment was when he realized that there was "an entire life behind things"; he feels that "sometimes there's so much beauty in the world I feel like I can't take it... and my heart is going to cave in." Anker argues that Ricky, in looking past the "cultural dross", has "[grasped] the radiant splendor of the created world" to see God.[33] As the film progresses, the Burnhams move closer to Ricky's view of the world.[34] Lester only forswears personal satisfaction at the film's end. On the cusp of having sex with Angela, he returns to himself after she admits her virginity. Suddenly confronted with a child, he begins to treat her as a daughter; in doing so Lester sees himself, Angela and his family "for the poor and fragile but wondrous creatures they are". He looks at a picture of his family in happier times,[35] and dies having had an epiphany that infuses him with "wonder, joy, and soul-shaking gratitude"he has finally seen the world as it is.[28] According to Patti Bellantoni, colors are used symbolically throughout the film,[36] none more so than red, which is an important thematic signature that drives the story and "[defines] Lester's arc". First seen in drab colors that reflect his passivity, Lester surrounds himself with red as he regains his individuality.[37] The American Beauty rose is repeatedly used as symbol; when Lester fantasizes about Angela, she is usually naked and surrounded by rose petals. In these scenes, the rose symbolizes Lester's desire for her. When associated with Carolyn, the rose represents a
1999 American Beauty "faade for suburban success".[10] Roses are included in almost every shot inside the Burnhams' home, where they signify "a mask covering a bleak, unbeautiful reality".[31] Carolyn feels that "as long as there can be roses, all is well".[31] She cuts the roses and puts them in vases,[10] where they adorn her "meretricious vision of what makes for beauty"[31] and begin to die.[10] The roses in the vase in the AngelaLester seduction scene symbolize Lester's previous life and Carolyn; the camera pushes in as Lester and Angela get closer, finally taking the rosesand thus Carolynout of the shot.[15] Lester's epiphany at the end of the film is expressed via rain and the use of red, building to a crescendo that is a deliberate contrast to the release Lester feels.[38] The constant use of red "lulls [the audience] subliminally" into becoming used to it; consequently, it leaves the audience unprepared when Lester is shot and his blood spatters on the wall.[37]
594
Sexuality and repression

Pennington argues that American Beauty defines its characters through their sexuality. Lester's attempts to relive his youth are a direct result of his lust for Angela,[10] and the state of his relationship with Carolyn is in part shown through their lack of sexual contact. Also sexually frustrated, Carolyn has an affair that takes her from "cold perfectionist" to a more carefree soul who "[sings] happily along with" the music in her car.[39] Jane and Angela constantly reference sex, through Angela's descriptions of her supposed sexual encounters and the way the girls address each other.[39] Their nude scenes are used to communicate their vulnerability.[15][40] By the end of the film, Angela's hold on Jane has weakened until the only power she has over her friend is Lester's attraction to her.[41] Col. Fitts reacts with disgust to meeting Jim and Jim; he asks, "How come these faggots always have to rub it in your face? How can they be so shameless?" To which Ricky replies, "That's the thing, Dadthey don't feel like it's anything to be ashamed of." Pennington argues that Col. Fitts' reaction is not homophobic, but an "anguished self-interrogation".[42] With other turn-of-the-millennium films such as Fight Club, In the Company of Men(1997), American Psycho(2000) and Boys Don't Cry(1999), American Beauty "raises the broader, widely explored issue of masculinity in crisis".[43] Professor Vincent Hausmann charges that in their reinforcement of masculinity "against threats posed by war, by consumerism, and by feminist and queer challenges", these films present a need to "focus on, and even to privilege" aspects of maleness "deemed 'deviant'". Lester's transformation conveys "that he, and not the woman, has borne the brunt of [lack of being]"[44] and he will not stand for being emasculated.[45] Lester's attempts to "strengthen traditional masculinity" conflict with his responsibilities as a father. Although the film portrays the way Lester returns to that role positively, he does not become "the hypermasculine figure implicitly celebrated in films like Fight Club". Hausmann concludes that Lester's behavior toward Angela is "a misguided but nearly necessary step toward his becoming a father again".[9] Hausmann says the film "explicitly affirms the importance of upholding the prohibition against incest";[46] a recurring theme of Ball's work is his comparison of the taboos against incest and homosexuality.[47] Instead of making an overt distinction, American Beauty looks at how their repression can lead to violence.[48] Col. Fitts is so ashamed of his homosexuality that it drives him to murder Lester;[42] by comparison, the openly gay Jim and Jim are the most well-adjusted characters in the film. Ball said, "The movie is in part about how homophobia is based in fear and repression and about what [they] can do."[49] The film implies two unfulfilled incestuous desires:[21] Lester's pursuit of Angela is a manifestation of his lust for his own daughter,[50] while Col. Fitts' repression is exhibited through the almost sexualized discipline with which he controls Ricky.[21] Consequently, Ricky realizes that he can only hurt his father by falsely telling him he is homosexual.[41] Col. Fitts represents Ball's father,[51] whose repressed homosexual desires led to his own unhappiness.[52] Ball rewrote Col. Fitts to delay revealing him as homosexual, which Munt reads as a possible "deferment of Ball's own patriarchal-incest fantasies".[48]
595
Temporality and music

American Beauty follows a traditional narrative structure, only deviating with the displaced opening scene of Jane and Ricky from the middle of the story. Although the plot spans one year, the film is narrated by Lester at the moment of his death. Dr Jacqueline Furby says that the plot "occupies... no time [or] all time", citing Lester's claim that life did not flash before his eyes, but that it "stretches on forever like an ocean of time".[53] Furby argues that a "rhythm of repetition" forms the core of the film's structure.[54] For example, two scenes see the Burnhams' sitting down to an evening meal, shot from the same angle. Each image is broadly similar, with minor differences in object placement and body language that reflect the changed dynamic brought on by Lester's new-found assertiveness.[55][56] Another example is the pair of scenes in which Jane and Ricky film each other. Ricky films Jane from his bedroom window as she removes her bra, and the image is reversed later for a similarly "voyeuristic and exhibitionist" scene in which Jane films Ricky at a vulnerable moment.[53] Lester's fantasies are emphasized by slow motion and repetitive motion shots;[57] Mendes uses double-and-triple cut backs in several sequences,[14][58] and the score alters to make the audience aware that it is entering a fantasy.[59] One example is the gymnasium sceneLester's first encounter with Angela. While the cheerleaders perform their half-time routine to "On Broadway", Lester becomes increasingly fixated on Angela. Time slows to represent his "voyeuristic hypnosis" and Lester begins to fantasize that Angela's performance is for him alone.[60] "On Broadway"which provides a conventional underscore to the onscreen actionis replaced by discordant, percussive music that lacks melody or progression. This nondiegetic score is important to creating the narrative stasis in the sequence;[61] it conveys a moment for Lester that is stretched to an indeterminate length. The effect is one that Associate Professor Stan Link likens to "vertical time", described by the composer and music theorist Jonathan Kramer as music that imparts "a single present stretched out into an enormous duration, a potentially infinite 'now' that nonetheless feels like an instant".[62] The music is used like a visual cue, so that Lester and the score are staring at Angela. The sequence ends with the sudden reintroduction of "On Broadway" and teleological time.[] According to Drew Miller of Stylus, the soundtrack "[gives] unconscious voice" to the characters' psyches and complements the subtext. The most obvious use of pop music "accompanies and gives context to" Lester's attempts to recapture his youth; reminiscent of how the counterculture of the 1960s combated American repression through music and drugs, Lester begins to smoke cannabis and listen to rock music.[63] Mendes' song choices "progress through the history of American popular music". Miller argues that although some may be over familiar, there is a parodic element at work, "making good on [the film's] encouragement that viewers look closer". Toward the end of the film, Thomas Newman's score features more prominently, creating "a disturbing tempo" that matches the tension of the visuals. The exception is "Don't Let It Bring You Down", which plays during Angela's seduction of Lester. At first appropriate, its tone clashes as the seduction stops. The lyrics, which speak of "castles burning", can be seen as a metaphor for Lester's view of Angela"the rosy, fantasy-driven exterior of the 'American Beauty'"as it burns away to reveal "the timid, small-breasted girl who, like his wife, has willfully developed a false public self".[64]
Production
Development
In 1997, Ball resolved to move into the film industry after several frustrating years writing for the television sitcoms Grace Under Fire and Cybill. He joined the United Talent Agency(UTA), where his representative, Andrew Cannava, suggested he write a spec script to "reintroduce [himself] to the town as a screenwriter". Ball pitched three ideas to Cannava: two conventional romantic comedies and American Beauty,[65][66] which he had originally conceived as a play in the early 1990s.[67] Despite the story's lack of an easily marketable concept, Cannava selected American Beauty because he felt it was the one Ball had the most passion for.[68] While developing the script, Ball created another television sitcom, Oh, Grow Up. He channeled his anger and frustration at having to accede to network demands on that showand during his tenures on Grace Under Fire and Cybillinto writing American
1999 American Beauty Beauty.[66] Ball did not expect to sell the script, believing it would act as more of a calling card, but American Beauty drew interest from several production bodies.[69] Cannava passed the script to several producers, including Dan Jinks and Bruce Cohen, who took it to DreamWorks.[70] With the help of executives Glenn Williamson and Bob Cooper, and Steven Spielberg in his capacity as studio partner, Ball was convinced to develop the project at DreamWorks;[71] he received assurances from the studioknown at the time for its more conventional farethat it would not "iron the [edges] out".[72][69] In an unusual move, DreamWorks decided not to option the script;[73] instead, in April 1998, the studio bought it outright[74] for $250,000,[75] outbidding Fox Searchlight Pictures, October Films, Metro-Goldwyn-Mayer and Lakeshore Entertainment.[76] DreamWorks planned to make the film for $68million.[77] Jinks and Cohen involved Ball throughout the film's development, including casting and director selection. The producers met with about twenty interested directors,[78] several of whom were considered "A-list" at the time. Ball was not keen on the more well-known directors because he believed their involvement would increase the budget and lead DreamWorks to become "nervous about the content".[79] Nevertheless, the studio offered the film to Mike Nichols and Robert Zemeckis; neither accepted.[77] In the same year, Mendes (then a theater director) revived the musical Cabaret in New York with fellow director Rob Marshall. Beth Swofford of the Creative Artists Agency arranged meetings for Mendes with studio figures in Los Angeles to see if film direction was a possibility.[80] Mendes came across American Beauty in a pile of eight scripts at Swofford's house,[81] and knew immediately that it was the one he wanted to make; early in his career, he had been inspired by how the film Paris, Texas(1984) presented contemporary America as a mythic landscape and he saw the same theme in American Beauty, as well as parallels with his own childhood.[82] Mendes later met with Spielberg; impressed by Mendes' productions of Oliver! and Cabaret,[83] Spielberg encouraged him to consider American Beauty.[77] Mendes found that he still had to convince DreamWorks' production executives to let him direct.[77] He had already discussed the film with Jinks and Cohen, and felt they supported him.[84] Ball was also keen; having seen Cabaret, he was impressed with Mendes' "keen visual sense" and thought he did not make obvious choices. Ball felt that Mendes liked to look under the story's surface, a talent he felt would be a good fit with the themes of American Beauty.[79] Mendes' background also reassured him, because of the prominent role the playwright usually has in a theater production.[78] Over two meetingsthe first with Cooper, Walter Parkes and Laurie MacDonald,[84] the second with Cooper alone[85]Mendes pitched himself to the studio.[84] The studio soon approached Mendes with a deal to direct for the minimum salary allowed under Directors Guild of America rules$150,000. Mendes accepted, and later recalled that after taxes and his agent's commission, he only earned $38,000.[85] In June 1998, DreamWorks confirmed that it had contracted Mendes to direct the film.[86]
596
Writing
"I think I was writing about... how it's becoming harder and harder to live an authentic life when we live in a world that seems to focus on appearance... For all the differences between now and the [1950s], in a lot of ways this is just as oppressively conformist a time... You see so many people who strive to live the unauthentic life and then they get there and they wonder why they're not happy... I didn't realize it when I sat down to write [American Beauty], but these ideas are important to me." Alan Ball, 2000
[87]
Ball was partly inspired by two encounters he had in the early 1990s. In about 199192, Ball saw a plastic bag blowing in the wind outside the World Trade Center. He watched the bag for ten minutes, saying later that it provoked an "unexpected emotional response".[88] In 1992, Ball became preoccupied with the media circus around the Amy Fisher trial.[68] Discovering a comic book telling of the scandal, he was struck by how quickly it had become commercialized.[67] He said he "felt like there was a real story underneath [that was] more fascinating and way more tragic" than the story presented to the public,[68] and attempted to turn the idea into a play. Ball produced around 40 pages,[67] but stopped when he realized it would work better as a film.[68] He felt that because of the visual
1999 American Beauty themes, and because each character's story was "intensely personal", it could not be done on a stage. All the main characters appeared in this version, but Carolyn did not feature strongly; Jim and Jim instead had much larger roles.[89] Ball based Lester's story on aspects of his own life.[90] Lester's re-examination of his life parallels feelings Ball had in his mid-30s;[91] like Lester, Ball put aside his passions to work in jobs he hated for people he did not respect.[90] Scenes in Ricky's household reflect Ball's own childhood experiences.[69] Ball suspected his father was homosexual and used the idea to create Col. Fitts, a man who "gave up his chance to be himself".[92] Ball said the script's mix of comedy and drama was not intentional, but that it came unconsciously from his own outlook on life. He said the juxtaposition produced a starker contrast, giving each trait more impact than if they appeared alone.[93] In the script that was sent to prospective actors and directors, Lester and Angela had sex;[94] by the time of shooting, Ball had rewritten the scene to the final version.[95] Ball initially rebuffed counsel from others that he change the script, feeling they were being puritanical; the final impetus to alter the scene came from DreamWorks' then-president Walter Parkes. He convinced Ball by indicating that in Greek mythology, the hero "has a moment of epiphany before... tragedy occurs".[96] Ball later said his anger when writing the first draft had blinded him to the idea that Lester needed to refuse sex with Angela to complete his emotional journeyto achieve redemption.[95] Jinks and Cohen asked Ball not to alter the scene straight away, as they felt it would be inappropriate to make changes to the script before a director had been hired.[97] Early drafts also included a flashback to Col. Fitts service in the Marines, a sequence that unequivocally established his homosexual leanings. In love with another Marine, Col. Fitts sees the man die and comes to believe that he is being punished for the "sin" of being gay. Ball removed the sequence because it did not fit the structure of the rest of the filmCol. Fitts was the only character to have a flashback[98]and because it removed the element of surprise from Col. Fitts' later pass at Lester.[97] Ball said he had to write it for his own benefit to know what happened to Col. Fitts, even though all that remained in later drafts was subtext.[98] Ball remained involved throughout production;[78] he had signed a television show development deal, so had to get permission from his producers to take a year off to be close to American Beauty.[94] Ball was on-set for rewrites and to help interpret his script for all but two days of filming.[99] His original bookend scenesin which Ricky and Jane are prosecuted for Lester's murder after being framed by Col. Fitts[100]were excised in post-production;[68] the writer later felt the scenes were unnecessary, saying they were a reflection of his "anger and cynicism" at the time of writing (see "Editing").[93] Ball and Mendes revised the script twice before it was sent to the actors, and twice more before the first read-through.[79] The shooting script features a scene in Angela's car in which Ricky and Jane talk about death and beauty; the scene differed from earlier versions, which set it as a "big scene on a freeway"[101] in which the three witness a car crash and see a dead body.[102] The change was a practical decision, as the production was behind schedule and they needed to cut costs.[101] The schedule called for two days to be spent filming the crash, but only half a day was available.[102] Ball agreed, but only if the scene could retain a line of Ricky's where he reflects on having once seen a dead homeless woman: "When you see something like that, it's like God is looking right at you, just for a second. And if you're careful, you can look right back." Jane asks: "And what do you see?" Ricky: "Beauty." Ball said, "They wanted to cut that scene. They said it's not important. I said, 'You're out of your fucking mind. It's one of the most important scenes in the movie!'... If any one line is the heart and soul of this movie, that is the line."[101] Another scene was rewritten to accommodate the loss of the freeway sequence; set in a schoolyard, it presents a "turning point" for Jane in that she chooses to walk home with Ricky instead of going with Angela.[102] By the end of filming, the script had been through ten drafts.[79]
597
598
Casting
Mendes had Spacey and Bening in mind for the leads from the beginning, but DreamWorks executives were unenthusiastic. The studio suggested several alternatives, including Bruce Willis, Kevin Costner or John Travolta to play Lester, and Helen Hunt or Holly Hunter to play Carolyn. Mendes did not want a big star "weighing the film down"; he felt Spacey was the right choice based on his performances in the 1995 films The Usual Suspects and Seven, and 1992's Glengarry Glen Ross.[103] Spacey was surprised; he said, "I usually play characters who are very quick, very manipulative and smart... I usually wade in dark, sort of treacherous waters. Principal cast. First row, left to right: Kevin Spacey, Annette Bening, Thora This is a man living one step at a time, playing by Birch, Mena Suvari his instincts. This is actually much closer to me, Second row: Chris Cooper, Wes Bentley, Allison Janney to what I am, than those other parts."[75] Mendes offered Bening the role of Carolyn without the studio's consent; although executives were upset at Mendes,[103] by September 1998, DreamWorks had entered negotiations with Spacey and Bening.[104][105] Spacey loosely based Lester's early "schlubby" deportment on Walter Matthau.[106] During the film, Lester's physique improves from flabby to toned;[107] Spacey worked out during filming to improve his body,[108] but because Mendes shot the scenes out of chronological order, Spacey varied postures to portray the stages.[107] Before filming, Mendes and Spacey analyzed Jack Lemmon's performance in The Apartment(1960), because Mendes wanted Spacey to emulate "the way [Lemmon] moved, the way he looked, the way he was in that office and the way he was an ordinary man and yet a special man".[75] Spacey's voiceover is a throwback to Sunset Boulevard(1950), which is also narrated in retrospect by a dead character. Mendes felt it evoked Lester'sand the film'sloneliness.[] Bening recalled women from her youth to inform her performance: "I used to babysit constantly. You'd go to church and see how people present themselves on the outside, and then be inside their house and see the difference." Bening and a hair stylist collaborated to create a "PTA president coif" hairstyle, and Mendes and production designer Naomi Shohan researched mail order catalogs to better establish Carolyn's environment of a "spotless suburban manor".[109] To help Bening get into Carolyn's mindset, Mendes gave her music that he believed Carolyn would like.[110] He lent Bening the Bobby Darin version of the song "Don't Rain on My Parade", which she enjoyed and persuaded the director to include for a scene in which Carolyn sings in her car.[109] For the roles of Jane, Ricky and Angela, DreamWorks gave Mendes carte blanche.[111] By November 1998, Thora Birch, Wes Bentley, and Mena Suvari had been cast in the parts[112]in Birch's case, despite the fact she was underage for her nude scene.[113] Bentley overcame competition from top actors under the age of 25 to be cast.[112] The 2009 documentary My Big Break followed Bentley, and several other young actors, before and after he landed the part.[114] To prepare, Mendes provided Bentley with a video camera, telling the actor to film what Ricky would.[110] Peter Gallagher and Alison Janney were cast (as Buddy Kane and Barbara Fitts) after filming began in December 1998.[115][116] Mendes gave Janney a book of paintings by Edvard Munch. He told her, "Your character is in there somewhere."[110] Mendes cut much of Barbara's dialogue,[117] including conversations between her and Col. Fitts, as he felt that what needed to be said about the pairtheir humanity and vulnerabilitywas conveyed successfully through their shared moments of silence.[118] Chris Cooper plays Col. Fitts, Scott Bakula plays Jim Olmeyer, and Sam Robards plays Jim Berkley.[119] Jim and Jim were deliberately depicted as the most normal,
1999 American Beauty happyand boringcouple in the film.[49] Ball's inspiration for the characters came from a thought he had after seeing a "bland, boring, heterosexual couple" who wore matching clothes: "I can't wait for the time when a gay couple can be just as boring." Ball also included aspects of a gay couple he knew who had the same forename.[92] Mendes insisted on two weeks of cast rehearsals, although the sessions were not as formal as he was used to in the theater, and the actors could not be present at every one.[110] Several improvisations and suggestions by the actors were incorporated into the script.[79] An early scene showing the Burnhams leaving home for work was inserted late on to show the low point that Carolyn and Lester's relationship had reached.[] Spacey and Bening worked to create a sense of the love that Lester and Carolyn once had for one another; for example, the scene in which Lester almost seduces Carolyn after the pair argue over Lester's buying a car was originally "strictly contentious".[120]
599
Filming
Principal photography lasted about 50 days[121] from December14, 1998,[122] to February 1999.[123] American Beauty was filmed on soundstages at the Warner Bros. backlot in Burbank, California, and at Hancock Park and Brentwood in Los Angeles.[38] The aerial shots at the beginning and end of the film were captured in Sacramento, California,[124] and many of the school scenes were shot at South High School in Torrance, California; several extras in the gym crowd were South High students.[125] The film is set in an upper middle class neighborhood in an unidentified American town. Production designer Naomi Shohan likened the locale to Evanston, Illinois, but said, "it's not about a place, it's about an archetype... The milieu was pretty much Anywhere, USAupwardly mobile suburbia." The intent was for the setting to reflect the characters, who are also archetypes. Shohan said, "All of them are very strained, and their lives are constructs." The Burnhams' household was designed as the reverse of the Fitts'the former a pristine ideal, but graceless and lacking in "inner balance", leading to Carolyn's desire to at least give it the appearance of a "perfect all-American household"; the Fitts' home is depicted in "exaggerated darkness [and] symmetry".[38] The production selected two adjacent properties on the Warner backlot's "Blondie Street" for the Burnhams' and Fitts' homes.[126][38] The crew rebuilt the houses to incorporate false rooms that established lines of sightbetween Ricky and Jane's bedroom windows, and between Ricky's bedroom and Lester's garage.[127] The garage windows were designed specifically to obtain the crucial shot toward the end of the film in which Col. Fittswatching from Ricky's bedroommistakenly assumes that Lester is paying Ricky for sex.[108] Mendes made sure to establish the line of sight early on in the film to make the audience The aerial shots of the Burnhams' neighborhood at the beginning and feel a sense of familiarity with the shot.[128] The house [124] end of the film were captured above Sacramento, California. interiors were filmed on the backlot, on location, and on soundstages when overhead shots were needed.[38] The inside of the Burnhams' home was shot at a house close to Interstate 405 and Sunset Boulevard in Los Angeles; the inside of the Fitts' home was shot in the city's Hancock Park neighborhood.[127] Ricky's bedroom was designed to be cell-like to suggest his "monkish" personality, while at the same time blending with the high-tech equipment to reflect his voyeuristic side. The production deliberately minimized the use of red, as it was an important thematic signature elsewhere. The Burnhams' home uses cool blues, while the Fitts' is kept in a "depressed military palette".[38] Mendes' dominating visual style was deliberate and composed, with a minimalist design that provided "a sparse, almost surreal feelinga bright, crisp, hard edged, near Magritte-like take on American suburbia"; Mendes
1999 American Beauty constantly directed his set dressers to empty the frame. He made Lester's fantasy scenes "more fluid and graceful",[17] and Mendes made minimal use of steadicams, feeling that stable shots generated more tension. For example, when Mendes used a slow push in to the Burnhams' dinner table, he held the shot because his training as a theater director taught him the importance of putting distance between the characters. He wanted to keep the tension in the scene, so he only cut away when Jane left the table.[129][106] Mendes did use a hand-held camera for the scene in which Col. Fitts beats Ricky. Mendes said the camera provided the scene with a "kinetic... off balance energy". He also went hand-held for the excerpts of Ricky's camcorder footage.[40] It took Mendes a long time to get the quality of Ricky's footage to the level he wanted.[106] For the plastic bag footage, Mendes used wind machines to move the bag in the air. The scene took four takes; two by the second unit did not satisfy Mendes, so he shot the scene himself. He felt his first take lacked grace, but for the last attempt he changed the location to the front of a brick wall and added leaves on the ground. Mendes was satisfied by the way the wall gave definition to the outline of the bag.[130] Mendes avoided using close-ups, as he believed the technique was overused; he also cited Spielberg's advice that he should imagine an audience silhouetted at the bottom of the camera monitor, to keep in mind that he was shooting for display on a 40-foot (unknown operator: u'strong'm) screen.[15] Spielbergwho visited the set a few timesalso advised Mendes not to worry about costs if he had a "great idea" toward the end of a long working day. Mendes said, "That happened three or four times, and they are all in the movie."[131] Despite Spielberg's support, DreamWorks and Mendes fought constantly over the schedule and budgetalthough the studio interfered little with the film's content.[17] Spacey, Bening and Hall worked for significantly less than their usual rates. American Beauty cost DreamWorks $15million to produce, slightly above their projected sum.[132] Mendes was so dissatisfied with his first three days' filming that he obtained permission from DreamWorks to reshoot the scenes. He said, "I started with a wrong scene, actually, a comedy scene.[133] And the actors played it way too big... It was badly shot, my fault, badly composed, my fault, bad costumes, my fault... And everybody was doing what I was asking. It was all my fault." Aware that he was a novice, Mendes drew on the experience of Hall: "I made a very conscious decision early on, if I didn't understand something technically, to say, without embarrassment, 'I don't understand what you're talking about, please explain it.'"[75] Mendes encouraged some improvisation; for example, when Lester masturbates in bed beside Carolyn, the director asked Spacey to improvise several euphemisms for the act in each take. Mendes said, "I wanted that not just because it was funny... but because I didn't want it to seem rehearsed. I wanted it to seem like he was blurting it out of his mouth without thinking. [Spacey] is so in controlI wanted him to break through." Spacey obliged, eventually coming up with 35 phrases, but Bening could not always keep a straight face, which meant the scene had to be shot ten times.[131] The production used small amounts of computer-generated imagery. Most of the rose petals in Lester's fantasies were added in post-production,[58] although some were real and had the wires holding them digitally removed.[134] When Lester fantasizes about Angela in a rose petal bath, the steam was real, save for in the overhead shot. To position the camera, a hole had to be cut in the ceiling, through which the steam escaped; it was instead added digitally.[14]
600
Editing
American Beauty was edited by Christopher Greenbury and Tariq Anwar; Greenbury began in the position, but had to leave halfway through post-production because of a scheduling conflict with Me, Myself and Irene(2000). Mendes and an assistant edited the film for ten days between the appointments.[135] Mendes realized during editing that the film was different to the one he had envisioned. He believed he had been making a "much more whimsical... kaleidoscopic" film than what came together in the edit suite. Instead, Mendes was drawn to the emotion and darkness; he began to use the score and shots he had intended to discard to craft the film along these lines.[136] In total, he cut about 30 minutes from his original edit.[121] The opening included a dream in which Lester imagines himself flying above the town. Mendes spent two days filming Spacey against bluescreen, but removed the sequence as he believed it to be too whimsical"like a Coen brothers movie"and therefore inappropriate for the tone he was
1999 American Beauty trying to set.[106] The opening in the final cut reused a scene from the middle of the film where Jane tells Ricky to kill her father.[] This scene was to be the revelation to the audience that the pair were not responsible for Lester's death, as the way it was scored and acted made it clear that Jane's request was not serious. However, in the portion he used in the openingand when the full scene plays out laterMendes used the score and a reaction shot of Ricky to leave a lingering ambiguity as to his guilt.[137] The subsequent shotan aerial view of the neighborhoodwas originally intended as the plate shot for the bluescreen effects in the dream sequence.[106] Mendes spent more time re-cutting the first ten minutes than the rest of the film taken together. He trialled several versions of the opening;[] the first edit included bookend scenes in which Jane and Ricky are convicted of Lester's murder,[138] but Mendes excised these in the last week of editing[] because he felt they made the film lose its mystery,[139] and because they did not fit with the theme of redemption that had emerged during production. Mendes believed the trial drew focus away from the characters and turned the film "into an episode of NYPD Blue". Instead, he wanted the ending to be "a poetic mixture of dream and memory and narrative resolution".[17] When Ball first saw a completed edit, it was a version with truncated versions of these scenes. He felt that they were so short that they "didn't really register". He and Mendes argued,[99] but Ball was more accepting after Mendes cut the sequences completely; Ball felt that without the scenes the film was more optimistic and had evolved into something that "for all its darkness had a really romantic heart".[100]
601
Cinematography
Conrad Hall was not the first choice for director of photography; Mendes believed he was "too old and too experienced" to want the job, and he had been told that Hall was difficult to work with. Instead, Mendes asked Fred Elmes, who turned the job down because he did not like the script.[140] Hall was recommended to Mendes by Tom Cruise, because of Hall's work on Without Limits(1998), which Cruise had executive produced. Mendes was directing Cruise's then-wife Nicole Kidman in the play The Blue Room during pre-production on American Beauty,[127] and had already storyboarded the whole film.[83] Hall was involved for one month during pre-production;[127] his ideas for lighting the film began with his first reading of the script, and further passes allowed him to refine his approach before meeting Mendes.[141] Hall was initially concerned that audiences would not like the characters; he only felt able to identify with them during cast rehearsals, which gave him fresh ideas on his approach to the visuals.[127] Hall's approach was to create peaceful compositions that evoked classicism, to contrast with the turbulent on-screen events and allow audiences to take in the action. Hall and Mendes would first discuss the intended mood of a scene, but he was allowed to light the shot in any way he felt necessary.[141] In most cases, Hall first lit the scene's subject by "painting in" the blacks and whites, before adding fill light, which he reflected from beadboard or white card on the ceiling. This approach gave Hall more control over the shadows while keeping the fill light unobtrusive and the dark areas free of spill.[142] Hall shot American Beauty in a 2.39:1 aspect ratio in the Super 35 format, using Kodak Vision 500T 5279 35mm film stock.[143] He used Super 35 partly because its larger scope allowed him to capture elements such as the corners of the petal-filled pool in its overhead shot, creating a frame around Angela within.[134] He shot the whole film at the same T-stop (T1.9);[143] given his preference for shooting that wide, Hall favored high-speed stocks to allow for more subtle lighting effects.[142] He used Panavision Platinum cameras with the company's Primo series of prime and zoom lenses. Hall employed Kodak Vision 200T 5274 and EXR 5248 stock for scenes with daylight effects. He had difficulty adjusting to Kodak's newly introduced Vision release print stock, which, combined with his contrast-heavy lighting style, created a look with too much contrast. Hall contacted Kodak, who sent him a batch of 5279 that was 5% lower in contrast. Hall used a 1/8inch Tiffen Black ProMist filter for almost every scene, which he said in retrospect may not have been the best choice, as the optical steps required to blow Super 35 up for its anamorphic release print led to a slight amount of degradation; therefore, the diffusion from the filter was not required. When he saw the film in a theater, Hall felt that the image was slightly unclear and that had he not used the filter, the diffusion from the Super 35anamorphic conversion would have generated an image closer to what he originally intended.[143]
1999 American Beauty A shot where Lester and Ricky share a cannabis joint behind a building came from a misunderstanding between Hall and Mendes. Mendes asked Hall to prepare the shot in his absence; Hall assumed the characters would look for privacy, so he placed them in a narrow passage between a truck and the building, intending to light from the top of the truck. When Mendes returned, he explained that the characters did not care if they were seen. He removed the truck and Hall had to rethink the lighting; he lit it from the left, with a large light crossing the actors, and with a soft light behind the camera. Hall felt the consequent wide shot "worked perfectly for the tone of the scene".[143] Hall made sure to keep rain, or the suggestion of it, in every shot near the end of the film. In one shot during Lester's encounter with Angela at the Burnhams' home, Hall created rain effects on the foreground cross lights; in another, he partly lit the pair through French windows to which he had added material to make the rain run slower, intensifying the light (although the strength of the outside light was unrealistic for a night scene, Hall felt it justified because of the strong contrasts it produced). For the close-ups when Lester and Angela move to the couch, Hall tried to keep rain in the frame, lighting through the window onto the ceiling behind Lester.[142] He also used rain boxes to produce rain patterns where he wanted without lighting the entire room.[144]
602
Music
Thomas Newman's score was recorded in Santa Monica, California.[75] He mainly used percussion instruments to create the mood and rhythm, the inspiration for which was provided by Mendes.[145] Newman "favored pulse, rhythm and color over melody", making for a more minimalist score than he had previously created. He built each cue around "small, endlessly repeating phrases"often, the only variety through a "thinning of the texture for eight bars".[146] The percussion instruments included tablas, bongos, cymbals, piano, xylophones and marimbas; also featured were guitars, flute, and world music instruments.[145] Newman also used electronic music and on "quirkier" tracks employed more unorthodox methods, such as tapping metal mixing bowls with a finger and using a detuned mandolin.[146] Newman believed the score helped move the film along without disturbing the "moral ambiguity" of the script: "It was a real delicate balancing act in terms of what music worked to preserve [that]."[145] The soundtrack features songs by Newman, Bobby Darin, The Who, Free, Eels, The Guess Who, Bill Withers, Betty Carter, Peggy Lee, The Folk Implosion, Gomez, and Bob Dylan, as well as two cover versionsThe Beatles' "Because" performed by Elliott Smith, and Neil Young's "Don't Let It Bring You Down" performed by Annie Lennox.[119] Produced by the film's music supervisor Chris Douridas,[147] an abridged soundtrack album was released on October5, 1999 and went on to be nominated for a Grammy Award for Best Soundtrack Album. An album featuring 19 tracks from Newman's score was released on January11, 2000, and won the Grammy Award for Best Score Soundtrack Album.[148] Filmmaker considered the score to be one of Newman's best, saying it "[enabled] the film's transcendentalist aspirations". In 2006, the magazine chose the score as one of twenty essential soundtracks it believed spoke to the "complex and innovative relationships between music and screen storytelling".[149]
Release
Publicity
DreamWorks contracted Amazon.com to create the official website, marking the first time that Amazon had created a special section devoted to a feature film. The website included an overview, a photo gallery, cast and crew filmographies, and exclusive interviews with Spacey and Bening.[150] The film's tagline"look closer"originally came from a cutting pasted on Lester's workplace cubicle by the set dresser.[106] DreamWorks ran parallel marketing campaigns and trailersone aimed at adults, the other at teenagers. Both trailers ended with the poster image of a girl holding a rose.[151][152] Reviewing the posters of several 1999 films, David Hochman of Entertainment Weekly rated American Beauty's highly, saying it evoked the tagline; he said, "You return to the poster again and again, thinking, this time you're gonna find something."[153] DreamWorks did not want to test screen the film; according to Mendes, the studio was pleased with it, but he insisted on one where he could question the audience afterward. The
1999 American Beauty studio reluctantly agreed and showed the film to a young audience in San Jose, California. Mendes claimed the screening went very well.[154][132]
603
Theatrical run
American Beauty had its world premiere on September8, 1999, at Grauman's Egyptian Theatre in Los Angeles.[155] Three days later, the film appeared at the Toronto International Film Festival.[156] With the filmmakers and cast in attendance, it screened at several American universities, including the University of California at Berkeley, New York University, the University of California at Los Angeles, the University of Texas at Austin, and Northwestern University.[157] On September15, 1999, American Beauty opened to the public in limited release at three theaters in Los Angeles and three in New York.[160][161] More theaters were added during the limited run,[159] and on October1, the film officially entered wide release[162] by screening in 706theaters across North America.[163] The film grossed $8,188,587 over the weekend, ranking third at the box office.[164] Audiences polled by the market research firm CinemaScore gave American Beauty a "B+" grade on Graph showing the number of theaters in which American Beauty played in North average.[165][166] The theater count hit a America in 19992000. After the film's Golden Globe success in January 2000, [158][159] high of 1,528 at the end of the month, before DreamWorks re-expanded its market presence to 1,990 theaters. [159] a gradual decline. Following American Beauty's wins at the 57th Golden Globe Awards, DreamWorks re-expanded the theater presence from a low of 7 in mid-February,[158] to a high of 1,990 in March.[159] The film ended its North American theatrical run on June4, 2000, having grossed $130.1million.[164] American Beauty had its European premiere at the London Film Festival on November18, 1999;[167] in January 2000, it began to screen in various territories outside North America.[168] It debuted in Israel to "potent" returns,[169] and limited releases in Germany, Italy, Austria, Switzerland, the Netherlands and Finland followed on January21.[170] After January28 opening weekends in Australia, the United Kingdom, Spain and Norway, American Beauty had earned $7million in 12countries for a total of $12.1million outside North America.[171] On February4, American Beauty debuted in France and Belgium. Expanding to 303theaters in the United Kingdom, the film ranked first at the box office with $1.7million.[172] On the weekend of February18following American Beauty's eight nominations for the 72nd Academy Awardsthe film grossed $11.7million from 21territories, for a total of $65.4million outside North America. The film had "dazzling" debuts in Hungary, Denmark, the Czech Republic, Slovakia and New Zealand.[173] As of February18, the most successful territories were the UK ($15.2million), Italy ($10.8million), Germany ($10.5million), Australia ($6million) and France ($5.3million).[173] The Academy Award nominations meant strong performances continued across the board;[174] the following weekend, American Beauty grossed $10.9million in 27countries, with strong debuts in Brazil, Mexico and South Korea.[175] Other high spots included robust returns in Argentina, Greece and Turkey.[174] On the weekend of March3, 2000, American Beauty debuted strongly in Hong Kong, Taiwan and in Singapore, markets traditionally "not receptive to this kind of upscale fare". The impressive South Korean performance continued, with a return of $1.2million after nine days.[176] In total, American Beauty grossed $130.1million in North America and $226.2million internationally, for $356.3million worldwide.[164]
604
Home media
American Beauty was released on VHS on May9, 2000[177] and on DVD with the DTS format on October24, 2000.[178] Before the North American rental release on May9,[179] Blockbuster Video wanted to purchase hundreds of thousands of extra copies for its "guaranteed title" range, whereby anyone who wanted to rent the film would be guaranteed a copy. Blockbuster and DreamWorks could not agree a profit sharing deal, so Blockbuster ordered two thirds the number of copies it originally intended.[180] DreamWorks made around one million copies available for rental; Blockbuster's share would usually have been about 400,000 of these. Some Blockbuster stores only displayed 60 copies,[181] and others did not display the film at all, forcing customers to ask for it.[180][181] The strategy required staff to read a statement to customers explaining the situation; Blockbuster claimed it was only "[monitoring] customer demand" due to the reduced availability.[180] Blockbuster's strategy leaked before May9, leading to a 30% order increase from other retailers.[179][180] In its first week of rental release, American Beauty made $6.8million. This return was lower than would have been expected had DreamWorks and Blockbuster reached an agreement. The same year's The Sixth Sense made $22million, while Fight Club made $8.1million, even though the latter's North American theatrical performance was just 29% that of American Beauty. Blockbuster's strategy also affected rental fees; American Beauty averaged $3.12, compared with $3.40 for films that Blockbuster fully promoted. Only 53% of the film's rentals were from large outlets in the first week, compared with the usual 65%.[180] The DVD release included a behind-the-scenes featurette, film audio commentary from Mendes and Ball and a storyboard presentation with discussion from Mendes and Hall.[178] In the film commentary, Mendes refers to deleted scenes he intended to include in the release.[182] However, these scenes are not on the DVD as he changed his mind after recording the commentary;[183] Mendes felt that to show scenes he previously chose not to use would detract from the film's integrity.[184] On September 21, 2010, Paramount Home Entertainment released American Beauty on Blu-ray, as part of Paramount's Sapphire Series. All the extras from the DVD release were present, with the theatrical trailers upgraded to HD.[185]
Critical reception
Critically acclaimed, American Beauty was widely considered the best film of 1999 by the American press; it received overwhelming praise, chiefly for Spacey, Mendes and Ball.[186] Variety reported, "No other 1999 movie has benefited from such universal raves."[187] It was the best-received title at the Toronto International Film Festival (TIFF),[156] where it won the People's Choice Award after a ballot of the festival's audiences.[188] TIFF's director, Piers Handling, said, "American Beauty was the buzz of the festival, the film most talked about."[189] Writing in Variety, Todd McCarthy said the cast ensemble "could not be better"; he praised Spacey's "handling of innuendo, subtle sarcasm and blunt talk" and the way he imbued Lester with "genuine feeling".[190] Janet Maslin in The New York Times said Spacey was at his "wittiest and most agile" to date,[191] and Roger Ebert of the Chicago Sun-Times singled Spacey out for successfully portraying a man who "does reckless and foolish things [but who] doesn't deceive himself".[192] Kevin Jackson of Sight & Sound said Spacey impressed in ways distinct from his previous performances, the most satisfying aspect being his portrayal of "both sap and hero".[119] Writing in Film Quarterly, Gary Hentzi praised the actors,[193] but said that characters such as Carolyn and Col. Fitts were stereotypes.[194] Hentzi accused Mendes and Ball of identifying too readily with Jane and Ricky, saying the latter was their "fantasy figure"a teenaged boy who's an absurdly wealthy artist able to "finance [his] own projects".[195] Hentzi said Angela was the most believable teenager, in particular with her "painfully familiar" attempts to "live up to an unworthy image of herself".[186] Maslin agreed that some characters were unoriginal, but said their detailed characterizations made them memorable.[191] Kenneth Turan of the Los Angeles Times said the actors coped "faultlessly" with what were difficult roles; he called Spacey's performance "the energy that drives the film", saying the actor commanded audience involvement despite Lester's not always being sympathetic. "Against considerable odds, we do like [these characters]," Turan concluded.[196]
1999 American Beauty Maslin felt that Mendes directed with "terrific visual flair", saying his minimalist style balanced "the mordant and bright" and that he evoked the "delicate, eroticized power-playing vignettes" of his theater work.[191] Jackson said Mendes' theatrical roots rarely showed, and that the "most remarkable" aspect was that Spacey's performance did not overshadow the film. He said that Mendes worked the script's intricacies smoothly, to the ensemble's strengths, and staged the tonal shifts skillfully.[119] McCarthy believed American Beauty a "stunning card of introduction" for film dbutantes Mendes and Ball. He said Mendes' "sure hand" was "as precise and controlled" as his theater work. McCarthy cited Hall's involvement as fortunate for Mendes, as the cinematographer was "unsurpassed" at conveying the themes of a work.[190] Turan agreed that Mendes' choice of collaborators was "shrewd", naming Hall and Newman in particular. Turan suggested that American Beauty may have benefited from Mendes' inexperience, as his "anything's possible daring" made him attempt beats that more seasoned directors might have avoided. Turan felt that Mendes' accomplishment was to "capture and enhance [the] duality" of Ball's scriptthe simultaneously "caricatured... and painfully real" characters.[196] Hentzi, while critical of many of Mendes and Ball's choices, admitted the film showed off their "considerable talents".[193] Turan cited Ball's lack of constraint when writing the film as the reason for its uniqueness, in particular the script's subtle changes in tone.[196] McCarthy said the script was "as fresh and distinctive" as any of its American film contemporaries, and praised how it analyzed the characters while not compromising narrative pace. He called Ball's dialogue "tart" and said the charactersCarolyn exceptedwere "deeply drawn". One other flaw, McCarthy said, was the revelation of Col. Fitts' homosexuality, which he said evoked "hoary Freudianism".[190] Jackson said the film transcended its clichd setup to become a "wonderfully resourceful and sombre comedy". He said that even when the film played for sitcom laughs, it did so with "unexpected nuance".[119] Hentzi criticized how the film made a mystery of Lester's murder, believing it manipulative and simply a way of generating suspense.[193] McCarthy cited the production and costume design as pluses, and said the soundtrack was good at creating "ironic counterpoint[s]" to the story.[190] Hentzi concluded that American Beauty was "vital but uneven"; he felt the film's examination of "the ways which teenagers and adults imagine each other's lives" was its best point, and that although Lester and Angela's dynamic was familiar, its romantic irony stood beside "the most enduring literary treatments" of the theme, such as Lolita. Nevertheless, Hentzi believed that the film's themes of materialism and conformity in American suburbia were "hackneyed".[186] McCarthy conceded that the setting was familiar, but said it merely provided the film with a "starting point" from which to tell its "subtle and acutely judged tale".[190] Maslin agreed; she said that while it "takes aim at targets that are none too fresh", and that the theme of nonconformity did not surprise, the film had its own "corrosive novelty".[191] Ebert awarded American Beauty four stars out of four,[192] and Turan said it was layered, subversive, complex and surprising, concluding it was "a hell of a picture".[196] A few months after the film's release, reports of a backlash appeared in the American press,[197] and the years since have seen its critical regard wane.[198][199] In 2005, Premiere named American Beauty as one of 20 "most overrated movies of all time";[200] Mendes accepted the inevitability of the critical reappraisal, saying, "I thought some of it was entirely justifiedit was a little overpraised at the time."[199]
605
Accolades
American Beauty was not considered an immediate favorite to dominate the American awards season. Several other contenders opened at the end of 1999, and US critics spread their honors among them when compiling their end-of-year lists.[201] The Chicago Film Critics Association and the Broadcast Film Critics Association named the film the best of 1999, but although the New York Film Critics Circle, the National Society of Film Critics and the Los Angeles Film Critics Association recognized American Beauty,[202] they gave their top awards to other films.[201] By the end of the year, reports of a critical backlash suggested American Beauty was the underdog in the race for Best Picture;[197] however, at the Golden Globe Awards in January 2000, American Beauty won Best Film, Best Director and Best Screenplay.[202]
1999 American Beauty As the nominations for the 72nd Academy Awards approached, a frontrunner had not emerged.[201] DreamWorks had launched a major campaign for American Beauty five weeks before ballots were due to be sent to the 5,600 Academy Award voters. Its campaign combined traditional advertising and publicity with more focused strategies. Although direct mail campaigning was prohibited, DreamWorks reached voters by promoting the film in "casual, comfortable settings" in voters' communities. The studio's candidate for Best Picture the previous year, Saving Private Ryan, lost to Shakespeare in Love, so the studio took a new approach by hiring outsiders to provide input for the campaign. It hired three veteran consultants, who told the studio to "think small". Nancy Willen encouraged DreamWorks to produce a special about the making of American Beauty, to set up displays of the film in the communities' bookstores, and to arrange a question-and-answer session with Mendes for the British Academy of Film and Television Arts. Dale Olson advised the studio to advertise in free publications that circulated in Beverly Hillshome to many votersin addition to major newspapers. Olson arranged to screen American Beauty to about 1,000 members of the Actors Fund of America, as many participating actors were also voters. Bruce Feldman took Ball to the Santa Barbara International Film Festival, where Ball attended a private dinner in honor of Anthony Hopkins, meeting several voters who were in attendance.[203] In February 2000, American Beauty was nominated for eight Academy Awards; its closest rivals, The Cider House Rules and The Insider, received seven nominations each. In March 2000, the major industry labor organizations[204] all awarded their top honors to American Beauty; perceptions had shiftedthe film was now favorite to dominate the Academy Awards.[201] American Beauty's closest rival for Best Picture was still The Cider House Rules, from Miramax. Both studios mounted aggressive campaigns; DreamWorks bought 38% more advertising space in Variety than Miramax.[205] On March26, 2000, American Beauty won five Academy Awards: Best Picture, Best Director, Best Actor (Spacey), Best Original Screenplay and Best Cinematography.[206][207] At the 53rd British Academy Film Awards, American Beauty won six of the fourteen awards for which it was nominated: Best Film, Best Actor, Best Actress (Bening), Best Cinematography, Best Film Music and Best Editing.[202] In 2000, the Publicists Guild of America recognized DreamWorks for the best film publicity campaign.[208] In September 2008, Empire named American Beauty the 96th "Greatest Movie of All Time" after a poll of 10,000 readers, 150 filmmakers and 50 film critics.[209][210]
606
References
Annotations
[1] "American Beauty (1999)" (http:/ / boxofficemojo. com/ movies/ ?id=americanbeauty. htm). Box Office Mojo. . Retrieved 2011-09-22. [2] Mendes, Sam (Director). (1999). American Beauty [Motion picture]. United States: DreamWorks. [3] Booth 2002, p.129 [4] Hall 2006, p.23 [5] Booth 2002, p.126 [6] Some postmodernist readings would posit no need for an identified voice; see Death of the Author. [7] Booth 2002, p.128 [8] Booth 2002, pp.126128 [9] Hausmann 2004, p.118 [10] Pennington 2007, p.104 [11] Munt 2006, pp.264265 [12] Mendes & Ball 2000, chapter 8 [13] Hausmann 2004, pp.118119 [14] Mendes & Ball 2000, chapter 11 [15] Mendes & Ball 2000, chapter 25 [16] Pennington 2007, p.105 [17] Kemp 2000, p.26 [18] Mendes & Ball 2000, chapter 26 [19] Mendes & Ball 2000, chapter 27 [20] Desowitz, Bill (December12, 1999). "Finding Spiritual Rebirth In a Valley of Male Ennui" (http:/ / www. nytimes. com/ 1999/ 12/ 12/ arts/ film-finding-spiritual-rebirth-in-a-valley-of-male-ennui. html?pagewanted=all). The New York Times: 215. [21] Munt 2006, p.265

[22] Munt 2006, p.274 [23] Despite their desire to conform, Jim and Jim are openly, proudly gay, a contradiction that Sally R. Munt says may seem strange to heterosexual audiences. [24] Hausmann 2004, p.112 [25] Anker 2004, p.345 [26] Anker 2004, p.347 [27] Hall 2006, p.24 [28] Anker 2004, pp.347348 [29] Anker 2004, p.348 [30] Anker 2004, pp.349350 [31] Anker 2004, p.350 [32] Hall 2006, p.27 [33] Anker 2004, p.356 [34] Anker 2004, p.360 [35] Anker 2004, pp.358359 [36] Bellantoni 2005, p.25 [37] Bellantoni 2005, p.27 [38] Shohan, Naomi (February25, 2000). "'Beauty' design character driven". Variety. [39] Pennington 2007, pp.105106 [40] Mendes & Ball 2000, chapter 18 [41] Mendes & Ball 2000, chapter 23 [42] Pennington 2007, p.106 [43] 2004, p.117 [44] According to Hausmann, "These films appear to suggest that [the film theorist] Kaja Silverman's wish 'that the typical male subject, like his female counterpart, might learn to live with lack'namely, the 'lack of being' that remains 'the irreducible condition of subjectivity' has not yet been fulfilled." See Silverman, Kaja (1992). Male Subjectivity at the Margins (New York: Routledge): 65+20. ISBN 9780415904193. [45] Hausmann 2004, p.117 [46] Hausmann 2004, p.113 [47] Munt 2006, p.267 [48] Munt 2006, p.266 [49] Ball, Alan (March28, 2000). "Beauty and the Box Office". The Advocate: 11. [50] Munt 2006, p.264 [51] Hausmann 2004, p.127 [52] Hausmann 2004, p.148 [53] Furby 2006, p.22 [54] Furby 2006, p.25 [55] Mendes & Ball 2000, chapter 17 [56] Furby 2006, pp.2526 [57] Furby 2006, p.23 [58] Mendes & Ball 2000, chapter 4 [59] Mendes & Ball 2000, chapter 9 [60] Link 2004, p.84 [61] Link 2004, pp.8485 [62] Kramer uses the analogy of looking at a sculpture: "We determine for ourselves the pacing of our experience: we are free to walk around the piece, view it from many angles, concentrate on some details, see other details in relationship to each other, step back and view the whole, see the relationship between the piece and the space in which we see it, leave the room when we wish close our eyes and remember, and return for further viewings." [63] Another example comes with the songs that Carolyn picks to accompany the Burnhams' dinnersupbeat "elevator music" which is later replaced with more discordant tunes that reflect the "escalating tension" at the table. When Jane plays "Cancer for the Cure", she switches off after a few moments because her parents return home. The moment reinforces her as someone whose voice is "cut short", as does her lack of association with as clearly defined genres as her parents. [64] Miller, Drew (July20, 2004). "A Kiss After Supper: American Beauty" (http:/ / www. stylusmagazine. com/ articles/ a_kiss_after_supper/ american-beauty. htm). Stylus. Retrieved November26, 2009. [65] At that point called American Rose. [66] Cohen, David S. (March7, 2000). "Scripter Ball hits a home run". Variety. [67] Kazan 2000, p.25 [68] Chumo II 2000, p.26 [69] Chumo II 2000, p.27 [70] Kazan 2000, p.28
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[71] Kazan 2000, pp.2829 [72] Ball said he decided on DreamWorks after an accidental meeting with Spielberg in the Amblin Entertainment car park, where the writer became confident that Spielberg "got" the script and its intended tone. [73] Kazan 2000, p.30 [74] Staff (April14, 1998). "DreamWorks grateful for 'American Beauty'". The Hollywood Reporter. [75] Weinraub, Bernard (September12, 1999). "The New Season / Film: Stage to Screen; A Wunderkind Discovers the Wonders of Film". The New York Times: 271. [76] Cox, Dan (April14, 1998). "D'Works courts 'Beauty' spec". Variety. [77] Lowenstein 2008, p.251 [78] Kazan 2000, p.31 [79] Chumo II 2000, p.28 [80] Mendes had considered the idea before; he almost took on The Wings of the Dove(1997) and had previously failed to secure financing for an adaptation of the play The Rise and Fall of Little Voice, which he directed in 1992. The play made it to the screen in 1998 as Little Voice, without Mendes' involvement.Lowenstein 2008, p.248 [81] Lowenstein 2008, p.249 [82] Lowenstein 2008, pp.250251 [83] Fanshawe, Simon (January22, 2000). "Sam smiles" (http:/ / www. guardian. co. uk/ film/ 2000/ jan/ 22/ features. weekend). The Guardian: 32. [84] Lowenstein 2008, p.252 [85] Lowenstein 2008, p.253 [86] Hindes, Andrew (June16, 1998). "Staging a transfer: Legit helmer Mendes makes pic bow with 'Beauty'". Variety. [87] Chumo II 2000, p.32 [88] Kazan 2000, p.24 [89] Kazan 2000, p.37 [90] Chumo II 2000, pp.2627 [91] Chumo II 2000, pp.3233 [92] Kilday, Gregg (January18, 2000). "Worth a Closer Look". The Advocate: 9192. [93] Chumo II 2000, p.30 [94] Kazan 2000, p.32 [95] Chumo II 2000, p.33 [96] Kazan 2000, pp.3233 [97] Kazan 2000, p.33 [98] Chumo II 2000, pp.3334 [99] Kazan 2000, p.35 [100] Wolk, Josh (March27, 2000). "Pitching Fitts" (http:/ / www. ew. com/ ew/ article/ 0,,85090,00. html). Entertainment Weekly. [101] Chumo II 2000, p.35 [102] Kazan 2000, p.36 [103] Lowenstein 2008, pp.253254 [104] Fleming, Michael (September15, 1998). "Spacey nears 'Beauty' deal". Variety. [105] Fleming, Michael (September23, 1998). "Bening in 'Beauty': Actress close to joining Spacey in DW pic". Variety. [106] Mendes & Ball 2000, chapter 2 [107] Gordinier, Jeff (March1, 2000). "Kevin Spacey American Beauty". Entertainment Weekly (529). [108] Mendes & Ball 2000, chapter 22 [109] Gordinier, Jeff (March1, 2000). "Annette Bening American Beauty". Entertainment Weekly (529). [110] Lowenstein 2008, pp.257258 [111] Lowenstein 2008, p.257 [112] Honeycutt. Kirk (November6, 1998). "'Beloved' actor sees 'Beauty'". The Hollywood Reporter. [113] Ebert, Roger (October10, 1999). "The Answer Man". Chicago Sun-Times: 5. [114] Verniere, James (September18, 2009). "Hub Film Fest: It's Reel Time". Boston Herald: E20. [115] Galloway, Stephen (December23, 1998). "Gallagher role: thing of 'Beauty'". The Hollywood Reporter. [116] Harris, Dana (December28, 1998). "Alison Janney set for 'Nurse,' 'Beauty'". The Hollywood Reporter. [117] Mendes & Ball 2000, chapter 16 [118] Mendes & Ball 2000, chapter 6 [119] Jackson, Kevin (February 2000). "American Beauty". Sight & Sound 10 (2): 40. [120] Kazan 2000, p.34 [121] Mendes & Ball 2000, chapter 19 [122] Staff (November6, 1998). "Players". Variety. [123] Fleming, Michael (February24, 1999). "'L.A.' duo greases up for 'Suite' ride". Variety. [124] Costello, Becca (September30, 2004). "It was filmed in Sacramento". Sacramento News & Review.
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[125] Matsumoto, Jon (July22, 2001). "You'll Need a Permission Slip for That". Los Angeles Times. [126] One of which director of photography Conrad Hall had filmed for Divorce American Style(1967). [127] Probst et al. 2000, p.75 [128] Mendes & Ball 2000, chapter 10 [129] The shot references a similar one in Ordinary People(1980). Mendes included several such homages to other films; family photographs in the characters' homes were inserted to give them a sense of history, but also as a nod to the way Terrence Malick used still photographs in Badlands(1973). A shot of Lester's jogging was a homage to Marathon Man(1976) and Mendes watched several films to help improve his ability to evoke a "heightened sense of style": The King of Comedy(1983), All That Jazz(1979) and Rosemary's Baby(1968).Mendes & Ball 2000, chapter 21 [130] Lowenstein 2008, p.268 [131] Stein, Ruthe (September12, 1999). "From 'Cabaret' to California" (http:/ / www. sfgate. com/ cgi-bin/ article. cgi?f=/ c/ a/ 1999/ 09/ 12/ PK5266. DTL). San Francisco Chronicle: 55. [132] Kemp 2000, p.27 [133] The scene at the fast food outlet where Lester discovers Carolyn's affair. [134] Mendes & Ball 2000, chapter 5 [135] Lowenstein 2008, p.270 [136] Kemp 2000, pp.2526 [137] Mendes & Ball 2000, chapter 20 [138] Mendes & Ball 2000, chapter 12 [139] Staff (July7, 2000). "'Beauty' mark: DVD due with 3 hours of extras". The Hollywood Reporter. [140] Lowenstein 2008, p.259 [141] Probst 2000, p.80 [142] Probst 2000, p.81 [143] Probst et al. 2000, p.76 [144] Probst 2000, p.82 [145] Burlingame, Jon (January21, 2000). "Spotlight: Thomas Newman". Variety. [146] Torniainen, James (February 2000). "American Beauty". Film Score Monthly 5 (2): 36. [147] Mendes & Ball 2000, chapter 24 [148] Staff (February21, 2001). "The Grammy Awards; Complete List of Winners". Los Angeles Times: 12. [149] Staff (Winter 2006). "Filmmaker Selects 20 Essential Movie Soundtracks". Filmmaker: 110111. [150] Graser, Marc; Madigan, Nick (August31, 1999). "Amazon.com books 'Beauty' for D'Works". Variety. [151] The navel pictured is not Mena Suvari's; it belongs to the model Chloe Hunter. [152] McKittrick, Casey (Spring 2001). "I Laughed and Cringed at the same Time". Velvet Light Trap (University of Texas Press) (47): 5+13. [153] Hochman, David (November26, 1999). "Moving Pictures". Entertainment Weekly: 2526. [154] Mendes said, "So at the end of the film I got up, and I was terribly British, I said, 'So, who kind of liked the movie?' And about a third of them put up their hands, and I thought, 'Oh shit.' So I said, 'OK, who kind of didn't like it?' Two people. And I said, 'Well, what else is there?' And a guy in the front said, 'Ask who really liked the movie.' So I did, and they all put up their hands. And I thought, 'Thank you, God.'" [155] Higgins, Bill (September13, 1999). "'Beauty's' belle of the ball". Variety. [156] Carver, Benedict; Jones, Oliver (September13, 1999). "'Beauty' and the buzz: Mendes bow wows Toronto; SPE near 'East' deal". Variety. [157] Archerd, Army (September16, 1999). "Just for Variety". Variety. [158] Hayes, Dade (February16, 2000). "Oscar glow is golden at B.O.". Variety. [159] "American Beauty: Weekend Box Office" (http:/ / www. boxofficemojo. com/ movies/ ?page=weekend& id=americanbeauty. htm). Box Office Mojo. Amazon.com. Retrieved January26, 2010. [160] "Theaters" refers to individual movie theaters, which may have multiple auditoriums. Later, "screens" refers to single auditoriums. [161] Hayes, Dade (September17, 1999). "'Beauty' strong in limited bow". Variety. [162] Crossing the 600-theater threshold. [163] Klady, Leonard (October4, 1999). "'Double' decks 'Kings' at B.O.". Variety. [164] "American Beauty (1999)" (http:/ / www. boxofficemojo. com/ movies/ ?id=americanbeauty. htm). Box Office Mojo. Amazon.com. Retrieved May3, 2009. [165] According to the firm, men under 21 gave American Beauty an "A+" grade; women under 21 gave it an "A". Men in the 2134 age group gave the film a "B+"; women 2134 gave it an "A". Men 35 and over awarded a "B+"; women 35 and over gave a "B". "CinemaScore: American Beauty" (http:/ / web. archive. org/ web/ 20000706193215/ www. cinemascore. com/ search. epl?id=American_Beauty). CinemaScore. Archived from the original on April8, 2000. Retrieved January17, 2010. [166] Staff (January27, 2000). "CinemaScore Ratings Compare with Golden Globes:Critics Both Confirm, Deny Latest Audience Preferences" (http:/ / www. allbusiness. com/ media-telecommunications/ movies-sound-recording/ 6395767-1. html). AllBusiness (Business Wire). Retrieved May3, 2009. [167] Dawtrey, Adam (September16, 1999). "An 'American' kickoff for London Film Festival". Variety. [168] Fleming, Michael (November29, 1999). "H'w'd taps on Mendes' door". Variety. [169] Groves, Don (January18, 2000). "Preems push o'seas B.O.: 'Ashes,' 'Kings,' 'Beauty' bows boost weekend". Variety.
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[170] Groves, Don (January25, 2000). "Winter chill o'seas: 'Sleepy Hollow' warms Spain in frigid frame". Variety. [171] Groves, Don (February1, 2000). "B.O. scores o'seas: 'Beauty' bows strongly as 'Sense' steams on". Variety. [172] Woods, Mark (February8, 2000). "'Toy 2's' the story: 'Beach' bows balmy, but toon sequel sweltering". Variety. [173] Groves, Don (February22, 2000). "Surf's high o'seas: Euro auds take to 'The Beach' for big bows". Variety. [174] Groves, Don (February28, 2000). "Trio terrific o'seas: 'Toy,' 'Beach' and 'Beauty' garner boffo B.O.". Variety. [175] Groves, Don (February29, 2000). "Latins love 'Beauty': 'Beach' makes waves in Mexico and Italy". Variety. [176] Groves, Don (March 7, 2000). "Oscar noms boost B.O. overseas". Variety. [177] Hoffman, Bill (March28, 2000). "Pretty Penny for 'Beauty'?". New York Post: 52. [178] "American Beauty: About the DVD" (http:/ / movies. nytimes. com/ movie/ 180738/ American-Beauty/ dvd). The New York Times. Retrieved December3, 2009. [179] Villa, Joan (April28, 2000). "Beating Blockbuster on American Beauty". Video Business. [180] Hettrick, Scott; Wendy Wilson (May18, 2000). "B'buster hides best pic vid to squeeze D'Works". Variety. [181] Nichols, Peter M. (May26, 2000). "On the Shelves (Or Maybe Not)" (http:/ / www. nytimes. com/ 2000/ 05/ 26/ movies/ home-video-on-the-shelves-or-maybe-not. html). The New York Times: E28. [182] Mendes & Ball 2000, chapters 1920 [183] Perry, Vern (October30, 2000). "These discs go to extremes" (http:/ / www. accessmylibrary. com/ coms2/ summary_0286-7249806_ITM). The Orange County Register. [184] Fitzpatrick, Eileen (July29, 2000). "Film Directors Assess DVD Extras' Pros, Cons". Billboard: 88. [185] "American Beauty Blu-ray: Sapphire Edition" (http:/ / www. blu-ray. com/ movies/ American-Beauty-Blu-ray/ 7746/ ). Blu-ray.com. [186] Hentzi 2000, p.46 [187] Chagollan, Steve (December15, 1999). "Noms Watch: American Beauty". Variety. [188] Klady, Leonard (September20, 1999). "Toronto auds tap 'Beauty'". Variety. [189] Vlessing, Etan (September20, 1999). "'Beauty' counts at Toronto fest". The Hollywood Reporter. [190] McCarthy, Todd (September13, 1999). "American Beauty Review". Variety. [191] Maslin, Janet (September15, 1999). "Dad's Dead, And He's Still a Funny Guy". The New York Times: E1. [192] Ebert, Roger (September23, 1999). "American Beauty" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19990924/ REVIEWS/ 909240301/ 1023). Chicago Sun-Times. [193] Hentzi 2000, p.50 [194] Hentzi 2000, p.47 [195] Hentzi 2000, pp.4950 [196] Turan, Kenneth (September15, 1999). "American Beauty: The Rose's Thorns". Los Angeles Times. [197] Kilday, Gregg (January8, 2001). "Road to best pic: An 'American' dream". Variety. [198] Brown, Joel (June22, 2001). "The Tube Has Few Intriguing Choices to Offer". The Tuscaloosa News: 14. [199] Lowenstein 2008, pp.271272 [200] Staff (September 2005). "The 20 most overrated movies of all time". Premiere 19 (1): 103108. [201] Lyman, Rick (March27, 2000). "Early Oscars to Caine, Jolie and 'Topsy-Turvy'". The New York Times. [202] "American Beauty (1999)" (http:/ / movies. nytimes. com/ movie/ 180738/ American-Beauty/ awards). New York Times Online. Retrieved January14, 2010. [203] Wallace, Amy (March28, 2000). "Aggressive campaign may have helped 'Beauty's' win". The Journal Gazette. (Reprinted from the Los Angeles Times.) [204] The Writers Guild of America, the Screen Actors Guild, the Producers Guild of America, the American Society of Cinematographers and the Directors Guild of America. [205] Karger, Dave (March10, 2000). "Apple Juice". Entertainment Weekly (530). [206] Lyman, Rick (March28, 2000). "Oscar Victory Finally Lifts The Cloud for DreamWorks" (http:/ / www. nytimes. com/ 2000/ 03/ 28/ movies/ oscar-victory-finally-lifts-the-cloud-for-dreamworks. html?pagewanted=all). The New York Times: E1. [207] The Best Director award was presented to Mendes by Spielberg.Staff (2011). "1999: Best Director" (http:/ / original. search. eb. com/ eb/ article-9397948). Encyclopdia Britannica Online. Retrieved February 21, 2011. [208] McNary, Dave (March23, 2000). "Pubs tap 'Beauty,' 'Wing'". Variety. [209] This poll followed one of Empire's readers alone in March 2006, which ranked the film number 51 out of 201.Staff (March 2006). "The 201 Greatest Movies of All Time". Empire: 7788, 90101 [210] Staff (September 2008). "The 500 Greatest Movies of All Time". Empire.
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Footnotes Bibliography Anker, Roy M. (2004). "The War of the Roses: Meaning and Epiphany in American Beauty". Catching Light: Looking for God in the Movies (Grand Rapids, Michigan: William B. Eerdmans Publishing Company): 345363. ISBN0-8028-2795-0.
1999 American Beauty Bellantoni, Patti (2005). If It's Purple, Someone's Gonna Die (Oxford, UK: Focal Press): 2527. ISBN978-0-240-80688-4. Booth, Wayne C. (Spring 2002). "Is There an 'Implied' Author in Every Film?". College Literature (West Chester, Pennsylvania: West Chester University) 29 (2): 124131. ISSN0093-3139. Chumo II, Peter N. (January 2000). "American Beauty: An Interview with Alan Ball". Creative Screenwriting Magazine (Los Angeles: Creative Screenwriters Group) 7 (1): 2635. ISSN1084-8665. Furby, Jacqueline (Winter 2006). "Rhizomatic Time and Temporal Poetics in American Beauty". Film Studies (Manchester, UK: Manchester University Press) (9): 2228. ISSN1362-7937. Hall, Ann C. (2006). Fahy, Thomas Richard. ed. "Good Mourning, America: Alan Ball's American Beauty". Considering Alan Ball (Jefferson, North Carolina: McFarland & Company): 2332. ISBN978-0-7864-2592-1. Hausmann, Vincent (2004). "Envisioning the (W)hole World "Behind Things": Denying Otherness in American Beauty". Camera Obscura (Durham, North Carolina: Duke University Press) 19 (1): 112149. ISSN1529-1510. Hentzi, Gary (Winter 2000). "American Beauty". Film Quarterly (Berkeley, California: University of California Press) 54 (2): 4650. doi:10.1525/fq.2000.54.2.04a00060. ISSN0015-1386. Kazan, Nicholas (March 2000). "True Beauty". Written by (Los Angeles: Writers Guild of America, West): 2437. ISSN1055-1948. Kemp, Philip (January 2000). "The Nice Man Cometh". Sight & Sound (London, UK: British Film Institute) 10 (1): 2426. ISSN0037-4806. Link, Stan (Spring 2004). "Nor the Eye Filled with Seeing: The Sound of Vision in Film Author(s)". American Music (Pittsburgh, Pennsylvania: Society for American Music) 22 (1): 7690. doi:10.2307/3592968. ISSN0734-4392. JSTOR3592968. Lowenstein, Stephen, ed. (2008). "Sam Mendes on American Beauty". My First Movie: Take Two (New York: Pantheon): 243275. ISBN978-0-375-42347-5. Mendes, Sam; Ball, Alan (October 2000). American Beauty, The Awards Edition: Audio commentary [DVD; Disc 1/2]. (Los Angeles: DreamWorks). Munt, Sally R. (September 2006). "A Queer Undertaking: Anxiety and reparation in the HBO television drama series Six Feet Under". Feminist Media Studies (London, UK: Routledge) 6 (3): 263279. ISSN1471-5902. Pennington, Jody W. (2007). The History of Sex in American Film (Westport, Connecticut: Greenwood Publishing Group): 103107. ISBN978-0-275-99226-2. Probst, Christopher (March 2000). "American Beauty". American Cinematographer (Hollywood, California: American Society of Cinematographers) 81 (3): 8082. ISSN0002-7928. Probst, Christopher; Heuring, David; Holben, Jay; Thomson, Patricia (June 2000). "Impeccable Images". American Cinematographer (Hollywood, California: American Society of Cinematographers) 81 (6): 74109. ISSN0002-7928.
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External links
Official website (http://www.dreamworks.com/ab/) American Beauty (http://www.imdb.com/title/tt0169547/) at the Internet Movie Database American Beauty (http://www.allrovi.com/movies/movie/v180738) at AllRovi American Beauty (http://www.rottentomatoes.com/m/american_beauty/) at Rotten Tomatoes American Beauty (http://www.metacritic.com/movie/american-beauty) at Metacritic
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2000 Gladiator
Gladiator
Directed by Produced by Ridley Scott

Douglas Wick David Franzoni Branko Lustig David Franzoni John Logan William Nicholson
Screenplay by
Story by Starring
David Franzoni Russell Crowe

Joaquin Phoenix Connie Nielsen Oliver Reed Derek Jacobi Djimon Hounsou Richard Harris Hans Zimmer Lisa Gerrard
Music by
Cinematography John Mathieson Editing by Studio Pietro Scalia

Scott Free Productions [1] Red Wagon Entertainment DreamWorks Pictures (United States) Universal Pictures (international) May 1, 2000 (Los Angeles) May 5, 2000 (United States) May 12, 2000 (United Kingdom)
Distributed by Release date(s)
155 minutes

United Kingdom United States
English $103 million

[2][3]
$457,640,427
Gladiator is a 2000 epic historical drama film directed by Ridley Scott, starring Russell Crowe, Joaquin Phoenix, Connie Nielsen, Ralf Mller, Oliver Reed, Djimon Hounsou, Derek Jacobi, John Shrapnel and Richard Harris. Crowe portrays the loyal Roman General Maximus Decimus Meridius, who is betrayed when the Emperor's ambitious son, Commodus, murders his father and seizes the throne. Reduced to slavery, Maximus rises through the ranks of the gladiatorial arena to avenge the murder of his family and his Emperor. Released in the United States on May 5, 2000, Gladiator was a box office success, receiving positive reviews, and was credited with briefly reviving the historical epic. The film was nominated for and won multiple awards, particularly five Academy Awards in the 73rd Academy Awards including Best Picture.
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Plot
In AD 180, General Maximus Decimus Meridius (Russell Crowe) leads the Roman army to a decisive victory against Germanic tribes at Vindobona, ending a long war on the Roman frontier and earning the esteem of the elderly Emperor Marcus Aurelius (Richard Harris). Though he has a son, Commodus (Joaquin Phoenix), the dying emperor wishes to grant temporary leadership to Maximus, hoping eventually to return power to the Roman Senate. When his father tells him of the decision, Commodus, already bitter that Marcus favors Maximus over him, murders his father in a fit of rage and claims the throne. Maximus realizes the truth about Marcus' death, but is betrayed by his friend, General Quintus (Tomas Arana), who reluctantly instructs the Praetorian guards to carry out Commodus' order to execute Maximus and his wife (Giannina Facio) and son (Giorgio Cantarini). Maximus manages to escape, and races home only to find he was too late to save his family. After burying them, Maximus is found unconscious by slave traders and taken to Zucchabar, a Roman city in North Africa. There, he is bought by Proximo (Oliver Reed), and forced to fight for his life as a gladiator in arena tournaments. During this time, he befriends gladiators Juba (Djimon Hounsou), and Hagen (Ralf Meller). Juba tells Maximus to have faith that he will be reunited with his family in the afterlife. Maximus proves a fierce gladiator; with nothing left to live for, he is fearless in the arena. He ultimately reaches the prestigious Roman Colosseum, where his group is contracted to fight in a tribute to the Battle of Zama. Concealing his identity with a helmet, he skillfully leads a band of gladiators to defeat an opposing chariot and archer force, earning the crowd's praise. Forced to reveal himself to a stunned Commodus in the arena afterward, the crowd votes to spare his life, and Commodus appeases them by doing so. Maximus later wins against the undefeated gladiator Tigris, as well as tigers released into the arena, yet refuses to obey Commodus' command to perform the coup de grce. As a result, he is declared "Maximus the Merciful" by the crowd, increasing his popularity and further frustrating Commodus, who cannot kill Maximus without making him a martyr. Following the fight, Maximus is told by his former servant Cicero (Tommy Flanagan) that his army is still loyal to him. Maximus then conspires with Commodus' sister Lucilla (Connie Nielsen) and the senator Gracchus (Derek Jacobi) to rejoin with his army and topple Commodus by force. Commodus, however, suspects his sister of betrayal and forces her to reveal the plot using veiled threats against her young son Lucius (Spencer Treat Clark). During Maximus's attempted escape, Commodus' guards attack Proximo's gladiator school, killing Hagen and Proximo. Juba and the survivors are imprisoned, but Maximus makes it to the city walls, where he is captured after a failed attempt to save Cicero. Desperate to get Maximus out of the way and prove his own greatness, Commodus arranges a duel with him in the arena. Unknown to the crowd, Commodus stabs a restrained Maximus with a stiletto to gain advantage over him before they enter the arena. During the fight, Maximus manages to disarm Commodus, while Quintus disobeys the emperor's demand for his sword and commands his soldiers to do the same. Commodus then produces the hidden stiletto, but Maximus plunges the blade into Commodus' throat, killing him. With his dying words, Maximus carries out Marcus Aurelius' wishes, calling for Gracchus to be reinstated, the slaves to be freed, and power to be restored to the Senate. As he dies, Maximus reunites with his family in the afterlife. Lucilla then reiterates his wishes and honors his memory. Some time later, Juba buries Maximus' two small figurines of his wife and son in the ground where his friend Maximus died, promising to see him in the afterlife, "but not yet".
Cast
Russell Crowe as Maximus Decimus Meridius: A morally upstanding Hispano-Roman general in Germania, forced into becoming a slave who seeks revenge against Commodus. He had been under the favor of Marcus Aurelius, and the love and admiration of Lucilla prior to the events of the film. His home is near Trujillo[4] in today's Province of Cceres, Spain (in fact the city where he's from is Mrida, capital of the province of Lusitania). After the murder of his family he vows vengeance. Maximus is a fictional character partly inspired by
2000 Gladiator Marcus Nonius Macrinus, Narcissus, Spartacus, Cincinnatus, and Maximus of Hispania. Mel Gibson was first offered the role, but declined as he felt he was too old to play the character. Antonio Banderas was also considered. Joaquin Phoenix as Commodus: The twisted son of Marcus Aurelius, he murders his father when he learns that Maximus is to become Emperor. Earlier played by Christopher Plummer in The Fall of the Roman Empire (1964), Jude Law was also considered for this role. Connie Nielsen as Lucilla: Maximus's former lover and the older child of Marcus Aurelius, Lucilla has been recently widowed. She tries to resist her brother's incestuous advances while protecting her son, Lucius. Djimon Hounsou as Juba: A Numidia tribesman who was taken from his home and family by slave traders. He becomes Maximus's closest ally. Oliver Reed as Antonius Proximo: An old, gruff gladiator trainer who buys Maximus in North Africa. A former gladiator himself, he was freed by Marcus Aurelius, and gives Maximus his own armor and eventually a chance at freedom. This was Reed's final film; he died during production. Derek Jacobi as Senator Gracchus: One of the senators who opposes Commodus' rule. Ralf Mller as Hagen: A Germanic warrior and Proximo's chief gladiator who later befriends Maximus and Juba during their battles in Rome.
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Spencer Treat Clark as Lucius Verus: The young son of Lucilla. He is named after his father Lucius Verus. He is also the grandson of Marcus Aurelius. Richard Harris as Marcus Aurelius: An emperor of Rome who appoints Maximus, whom he loves as a son, with the ultimate aim of returning Rome to a republican form of government. He is murdered by his son Commodus before his wish is fulfilled. Tommy Flanagan as Cicero: Maximus' loyal servant who provides him with information while Maximus is enslaved. He was used as bait for an escaping Maximus and eventually killed. Tomas Arana as General Quintus: Another Roman general and former friend to Maximus. Made commander of the Praetorian guards by Commodus, earning his loyalty. He later redeems himself by refusing to allow Commodus a sword during his duel with Maximus. John Shrapnel as Gaius: Another senator who is in close correspondence to Gracchus. David Schofield as Senator Falco: A Patrician, a senator opposed to Gracchus. He helps Commodus to consolidate his power. Sven-Ole Thorsen as Tigris of Gaul: An undefeated gladiator who is called out of retirement to duel with Maximus. David Hemmings as Cassius: An elderly fat man who runs the gladiatorial games in the Colosseum and is the arena announcer. Giannina Facio as Maximus' wife Giorgio Cantarini as Maximus' son
Production
Screenplay
Gladiator was based on an original pitch by David Franzoni, who wrote the first draft.[5] Franzoni was given a three-picture deal with DreamWorks as writer and co-producer on the strength of his previous work, Steven Spielberg's Amistad, which helped establish the reputation of DreamWorks. Not a classical scholar, Franzoni was inspired by Daniel P. Mannixs 1958 novel Those About to Die, and he chose to base his story on Commodus after reading the Augustan History. In Franzoni's first draft, dated April 4, 1998, he named his protagonist Narcissus, a wrestler who, according to the ancient sources Herodian and Casius Dio, strangled Emperor Commodus to death.[6]
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Ridley Scott was approached by producers Walter F. Parkes and Douglas Wick. They showed him a copy of Jean-Lon Grme's 1872 painting entitled Pollice Verso (Thumbs Down).[7] Scott was enticed by filming the world of Ancient Rome. However, Scott felt Franzoni's dialogue was too "on the nose" and hired John Logan to rewrite the script to his liking. Logan rewrote much of the first act, and made the decision to kill off Maximus' family to increase the character's motivation.[8]
Pollice Verso (Thumbs Down) by Jean-Lon
With two weeks to go before filming, the actors complained of Grmethe 19th century painting that inspired Ridley Scott to tackle the project. problems with the script. William Nicholson was brought to Shepperton Studios to make Maximus a more sensitive character, reworking his friendship with Juba and developed the afterlife thread in the film, saying "he did not want to see a film about a man who wanted to kill somebody."[8] David Franzoni was later brought back to revise the rewrites of Logan and Nicholson, and in the process gained a producer's credit. When Nicholson was brought in, he started going back to Franzoni's original scripts and reading certain scenes. Franzoni helped creatively manage the rewrites and in the role of producer he defended his original script, and argued to stay true to the original vision.[9] Franzoni later shared the Academy Award for Best Picture with producers Douglas Wick and Branko Lustig.[5] The screenplay faced many rewrites and revisions due to Russell Crowe's script suggestions. Crowe questioned every aspect of the evolving script and strode off the set when he did not get answers. According to a DreamWorks executive, "(Russell Crowe) tried to rewrite the entire script on the spot. You know the big line in the trailer, 'In this life or the next, I will have my vengeance'? At first he absolutely refused to say it."[10] Nicholson, the third and final screenwriter, says Crowe told him, "Your lines are garbage but I'm the greatest actor in the world, and I can make even garbage sound good." Nicholson goes on to say that "...probably my lines were garbage, so he was just talking straight."[11]
Pre-production
In preparation for filming, Scott spent several months developing storyboards to develop the framework of the plot.[12] Over six weeks, production members scouted various locations within the extent of the Roman Empire before its collapse, including Italy, France, North Africa, and England.[13] All of the film's props, sets, and costumes were manufactured by crew members due to high costs and unavailability of the items.[14] 100 suits of steel armour and 550 suits in Polyurethane were made by Rod Vass and his company Armordillo Ltd. The unique sprayed Polyurethane system was developed by Armordillo and pioneered for this production. 27,500 component pieces of armour were made over a 3 month period.
Filming
The film was shot in three main locations between January and May 1999. The opening battle scenes in the forests of Germania were shot in three weeks in the Bourne Woods, near Farnham, Surrey in England.[15] When Scott learned that the Forestry Commission planned to remove the forest, he convinced them to allow the battle scene to be shot there and burn it down.[16] Scott and cinematographer John Mathieson used multiple cameras filming at various frame rates, similar to techniques used for the battle sequences of Saving Private Ryan (1998).[17] Subsequently, the scenes of slavery, desert travel, and gladiatorial training school were shot in Ouarzazate, Morocco just south of the Atlas Mountains over a further three weeks.[18] To construct the arena where Maximus has his first fights, the crew used basic materials and local building techniques to manufacture the 30,000-mud brick arena.[19] Finally, the scenes of Ancient Rome were shot over a period of nineteen weeks in Fort Ricasoli, Malta.[20][21] In Malta, a replica of about one-third of Rome's Colosseum was built, to a height of 52 feet (15.8 meters), mostly from plaster and plywood (the other two-thirds and remaining height were added digitally).[22] The replica took
2000 Gladiator several months to build and cost an estimated $1 million.[23] The reverse side of the complex supplied a rich assortment of Ancient Roman street furniture, colonnades, gates, statuary, and marketplaces for other filming requirements. The complex was serviced by tented "costume villages" that had changing rooms, storage, armorers, and other facilities.[20] The rest of the Colosseum was created in CGI using set-design blueprints and textures referenced from live action, and rendered in three layers to provide lighting flexibility for compositing in Flame and Inferno.[24]
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Post-production
British post-production company The Mill was responsible for much of the CGI effects that were added after filming. The company was responsible for such tricks as compositing real tigers filmed on bluescreen into the fight sequences, and adding smoke trails and extending the flight paths of the opening scene's salvo of flaming arrows to get around regulations on how far they could be shot during filming. They also used 2,000 live actors to create a CG crowd of 35,000 virtual actors that had to look believable and react to fight scenes.[25] The Mill accomplished this feat by shooting live actors at different angles giving various performances, and then mapping them onto cards, with motion-capture tools used to track their movements for 3D compositing.[24] The Mill ended up creating over 90 visual effects shots, comprising approximately nine minutes of the film's running time.[26] An unexpected post-production job was caused by the death of Oliver Reed of a heart attack during the filming in Malta, before all his scenes had been shot. The Mill created a digital body double for the remaining scenes involving his character Proximo[24] by photographing a live action body-double in the shadows and by mapping a 3D CGI mask of Reed's face to the remaining scenes during production at an estimated cost of $3.2 million for two minutes of additional footage.[27][28] Visual effects supervisor John Nelson reflected on the decision to include the additional footage: "What we did was small compared to our other tasks on the film. What Oliver did was much greater. He gave an inspiring, moving performance. All we did was help him finish it."[27] The film is dedicated to Reed's memory.[29]
Historical accuracy
The film is loosely based on historical events. In making the film Ridley Scott wanted to portray the Roman culture more accurately than in any previous film and to that end hired several historians as advisors. Nevertheless, some deviations from historical fact were made to increase interest, some to maintain narrative continuity, and some were for practical or safety reasons. Due to previous Hollywood movies affecting the public perception of what ancient Rome was like, some historical facts were "too unbelievable" to include (according to Scott). At least one historical advisor resigned due to the changes made, and another asked not to be mentioned in the credits (though it was stated in the director's commentary that he constantly asked, "where is the proof that certain things were exactly like they say"). Historian Allen Ward of the University of Connecticut believed that historical accuracy would not have made Gladiator less interesting or exciting and stated: "creative artists need to be granted some poetic license, but that should not be a permit for the wholesale disregard of facts in historical fiction".[30][31] Marcus Aurelius died of plague at Vindobona, and was not murdered by his son Commodus. The character of Maximus is fictional, although in some respects he resembles the historical figures of Narcissus (the character's name in the first draft of the screenplay and Commodus' real-life murderer),[32] Spartacus (who led a significant slave revolt), Cincinnatus (a farmer who became dictator, saved Rome from invasion, then resigned his six-month appointment after 15 days),[33][34][35] and Marcus Nonius Macrinus (a trusted general, Consul of AD 154, and friend of Marcus Aurelius).[36][37] Although Commodus engaged in show combat in the Colosseum, he was strangled by the wrestler Narcissus in his bath, not killed in the arena, and reigned for several years, unlike the brief period shown in the film. The name Maximus Decimus Meridius is inaccurate in terms of Roman naming conventions, which would use Decimus Meridius Maximus, as Maximus was a cognomen and Decimus a given name. He is also called Aelius
2000 Gladiator Maximus.
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Influences
The film's plot was influenced by two 1960s Hollywood films of the 'sword-and-sandal' genre, The Fall of the Roman Empire and Spartacus,[38] and shares several plot points with The Fall of the Roman Empire, which tells the story of Livius, who, like Maximus in Gladiator, is Marcus Aurelius's intended successor. Livius is in love with Lucilla and seeks to marry her while Maximus, who is happily married, was formerly in love with her. Both films portray the death of Marcus Aurelius as an assassination. In Fall of the Roman Empire a group of conspirators independent of Commodus, hoping to profit from Commodus's accession, arrange for Marcus Aurelius to be poisoned; in Gladiator Commodus himself murders his father by smothering him. In the course of Fall of the Roman Empire Commodus unsuccessfully seeks to win Livius over to his vision of empire in contrast to that of his father, but continues to employ him notwithstanding; in Gladiator when Commodus fails to secure Maximus's allegiance, he executes Maximus's wife and son and tries unsuccessfully to execute him. Livius in Fall of the Roman Empire and Maximus in Gladiator kill Commodus in single combat: Livius to save Lucilla and Maximus to avenge the murder of his wife and son, and both do it for the greater good of Rome. Scott attributed Spartacus and Ben-Hur as influences on the film, "These movies were part of my cinema-going youth. But at the dawn of the new millennium, I though this might be the ideal time to revisit what may have been the most important period of the last two thousand yearsif not all recorded historythe apex and beginning of the decline of the greatest military and political power the world has ever known."[39] Spartacus provides the film's gladiatorial motif, as well as the character of Senator Gracchus, a fictitious senator (bearing the name of a pair of revolutionary Tribunes from the 2nd century BC) who in both films is an elder statesman of ancient Rome attempting to preserve the ancient rights of the Roman Senate in the face of an ambitious autocrat Marcus Licinius Crassus in Spartacus and Commodus in Gladiator. Both actors who played Gracchus (in Spartacus and Gladiator), played Claudius in previous films Charles Laughton of Spartacus played Claudius in the 1937 film I, Claudius and Sir Derek Jacobi of Gladiator, played Claudius in the 1975 BBC adaptation. Both films also share a specific set piece, where a gladiator (Maximus here, Woody Strode's Draba in Spartacus) throws his weapon into a spectator box at the end of a match as well as at least one line of dialogue: "Rome is the mob", said here by Gracchus and by Julius Caesar (John Gavin) in Spartacus. The film's depiction of Commodus's entry into Rome borrows imagery from Leni Riefenstahl's Nazi propaganda film Triumph of the Will (1934), although Ridley Scott has pointed out that the iconography of Nazi rallies was of course inspired by the Roman Empire. Gladiator reflects back on the film by duplicating similar events that occurred in Adolf Hitler's procession. The Nazi film opens with an aerial view of Hitler arriving in a plane, while Scott shows an aerial view of Rome, quickly followed by a shot of the large crowd of people watching Commodus pass them in a procession with his chariot.[40] The first thing to appear in Triumph of the Will is a Nazi eagle, which is alluded to when a statue of an eagle sits atop one of the arches (and then shortly followed by several more decorative eagles throughout the rest of the scene) leading up to the procession of Commodus. At one point in the Nazi film, a little girl gives flowers to Hitler, while Commodus is met with several girls that all give him bundles of flowers.[41]
Music
The Oscar-nominated score was composed by Hans Zimmer and Lisa Gerrard, and conducted by Gavin Greenaway. Zimmer was originally planning to use Israeli vocalist Ofra Haza for the score, after his work with her in The Prince of Egypt. However, Ofra tragically died in her early 40's in late February of 2000, before she was able to record anything, and so Gerrard was chosen instead. Lisa Gerrard's vocals are similar to her own work on The Insider score.[42] The music for many of the battle scenes has been noted as similar to Gustav Holst's "Mars: The Bringer of War", and in June 2006, the Holst Foundation sued Hans Zimmer for allegedly copying the late Gustav Holst's work.[43][44] Another close musical resemblance occurs in the scene of Commodus's triumphal entry into Rome,
2000 Gladiator accompanied by music clearly evocative of two sectionsthe Prelude to Das Rheingold and Siegfried's Funeral March from Gtterdmmerungfrom Wagner's Ring of the Nibelungs. The "German" war chant in the opening scene was borrowed from the 1964 film Zulu, one of Ridley Scott's favorite movies. On February 27, 2001, nearly a year after the first soundtrack's release, Decca produced Gladiator: More Music From the Motion Picture. Then, on September 5, 2005, Decca produced Gladiator: Special Anniversary Edition, a two-CD pack containing both the above mentioned releases. Some of the music from the film was featured in the NFL playoffs in January 2003 before commercial breaks and before and after half-time.[45] In 2003, Luciano Pavarotti released a recording of himself singing a song from the film and said he regretted turning down an offer to perform on the soundtrack.[46] The Soundtrack is one of the best selling film scores of all time.
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Reception
Gladiator received positive reviews, with 78% of the critics polled by Rotten Tomatoes giving it favorable reviews, with an averaged score of 7 out of 10.[47] At the website Metacritic, which employs a normalized rating system, the film earned a favorable rating of 64/100 based on 37 reviews by mainstream critics.[48] The Battle of Germania was cited by CNN as one of their "favorite on-screen battle scenes",[49] while Entertainment Weekly named Maximus as their sixth favorite action hero, because of "Crowe's steely, soulful performance",[50] and named it as their third favorite revenge film.[51] In 2002, a Channel 4 (UK TV) poll named it as the sixth greatest film of all time.[52] Paul Ashbourne, an established movie critic, gave the movie three thumbs up, naming it as his favorite movie of all time. In an online review, Ashbourne stated it has a solid story plot with effects which transport us back to ancient Roman times. He admits to have viewed the film over seventy times. Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "Are you not entertained?"[53] It was not without its deriders, with Roger Ebert in particular harshly criticizing the look of the film as "muddy, fuzzy, and indistinct." He also derided the writing claiming it "employs depression as a substitute for personality, and believes that if characters are bitter and morose enough, we won't notice how dull they are."[54] The film earned US$ 34.83 million on its opening weekend at 2,938 U.S. theaters.[55] Within two weeks, the film's box office gross surpassed its US $103 million budget.[2] The film continued on to become one of the highest earning films of 2000 and made a worldwide box office gross of US$ 457,640,427, with over US$ 187 million in American theaters and more than the equivalent of US$ 269 million in non-US markets.[56]
Accolades
Gladiator was nominated in 36 individual ceremonies, including the 73rd Academy Awards, the BAFTA Awards, and the Golden Globe Awards. Of 119 award nominations, the film won 48 prizes.[57] The film won five Academy Awards and was nominated for an additional seven, including Best Supporting Actor for Joaquin Phoenix and Best Director for Ridley Scott. There was controversy over the film's nomination for Best Original Music Score. The award was officially nominated only to Hans Zimmer, and not to Lisa Gerrard due to Academy rules. However, the pair did win the Golden Globe Award for Best Original Score as co-composers. 73rd Academy Awards[58] Best Picture Best Actor (Russell Crowe) Best Visual Effects Best Costume Design Best Sound (Bob Beemer, Scott Millan and Ken Weston)
BAFTA Awards Best Cinematography Best Editing
2000 Gladiator Best Film Best Production Design 58th Golden Globe Awards Best Motion Picture Drama Best Original Score Motion Picture American Film Institute Lists AFI's 100 Years...100 Heroes and Villains: General Maximus Decimus Meridus - #50 Hero AFI's 100 Years...100 Movie Quotes: "Father to a murdered son. Husband to a murdered wife. And I will have my vengeance, in this life or the next." - Nominated[59] AFI's 100 Years of Film Scores - Nominated[60] AFI's 100 Years...100 Cheers - Nominated[61] AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated[62] AFI's 10 Top 10 - Nominated Epic Film[63]
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Impact
The film's mainstream success is responsible for an increased interest in Roman and classical history in the United States. According to The New York Times, this has been dubbed the "Gladiator Effect". It's called the 'Gladiator' effect by writers and publishers. The snob in us likes to believe that it is always books that spin off movies. Yet in this case, it's the movies most recently Gladiator two years ago ; that have created the interest in the ancients. And not for more Roman screen colossals, but for writing that is serious or fun or both."[64] Sales of the Cicero biography Cicero: The Life and Times of Rome's Greatest Politician and Gregory Hays' translation of Marcus Aurelius' Meditations received large spikes in sales after the release of the film.[64] The film also began a revival of the historical epic genre with films such as Troy, King Arthur, Alexander, 300, Kingdom of Heaven and Robin Hood (the last two were also directed by Scott).[65] The character of Maximus was placed 12th in the Total Film list of 50 best movie heroes and villains[66] and 35th in the Empire's 100 Greatest Movie Characters.[67] Maximus is also featured on 55c "Australian Legends" postage stamp series.[68] Russell Crowe attended an associated ceremony to mark the creation of the stamps.[68]
Home media release

The film was first released on DVD on November 20, 2000, and has since been released in several different extended and special edition versions. Special features for the Blu-ray Disc and DVDs include deleted scenes, trailers, documentaries, commentaries, storyboards, image galleries, easter eggs, and cast auditions. The film was released on Blu-ray in September 2009, in a 2-disc edition containing both the theatrical and extended cuts of the film, as part of Paramount's "Sapphire Series" (Paramount bought the DreamWorks library in 2006).[69] Initial reviews of the Blu-ray Disc release criticized poor image quality, leading many to call for it to be remastered, as Sony did with The Fifth Element in 2007.[70] A remastered version was later released in 2010. The DVD editions that have been released since the original two-disc version, include a film only single-disc edition as well as a three-disc "extended edition" DVD which was released in August 2005. The extended edition DVD features approximately fifteen minutes of additional scenes, most of which appear in the previous release as deleted scenes. The original cut, which Scott still calls his director's cut, is also selectable via seamless branching (which is not included on the UK edition). The DVD is also notable for having a new commentary track featuring director
2000 Gladiator Scott and star Crowe. The film is on the first disc, the second one has a three-hour documentary into the making of the film by DVD producer Charles de Lauzirika, and the third disc contains supplements. Discs one and two of the three-disc extended edition were also repackaged and sold as a two-disc "special edition" in the EU in 2005.
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Sequel
In June 2001, Douglas Wick said a Gladiator prequel was in development.[71] The following year, Wick, Walter Parkes, David Franzoni, and John Logan switched direction to a sequel set fifteen years later;[72] the Praetorian Guards rule Rome and an older Lucius is trying to learn who his real father was. However, Russell Crowe was interested in resurrecting Maximus, and further researched Roman beliefs about the afterlife to accomplish this.[73] Ridley Scott expressed interest, although he admitted the project would have to be retitled as it had little to do with gladiators.[74] An easter egg contained on disc 2 of the extended edition / special edition DVD releases includes a discussion of possible scenarios for a follow-up. This includes a suggestion by Walter F. Parkes that, in order to enable Russell Crowe to return to play Maximus, who dies at the end of the original movie, a sequel could involve a "multi-generational drama about Maximus and the Aureleans and this chapter of Rome", similar in concept to The Godfather Part II. In 2006, Scott stated he and Crowe approached Nick Cave to rewrite the film, but they had conflicted with DreamWorks's idea of a Lucius spin-off, who Scott revealed would turn out to be Maximus' son with Lucilla. He noted this tale of corruption in Rome was too complex, whereas Gladiator worked due to its simple drive. In 2009, details of Cave's ultimately rejected script surfaced on the internet, suggesting that Maximus would be reincarnated by the Roman gods and returned to Rome to defend Christians against persecution; he would then be transported to other important periods in history, including World War II, the Vietnam War, and finally playing a role in the modern-day Pentagon.[75][76]
Notes
[1] "Company Information" (http:/ / movies. nytimes. com/ movie/ 184587/ Gladiator/ credits). movies.nytimes.com. . Retrieved July 30, 2010. [2] Sale, Martha Lair; Paula Diane Parker (2005) (PDF), Losing Like Forrest Gump: Winners and Losers in the Film Industry (http:/ / www. sbaer. uca. edu/ research/ allied/ 2005vegas/ acctg & fina studies/ 30. pdf), , retrieved 2007-02-19 [3] Schwartz, Richard (2002), The Films of Ridley Scott, Westport, CT: Praeger, p.141, ISBN0-275-96976-2 [4] Script of the movie (http:/ / www. script-o-rama. com/ movie_scripts/ g/ gladiator-script-transcript-russell-crowe. html) [5] Stax (April 4, 2002), The Stax Report's Five Scribes Edition (http:/ / movies. ign. com/ articles/ 356/ 356712p1. html), IGN, , retrieved February 27, 2009 [6] Jon Solomon (April 1, 2004), "Gladiator from Screenplay to Screen", in Martin M. Winkler, Gladiator: Film and History, Blackwell Publishing, p.3 [7] Landau 2000, p.22 [8] Tales of the Scribes: Story Development (DVD). Universal. 2005. [9] John Soriano (2001) (PDF), WGA.ORG's Exclusive Interview with David Franzoni (http:/ / web. archive. org/ web/ 20071203172028/ http:/ / www. sois. uwm. edu/ xie/ dl/ Movie+ Project+ Team+ Folder/ Movie+ Project+ Team+ Folder/ Writers/ David+ Frazoni-+ Gladiator. pdf), archived from the original (http:/ / www. sois. uwm. edu/ xie/ dl/ Movie+ Project+ Team+ Folder/ Movie+ Project+ Team+ Folder/ Writers/ David+ Frazoni-+ Gladiator. pdf) on 2007-12-03, , retrieved February 27, 2009 [10] Corliss, Richard; Jeffrey Ressner (May 8, 2000), The Empire Strikes Back (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,996847-2,00. html), Time, , retrieved February 27, 2009 [11] Bill Nicholsons Speech at the launch of the International Screenwriters' Festival (http:/ / web. archive. org/ web/ 20080517065030/ http:/ / www. screenwritersfestival. com/ news. php?id=3), January 30, 2006, archived from the original (http:/ / www. screenwritersfestival. com/ news. php?id=3) on May 17, 2008, , retrieved February 27, 2009 [12] Landau 2000, p.34 [13] Landau 2000, p.61 [14] Landau 2000, p.66 [15] Landau 2000, p.62 [16] Landau 2000, p.68 [17] Bankston, Douglas (May 2000), "Death or Glory" (http:/ / www. ascmag. com/ magazine/ may00/ pg1. htm), American Cinematographer (American Society of Cinematographers), [18] Landau 2000, p.63
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[19] Landau 2000, p.73 [20] Gory glory in the Colosseum (http:/ / web. archive. org/ web/ 20050209185727/ http:/ / www. kodak. com/ US/ en/ motion/ newsletters/ inCamera/ july2000/ gladiator. shtml), Kodak: In Camera, July 2000, archived from the original (http:/ / www. kodak. com/ US/ en/ motion/ newsletters/ inCamera/ july2000/ gladiator. shtml) on 2005-02-09, , retrieved February 27, 2009 [21] Malta Film Commission - Backlots (http:/ / mfc. com. mt/ page. asp?p=14388& l=1), Malta Film Commission, , retrieved 28 August 2009 [22] Landau 2000, p.89 [23] Winkler, p.130 [24] Bath, Matthew (October 25, 2004), The Mill (http:/ / www. digitmag. co. uk/ features/ index. cfm?featureID=1152& page=1& pagepos=3), Digit Magazine, , retrieved February 27, 2009 [25] Landau, Diana; Walter Parkes, John Logan, & Ridley Scott (2000), Gladiator: The Making of the Ridley Scott Epic, Newmarket Press, p.89, ISBN1-55704-428-7 [26] Landau 2000, p.122 [27] Landau 2000, p.123 [28] Oliver Reed Resurrected On Screen (http:/ / www. imdb. com/ news/ wenn/ 2000-04-12#celeb4), Internet Movie Database, April 12, 2000, , retrieved February 27, 2009 [29] Schwartz, p.142 [30] Ward, Allen (May 2001). "The Movie "Gladiator" in Historical Perspective" (http:/ / ablemedia. com/ ctcweb/ showcase/ wardgladiator1. html). University of Connecticut. . Retrieved December 8, 2010. [31] Winkler, Martin (2004), Gladiator Film and History, Malden, MA: Blackwell Publishing, p.6, ISBN1-4051-1042-2 [32] Gladiator: The Real Story (http:/ / www. exovedate. com/ the_real_gladiator_one. html), , retrieved February 27, 2009 [33] Livy. Cincinnatus Leaves His Plow. Taken from The Western World ISBN 0-536-99373-4 [34] Andrew Rawnsley (June 23, 2002), He wants to go on and on; they all do (http:/ / observer. guardian. co. uk/ comment/ story/ 0,,742256,00. html), London: Guardian Unlimited, , retrieved February 27, 2009 [35] Llewellyn H. Rockwell Jr. (April 29, 2001), Bush, the 'Gladiator' president? (http:/ / www. worldnetdaily. com/ news/ article. asp?ARTICLE_ID=22223), WorldNetDaily, , retrieved February 27, 2009 [36] Peter Popham (October 16, 2008), Found: Tomb of the general who inspired 'Gladiator' (http:/ / www. independent. co. uk/ news/ world/ europe/ found-tomb-of-the-general-who-inspired-gladiator-963797. html), London: The Independent, , retrieved February 27, 2009 [37] 'Gladiator' Tomb is Found in Rome (http:/ / news. bbc. co. uk/ 2/ hi/ europe/ 7675633. stm), BBC News, October 17, 2008, , retrieved February 27, 2009 [38] Martin M. Winkler (June 23, 2002), Scholia Reviews ns 14 (2005) 11. (http:/ / www. classics. und. ac. za/ reviews/ 05-11win. htm), , retrieved February 27, 2009 [39] Landau 2000, p.28 [40] Winkler, p.114 [41] Winkler, p.115 [42] Zimmer and Gladiator (http:/ / web. archive. org/ web/ 20080210040935/ http:/ / www. reel. com/ reel. asp?node=movienews/ confidential& pageid=16882), Reel.com, archived from the original (http:/ / www. reel. com/ reel. asp?node=movienews/ confidential& pageid=16882) on February 10, 2008, , retrieved February 27, 2009 [43] Priscilla Rodriguez (June 12, 2006), "Gladiator" Composer Accused of Copyright Infringement (http:/ / web. archive. org/ web/ 20080516225847/ http:/ / www. knx1070. com/ pages/ 45400. php), KNX 1070 NEWSRADIO, archived from the original (http:/ / www. knx1070. com/ pages/ 45400. php) on 2008-05-16, , retrieved February 27, 2009 [44] Michael Beek (June 2006), Gladiator Vs Mars - Zimmer is sued: (http:/ / web. archive. org/ web/ 20080618112502/ http:/ / www. musicfromthemovies. com/ article. asp?ID=695), Music from the Movies, archived from the original (http:/ / www. musicfromthemovies. com/ article. asp?ID=695) on 2008-06-18, , retrieved February 27, 2009 [45] Winkler, p.141 [46] Anastasia Tsioulcas (October 26, 2003), For Pavarotti, Time To Go 'Pop' (http:/ / music. yahoo. com/ read/ news/ 12179048), Yahoo! Music, , retrieved February 27, 2009 [47] Gladiator (http:/ / www. rottentomatoes. com/ m/ gladiator/ ), Rotten Tomatoes, , retrieved February 27, 2009 [48] Gladiator (http:/ / www. metacritic. com/ film/ titles/ gladiator), Metacritic, , retrieved February 27, 2009 [49] The best and worst movie battle scenes (http:/ / www. cnn. com/ 2007/ SHOWBIZ/ Movies/ 03/ 29/ movie. battles/ index. html), CNN, April 2, 2007, , retrieved February 27, 2009 [50] Marc Bernadin (October 23, 2007), 25 Awesome Action Heroes (http:/ / www. ew. com/ ew/ gallery/ 0,,20041669_20041686_20153598_19,00. html), Entertainment Weekly, , retrieved February 27, 2009 [51] Gary Susman (December 12, 2007), 20 Best Revenge Movies (http:/ / www. ew. com/ ew/ gallery/ 0,,20165601_18,00. html), Entertainment Weekly, , retrieved February 27, 2009 [52] 100 Greatest Films (http:/ / web. archive. org/ web/ 20080415004921/ http:/ / www. channel4. com/ film/ newsfeatures/ microsites/ G/ greatest/ results/ control. jsp?resultspage=01), Channel 4, archived from the original (http:/ / www. channel4. com/ film/ newsfeatures/ microsites/ G/ greatest/ results/ control. jsp?resultspage=01) on 2008-04-15, , retrieved February 27, 2009 [53] Geier, Thom; Jensen, Jeff; Jordan, Tina; Lyons, Margaret; Markovitz, Adam; Nashawaty, Chris; Pastorek, Whitney; Rice, Lynette; Rottenberg, Josh; Schwartz, Missy; Slezak, Michael; Snierson, Dan; Stack, Tim; Stroup, Kate; Tucker, Ken; Vary, Adam B.;
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Vozick-Levinson, Simon; Ward, Kate (December 11, 2009), "The 100 Greatest Movies, TV shows, Albums, Books, Characters, Scenes, Episodes, Songs, Dresses, Music vidos, and Trends that entertained us over the past". Entertainment Weekly. (1079/1080):74-84 [54] Ebert, Roger (May 5, 2000), Gladiator Review (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20000505/ REVIEWS/ 5050301/ 1023), Chicago Sun-Times, , retrieved February 27, 2009 [55] Schwartz, p.141 [56] Gladiator total gross (http:/ / www. boxofficemojo. com/ movies/ ?id=gladiator. htm), Box Office Mojo, , retrieved February 27, 2009 [57] Gladiator awards tally (http:/ / www. imdb. com/ title/ tt0172495/ awards), Internet Movie Database, , retrieved February 27, 2009 [58] "The 73rd Academy Awards (2001) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 73rd-winners. html). oscars.org. . Retrieved 2011-11-19. [59] AFI's 100 Years...100 Movie Quotes Nominees (http:/ / www. afi. com/ Docs/ 100Years/ quotes400. pdf) [60] AFI's 100 Years of Film Scores Nominees (http:/ / www. afi. com/ Docs/ 100Years/ scores250. pdf) [61] AFI's 100 Years...100 Cheers Nominees (http:/ / www. afi. com/ Docs/ 100Years/ cheers300. pdf) [62] AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot (http:/ / www. afi. com/ Docs/ 100Years/ Movies_ballot_06. pdf) [63] AFI's 10 Top 10 Ballot (http:/ / www. afi. com/ drop/ ballot. pdf) [64] Martin, Arnold (July 11, 2002), Making Books; Book Parties With Togas (http:/ / web. archive. org/ web/ 20080117055645/ http:/ / query. nytimes. com/ gst/ fullpage. html?res=990CE2D61530F932A25754C0A9649C8B63), The New York Times, archived from the original (http:/ / query. nytimes. com/ gst/ fullpage. html?res=990CE2D61530F932A25754C0A9649C8B63) on January 17, 2008, , retrieved February 27, 2009 [65] The 15 Most Influential Films of Our Lifetime, Empire, June 2004, p.115 [66] "The 50 greatest movie heroes and baddies of all time revealed" (http:/ / www. thaindian. com/ newsportal/ entertainment/ the-50-greatest-movie-heroes-and-baddies-of-all-time-revealed_1006810. html). Thaindian.com. 2007-11-27. . Retrieved 2011-06-10. [67] The 100 Greatest Movie Characters (http:/ / www. empireonline. com/ 100-greatest-movie-characters/ default. asp?c=35) Empire [68] "Oscar winning Aussies go postal" (http:/ / news. bbc. co. uk/ 2/ hi/ entertainment/ 7867661. stm). BBC News. 2009-02-03. . Retrieved 2010-01-13. [69] Gladiator (http:/ / www. blu-ray. com/ movies/ movies. php?id=4735), Blu-ray.com, , retrieved 2009-05-16 [70] Initial "Gladiator" Blu-ray Reviews Report Picture Quality Issues (http:/ / www. bigscreen. com/ journal. php?id=1632), Netflix, , retrieved 2009-09-11 [71] Stax (June 16, 2001), "IGN FilmForce Exclusive: David Franzoni in Negotiations for Another Gladiator!" (http:/ / uk. movies. ign. com/ articles/ 300/ 300625p1. html), IGN, , retrieved February 27, 2009 [72] Brian Linder (September 24, 2002), "A Hero Will Rise... Again" (http:/ / uk. movies. ign. com/ articles/ 372/ 372042p1. html), IGN, , retrieved February 27, 2009 [73] Stax (December 17, 2002), "A Hero Will Rise - From the Dead!" (http:/ / uk. movies. ign. com/ articles/ 380/ 380501p1. html), IGN, , retrieved February 27, 2009 [74] Stax (September 11, 2003), "Ridley Talks Gladiator 2" (http:/ / uk. movies. ign. com/ articles/ 437/ 437722p1. html), IGN, , retrieved February 27, 2009 [75] Michaels, Sean (May 6, 2009). "Nick Cave's rejected Gladiator 2 script uncovered!" (http:/ / www. guardian. co. uk/ music/ 2009/ may/ 06/ nick-cave-rejected-gladiator-script). The Guardian (London). . Retrieved May 3, 2010. [76] Cave, Nick, Gladiator 2 Draft (http:/ / www. mypdfscripts. com/ unproduced/ gladiator-2-by-nick-cave), , retrieved 16 May 2010
622
References
Landau, Diana; Walter Parkes, John Logan, and Ridley Scott (2000), Gladiator: The Making of the Ridley Scott Epic, Newmarket Press, ISBN1-55704-428-7
Further reading
Reynolds, Mike (July 2000), "Ridley Scott: From Blade Runner to Blade Stunner", DGA Monthly Magazine (Directors Guild of America) Schwartz, Richard (2001). The Films of Ridley Scott. Westport, CT: Praeger. ISBN 0-275-96976-2 Stephens, William (2001), "The Rebirth of Stoicism?" (http://puffin.creighton.edu/PHIL/Stephens/ rebirth_of_stoicism.htm), Creighton Magazine, retrieved 2010-01-04 Ward, Allen (2001), "The Movie "Gladiator" in Historical Perspective" (http://ablemedia.com/ctcweb/ showcase/wardgladiator1.html), Classics Technology Center (AbleMedia), retrieved 2007-01-26 Winkler, Martin (2004). Gladiator Film and History. Malden, MA: Blackwell Publishing. ISBN 1-4051-1042-2
2000 Gladiator
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External links
Gladiator (http://www.imdb.com/title/tt0172495/) at the Internet Movie Database Gladiator (http://www.allrovi.com/movies/movie/v184587) at AllRovi Gladiator (http://www.boxofficemojo.com/movies/?id=gladiator.htm) at Box Office Mojo Gladiator (http://www.rottentomatoes.com/m/gladiator/) at Rotten Tomatoes Gladiator (http://www.metacritic.com/movie/gladiator) at Metacritic David Franzoni (1998-04-04), Gladiator: First Draft Revised (http://web.archive.org/web/20080316123637/ http://www.hundland.com/scripts/Gladiator_FirstDraft.txt), archived from the original (http://www. hundland.com/scripts/Gladiator_FirstDraft.txt) on 2008-03-16 David Franzoni and John Logan (1998-10-22), Gladiator: Second Draft Revised (http://web.archive.org/web/ 20080312054408/http://www.hundland.com/scripts/Gladiator_SecondDraft.txt), archived from the original (http://www.hundland.com/scripts/Gladiator_SecondDraft.txt) on 2008-03-12
2001 A Beautiful Mind
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A Beautiful Mind
Directed by Produced by Screenplay by Based on Starring Music by Ron Howard Ron Howard Brian Grazer Akiva Goldsman A Beautiful Mind by Sylvia Nasar Russell Crowe Ed Harris James Horner
Cinematography Roger Deakins Editing by Studio Distributed by Release date(s) Daniel P. Hanley Mike Hill Imagine Entertainment Universal Pictures (USA) DreamWorks (non-USA)
[1]
December 21, 2001
A Beautiful Mind is a 2001 American biographical drama film based on the life of John Nash, a Nobel Laureate in Economics. The film was directed by Ron Howard and written by Akiva Goldsman. It was inspired by a bestselling, Pulitzer Prize-nominated 1998 book of the same name by Sylvia Nasar. The film stars Russell Crowe, along with Ed Harris, Jennifer Connelly, Paul Bettany and Christopher Plummer. The story begins in the early years of a young prodigy named John Nash. Early in the film, Nash begins developing paranoid schizophrenia and endures delusional episodes while painfully watching the loss and burden his condition brings on his wife and friends. The film opened in US cinemas on December 21, 2001. It grossed over $313 million worldwide and went on to win four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best Actress in a Supporting Role. It was also nominated for Best Actor in a Leading Role, Best Film Editing, Best Makeup, and Best Original Score. It was well received by critics, but has been criticized for its inaccurate portrayal of some aspects of Nash's life, especially his other family and a son born out of wedlock.
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Plot
In 1947, John Nash (Russell Crowe) arrives at Princeton University. He is co-recipient, with Martin Hansen (Josh Lucas), of the prestigious Carnegie Scholarship for mathematics. At a reception he meets a group of other promising math and science graduate students, Richard Sol (Adam Goldberg), Ainsley (Jason Gray-Stanford), and Bender (Anthony Rapp). He also meets his roommate Charles Herman (Paul Bettany), a literature student, and an unlikely friendship begins. Nash comes under increasing pressure to publish, both from the mathematics department chairman and in the form of rivalry with Hansen. But he refuses until he finds a truly original idea. His inspiration comes when he and his fellow graduate students discuss how to approach a group of women at a bar. Hansen quotes Adam Smith and advocates "every man for himself", but Nash argues that a cooperative approach would lead to better chances of success. This leads to a new concept of governing dynamics which Nash develops and publishes. On the strength of this he is offered an appointment at MIT where Sol and Bender join him. Some years later, Nash is invited to the Pentagon to crack encrypted enemy telecommunication. Nash is able to decipher the code mentally, to the astonishment of other codebreakers. He considers his regular duties at MIT uninteresting and beneath his talents, so he is pleased to be given a new assignment by mysterious supervisor William Parcher (Ed Harris) of the United States Department of Defense, to look for patterns in magazines and newspapers in order to thwart a Soviet plot. Nash becomes increasingly obsessive about searching for these hidden patterns and believes he is followed when he delivers his results to a secret mailbox. Meanwhile a student, Alicia Larde (Jennifer Connelly), asks him to dinner, and the two fall in love. On a return visit to Princeton, Nash runs into his former roommate Charles and meets Charles' young niece Marcee (Vivien Cardone), whom he adores. With Charles' encouragement he proposes to Alicia and they marry. Nash begins to fear for his life after witnessing a shootout between Parcher and Soviet agents. He tells Parcher that he wants to quit his special assignment but Parcher blackmails him into staying. While delivering a guest lecture at Harvard University (with Charles and Marcee present), Nash attempts to flee from what appear to be foreign agents, led by Dr. Rosen (Christopher Plummer). After punching Rosen in an attempt to flee, Nash is forcibly sedated and sent to a psychiatric facility. He believes the facility is run by the Soviets who are trying to extract information from him. Dr. Rosen tells Alicia that Nash has schizophrenia and that Charles, Marcee and Parcher exist only in his imagination. Alicia investigates and finally confronts Nash with the unopened documents he had delivered to the secret mailbox. Nash is given a course of insulin shock therapy and eventually released. Frustrated with the side-effects of the antipsychotic medication he is taking, he secretly stops taking it. But this causes a relapse and he meets Parcher again. After an incident where Nash endangers his infant son and accidentally knocks Alicia and the baby to the ground (thinking he's stopping Parcher from killing her), she flees the house in fear with their child. Nash steps in front of her car to prevent her from leaving. He tells Alicia, "She never gets old", referring to Marcee, who although years have passed since their first encounter, has remained exactly the same age and is still a little girl. With this, he finally accepts that although all three people seem real, they are in fact part of his hallucinations. Against Dr. Rosen's advice, Nash decides not to restart his medication, believing that he can deal with his symptoms in another way. Alicia decides to stay and support him in this. Nash approaches his old friend and rival, Martin Hansen, now head of the Princeton mathematics department, who grants him permission to work out of the library and audit classes. Years pass and as Nash grows older he learns to ignore his hallucinations. Eventually he earns the privilege of teaching again. In 1994, Nash is honored by his fellow professors for his achievement in mathematics, and goes on to win the Nobel Memorial Prize in Economics for his revolutionary work on game theory. The movie ends as Nash and Alicia leave the auditorium in Stockholm; Nash sees Charles, Marcee, and Parcher standing to one side and watching him.
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Cast
Russell Crowe as John Forbes Nash, Jr., a mathematical genius who is obsessed with finding an original idea to ensure his legacy. Ed Harris as William Parcher, a highly dedicated and forceful government agent for the Department of Defense. He recruits Nash to help fight Soviet spies. He is actually one of Nash's hallucinations. Jennifer Connelly as Alicia Nash, a later student of Nash with whom he falls in love and eventually marries. Paul Bettany as Charles Herman, Nash's cheerful, supportive roommate and best friend throughout graduate school. He is another hallucination. Josh Lucas as Martin Hansen, Nash's friendly rival from his graduate school years at Princeton. In the end, Hansen tells Nash that nobody wins, and they are at that point to consider each other as equals. Adam Goldberg as Sol, a friend of Nash's from Princeton University who is chosen, along with Bender, to work with him at MIT. Anthony Rapp as Bender, a friend of Nash's from Princeton University who is chosen, along with Sol, to work with him at MIT. Vivien Cardone as Marcee, Charles' young niece, also a hallucination. Christopher Plummer as Dr. Rosen, Nash's doctor at a psychiatric hospital. Judd Hirsch as Helinger, the head of the Princeton mathematics department. Jason Gray-Stanford as Ainsley Neilson, the symbol cryptography professor. Nash pays particular attention to his tie.
Production
Producer Brian Grazer first read an excerpt of Sylvia Nasar's book A Beautiful Mind in Vanity Fair. Grazer immediately purchased the rights to the film. He eventually brought the project to Ron Howard, who had scheduling conflicts and was forced to pass. Grazer later said that many A-list directors were calling with their point of view on the project. He eventually focused on a particular director, who coincidentally was only available at the same time Howard was available. Grazer was forced to make a decision and chose Howard.[2] Grazer then met with a number of screenwriters, mostly consisting of "serious dramatists", but he chose Akiva Goldsman instead, because of his strong passion and desire for the project. Goldsman's creative take on the project was to not allow the viewers to understand that they are viewing an alternate reality until a specific point in the film. This was done to rob the viewers of their feelings in the same way that Nash himself was. Howard agreed to direct the film based only on the first draft. He then requested that Goldsman accentuate the love story aspect.[3] Dave Bayer, a professor of Mathematics at Barnard College, Columbia University,[4] was consulted on the mathematical equations that appear in the film. Bayer later stated that he approached his consulting role as an actor when preparing equations, such as when Nash is forced to teach a calculus class, and arbitrarily places a complicated problem on the blackboard. Bayer focused on a character who did not want to teach ordinary details and was more concerned with what was interesting. Bayer received a cameo role in the film as a professor that lays his pen down for Nash in the pen ceremony near the end of the film.[5] Greg Cannom was chosen to create the makeup effects for A Beautiful Mind, specifically the age progression of the characters. Russell Crowe had previously worked with Cannom on The Insider. Howard had also worked with Cannom on Cocoon. Each character's stages of makeup were broken down by the number of years that would pass between levels. Cannom stressed subtlety between the stages, but worked toward the ultimate stage of "Older Nash". It was originally decided that the makeup department would merely age Russell Crowe throughout the film; however, at Crowe's request, the makeup purposefully pulled Crowe's look towards the facial features of the real John Nash. Cannom developed a new silicone-type makeup that could simulate real skin and be used for overlapping applications, shortening the application time from eight hours to four hours. Crowe was also fitted with a number of dentures to give him a slight overbite throughout the film.[6]
2001 A Beautiful Mind Howard and Grazer chose frequent collaborator James Horner to score the film because of familiarity and his ability to communicate. Howard said, regarding Horner, "It's like having a conversation with a writer or an actor or another director." A running discussion between the director and the composer was the concept of high-level mathematics being less about numbers and solutions, and more akin to a kaleidoscope, in that the ideas evolve and change. After the first screening of the film, Horner told Howard: "I see changes occurring like fast-moving weather systems." He chose it as another theme to connect to Nash's ever-changing character. Horner chose Welsh singer Charlotte Church to sing the soprano vocals after deciding that he needed a balance between a child and adult singing voice. He wanted a "purity, clarity and brightness of an instrument" but also a vibrato to maintain the humanity of the voice.[7] The film was shot 90% chronologically. Three separate trips were made to the Princeton University campus. During filming, Howard decided that Nash's delusions should always first be introduced audibly and then visually. This not only provides a visual clue, but establishes the delusions from Nash's point of view. The real John Nash's delusions were also only auditory. A technique was also developed to visualize Nash's epiphanies. After speaking to a number of mathematicians who described it as "the smoke clearing", "flashes of light" and "everything coming together", the filmmakers decided upon a flash of light appearing over an object or person to signify Nash's creativity at work.[8] Two night shots were done at Fairleigh Dickinson University's campus in Florham Park, NJ, in the Vanderbilt Mansion ballroom.[9] Many actors were considered for the role of John Nash, including Bruce Willis, Kevin Costner, John Travolta, Tom Cruise, John Cusack, Charlie Sheen, Robert Downey, Jr., Nicolas Cage, Johnny Depp, Ralph Fiennes, Jared Leto, Brad Pitt, Alec Baldwin, Mel Gibson, Sean Penn, Guy Pearce, Matthew Broderick, Gary Oldman and Keanu Reeves. Cruise was lobbying for the part until Ron Howard ultimately cast Russell Crowe after he saw his performance in Gladiator. The producers had not originally thought of Jennifer Connelly for the role of Alicia. Portia de Rossi, Catherine McCormack, Meg Ryan, Rachel Griffiths and Amanda Peet were among the many actresses who lobbied for the role of Alicia.
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Divergence from actual events

The narrative of the film differs considerably from the actual events of Nash's life. The film has been criticized for this, but the filmmakers had consistently said that the film was not meant to be a literal representation.[10] Also, Nasar concluded that Nash's refusal to take drugs "may have been fortunate," since their side effects "would have made his gentle re-entry into the world of mathematics a near impossibility."[11] One difficulty was in portraying stress and mental illness within one person's mind.[12] Sylvia Nasar stated that the filmmakers "invented a narrative that, while far from a literal telling, is true to the spirit of Nash's story".[13] The film made his hallucinations visual and auditory when, in fact, they were exclusively auditory. Furthermore, while in real life Nash spent his years between Princeton and MIT as a consultant for the RAND Corporation in California, in the film he is portrayed as having worked for the Pentagon instead. It is true that his handlers, both from faculty and administration, had to introduce him to assistants and strangers.[8] The PBS documentary A Brilliant Madness attempts to portray his life more accurately.[14] The differences were substantial. Few if any of the characters in the film, besides John and Alicia Nash, corresponded directly to actual people.[15] The discussion of the Nash equilibrium was criticized as over-simplified. In the film, schizophrenic hallucinations appeared while he was in graduate school, when in fact they did not show up until some years later. No mention is made of Nash's supposed homosexual experiences at RAND,[13][16] which Nash and his wife both denied.[17] Nash also fathered a son, John David Stier (born June 19, 1953), by Eleanor Agnes Stier (19212005), a nurse whom he abandoned when informed of her pregnancy.[18] The movie also did not include Alicia's divorce of John in 1963. It was not until Nash won the Nobel Memorial Prize that they renewed their relationship, although she allowed him to live with her as a boarder beginning in 1970. They remarried in 2001.[16]
2001 A Beautiful Mind Nash is shown to join Wheeler Laboratory at MIT, but there is no such lab. He was appointed as C.L.E. Moore Instructor at MIT.[19] The pen ceremony tradition at Princeton shown in the film is completely fictitious.[8][20] The film has Nash saying around the time of his Nobel prize in 1994: "I take the newer medications", when in fact Nash did not take any medication from 1970 onwards, something Nash's biography highlights. Howard later stated that they added the line of dialogue because it was felt as though the film was encouraging the notion that all schizophrenics can overcome their illness without medication.[8] Nash also never gave an acceptance speech for his Nobel prize because of fears the organisers had regarding his mental instability.[21]
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Release and reception

A Beautiful Mind received a limited release on December 21, 2001, receiving positive reviews. It was later released in America on January 4, 2002. Rotten Tomatoes showed a 78% approval rating among critics with a movie consensus stating "The well-acted A Beautiful Mind is both a moving love story and a revealing look at mental illness."[22] Roger Ebert gave the film four stars (his highest rating)[23] Mike Clark of USA Today gave three and a half out of four stars and also praised Crowe's performance and referred to as a welcomed follow up to Howard's previous film The Grinch;[24] however, Desson Thomson of the Washington Post found the film to be "one of those formulaically rendered Important Subject movies".[22] The mathematics in the film were well-praised by the mathematics community, including John Nash himself.[5] During the five-day weekend of the limited release, A Beautiful Mind opened at the twelfth spot at the box office,[25] peaking at the number two spot following the wide release.[26] The film went to gross $170,742,341 in North America and $313,542,341 worldwide.[27] A Beautiful Mind was released on VHS and DVD in the United States on June 25, 2002.[28] The DVD set includes audio commentaries, deleted scenes and documentaries. The film was also released on Blu-ray in North America on January 25, 2011.[29]
Awards
In 2002, the film was awarded four Academy Awards for Best Adapted Screenplay (Akiva Goldsman), Best Picture (Brian Grazer and Ron Howard), Best Director (Ron Howard), and Best Actress in a Supporting Role (Jennifer Connelly). It also received four other nominations for Best Actor in a Leading Role (Russell Crowe), Best Film Editing (Mike Hill and Daniel P. Hanley), Best Makeup (Greg Cannom and Colleen Callaghan), and Best Original Score (James Horner).[30] The 2002 BAFTAs awarded the film Best Actor and Best Actress to Russell Crowe and Jennifer Connelly, respectively. It also nominated the film for Best Film, Best Screenplay, and the David Lean Award for Direction.[31] At the 2002 AFI Awards, Jennifer Connelly won for Best Featured Female Actor.[32] In 2006, it was named No. 93 in AFI's 100 Years... 100 Cheers. The film was also nominated for Movie of the Year, Actor of the Year (Russell Crowe), and Screenwriter of the Year (Akiva Goldsman).[33]
629
References
[1] "A Beautiful Mind" (http:/ / www. variety. com/ index. asp?layout=filmsearch_exact& dept=Film& movieID=15161). Variety. . Retrieved July 17, 2009. [2] "A Beautiful Partnership: Ron Howard and Brian Grazer" from A Beautiful Mind DVD, 2002 [3] "Development of the Screenplay" from A Beautiful Mind DVD, 2002 [4] "Dave Bayer: Professor of Mathematics" (http:/ / www. barnard. edu/ profiles/ david-bayer). Barnard College, Columbia University. . Retrieved May 8, 2011. [5] Dana Mackenzie "Beautiful Math" (http:/ / media. swarthmore. edu/ bulletin/ wp-content/ archived_issues_pdf/ Bulletin_2002_06. pdf) Swarthmore College Bulletin 2002 [6] "The Process of Age Progression" from A Beautiful Mind DVD. 2002 [7] "Scoring the Film" from A Beautiful Mind DVD, 2002 [8] A Beautiful Mind DVD commentary featuring Ron Howard, 2002 [9] "Fairleigh Dickinson University turned into a "different place"" (http:/ / www. countingdown. com/ movies/ 1398/ news?item_id=18247). CountingDown.com. April 30, 2001. . Retrieved May 10, 2009. [10] About.com: Ron Howard Interview (http:/ / movies. about. com/ library/ weekly/ aa121501b. htm) [11] Robert Whitaker "Mind drugs may hinder recovery" (http:/ / www. usatoday. com/ news/ opinion/ 2002/ 03/ 04/ ncguest2. htm) USA Today [12] "A Beautiful Mind" (http:/ / www. maa. org/ devlin/ devlin_12_01. html). Mathematical Association of America. . Retrieved August 11, 2007. [13] "A Real Number" (http:/ / www. slate. com/ id/ 2060110/ ). Slate Magazine. Archived (http:/ / web. archive. org/ web/ 20070824203928/ http:/ / www. slate. com/ id/ 2060110/ ) from the original on August 24, 2007. . Retrieved August 16, 2007. [14] "A Brilliant Madness" (http:/ / www. pbs. org/ wgbh/ amex/ nash/ index. html). PBS. Archived (http:/ / web. archive. org/ web/ 20070714192102/ http:/ / www. pbs. org/ wgbh/ amex/ nash/ index. html) from the original on July 14, 2007. . Retrieved August 16, 2007. [15] Sylvia Nasar, A Beautiful Mind, Touchstone 1998 [16] Nasar, Sylvia (1998). A Beautiful Mind: A Biography of John Forbes Nash, Jr.. Simon & Schuster. ISBN0-684-81906-6. [17] "Nash: Film No Whitewash" (http:/ / www. cbsnews. com/ stories/ 2002/ 03/ 14/ 60minutes/ main503731. shtml). CBS News: 60 Minutes. March 14, 2002. Archived (http:/ / web. archive. org/ web/ 20070807214305/ http:/ / www. cbsnews. com/ stories/ 2002/ 03/ 14/ 60minutes/ main503731. shtml) from the original on August 7, 2007. . Retrieved August 16, 2007. [18] Goldstein, Scott (April 10, 2005). "Eleanor Stier, 84" (http:/ / www. boston. com/ news/ globe/ obituaries/ articles/ 2005/ 04/ 10/ eleanor_stier_84_brookline_nurse_had_son_with_nobel_laureate_mathematician_john_f_nash_jr). The Boston Globe. . Retrieved December 5, 2007. [19] "MIT facts meet fiction in 'A Beautiful Mind'" (http:/ / web. mit. edu/ newsoffice/ 2002/ nash-0213. html). Massachusetts Institute of Technology. Archived (http:/ / web. archive. org/ web/ 20070712160054/ http:/ / web. mit. edu/ newsoffice/ 2002/ nash-0213. html) from the original on July 12, 2007. . Retrieved August 16, 2007. [20] "FAQ John Nash" (http:/ / www. princeton. edu/ mudd/ news/ faq/ topics/ nash. shtml). Seeley G. Mudd Library at Princeton University. Archived (http:/ / web. archive. org/ web/ 20070716010939/ http:/ / www. princeton. edu/ mudd/ news/ faq/ topics/ nash. shtml) from the original on July 16, 2007. . Retrieved August 16, 2007. [21] "FAQ John Nash" (http:/ / www. princeton. edu/ mudd/ news/ faq/ topics/ nash. shtml). Seeley G. Mudd Library at Princeton University. Archived (http:/ / web. archive. org/ web/ 20070716010939/ http:/ / www. princeton. edu/ mudd/ news/ faq/ topics/ nash. shtml) from the original on July 16, 2007. . Retrieved August 16, 2007.</ref A Beautiful Mind DVD commentary featuring Ron Howard, [2002] [22] "A Beautiful Mind" (http:/ / www. rottentomatoes. com/ m/ beautiful_mind/ ). Rotten Tomatoes. Archived (http:/ / web. archive. org/ web/ 20070824111543/ http:/ / www. rottentomatoes. com/ m/ beautiful_mind/ ) from the original on August 24, 2007. . Retrieved August 14, 2007. [23] "A Beautiful Mind" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20011221/ REVIEWS/ 112210301/ 1023). Chicago Sun-Times. . [24] Clark, Mike (December 20, 2001). "Crowe brings to 'Mind' a great performance" (http:/ / www. usatoday. com/ life/ movies/ 2001-12-21-beautiful-mind-review. htm). USA Today. . Retrieved August 27, 2007. [25] "Weekend Box Office Results for December 2125, 2001" (http:/ / www. boxofficemojo. com/ weekend/ chart/ ?view=& yr=2001& wknd=51b& p=. htm). Box Office Mojo. . Retrieved May 22, 2008. [26] "Weekend Box Office Results for January 46, 2002" (http:/ / www. boxofficemojo. com/ weekend/ chart/ ?yr=2002& wknd=001& p=. htm). Box Office Mojo. . Retrieved May 22, 2008. [27] "A Beautiful Mind (2001)" (http:/ / www. boxofficemojo. com/ movies/ ?id=beautifulmind. htm). Box Office Mojo. Archived (http:/ / web. archive. org/ web/ 20101119215549/ http:/ / boxofficemojo. com/ movies/ ?id=beautifulmind. htm) from the original on November 19, 2010. . Retrieved November 8, 2010. [28] "A Beautiful Mind" (http:/ / www. filmcritic. com/ reviews/ 2001/ a-beautiful-mind). filmcritic.com. . Retrieved July 24, 2011. [29] "A Beautiful Mind (2001)" (http:/ / www. releasedon. com/ blu-ray/ a-beautiful-mind-blu-ray-release-date-2335. html). releasedon.com. . Retrieved July 24, 2011. [30] "74th Academy Awards" (http:/ / web. archive. org/ web/ 20070824083721/ http:/ / www. oscars. org/ 74academyawards/ nomswins. html). Academy of Motion Picture Arts and Sciences. Archived from the original (http:/ / www. oscars. org/ 74academyawards/ nomswins. html) on

August 24, 2007. . Retrieved August 27, 2007. [31] "A Beautiful Mind (2001) Awards and Nominations" (http:/ / movies. yahoo. com/ movie/ 1807426893/ awards). Yahoo! Movies. . Retrieved August 27, 2007. [32] "AFI Awards 2001" (http:/ / www. afi. com/ tvevents/ afiawards01/ afiawards1. aspx). American Film Institute. Archived (http:/ / web. archive. org/ web/ 20070929102947/ http:/ / www. afi. com/ tvevents/ afiawards01/ afiawards1. aspx) from the original on September 29, 2007. . Retrieved August 27, 2007. [33] "AFI Awards 2001: Movies of the Year" (http:/ / www. afi. com/ tvevents/ afiawards01/ mpawards. aspx). American Film Institute. Archived (http:/ / web. archive. org/ web/ 20070929083836/ http:/ / www. afi. com/ tvevents/ afiawards01/ mpawards. aspx) from the original on September 29, 2007. . Retrieved August 27, 2007.
630
Additional reading
Akiva Goldsman. A Beautiful Mind: Screenplay and Introduction. New York, New York: Newmarket Press, 2002. ISBN 1-55704-526-7
External links
Official website (http://abeautifulmind.com/) A Beautiful Mind (http://www.imdb.com/title/tt0268978/) at the Internet Movie Database A Beautiful Mind (http://www.allrovi.com/movies/movie/v256005) at AllRovi A Beautiful Mind (http://www.boxofficemojo.com/movies/?id=beautifulmind.htm) at Box Office Mojo A Beautiful Mind (http://www.rottentomatoes.com/m/beautiful_mind/) at Rotten Tomatoes A Beautiful Mind (http://movies.msn.com/movies/movie.aspx?m=169&pkw=PI&vendor=Paid+Inclusion& mp=m) at MSN Movies (http://movies.msn.com/movies/movie-synopsis/a-beautiful-mind/) A Beautiful Mind (http://filminsight.net/2009/07/05/a-beautiful-mind-life-isnt-an-equation/) at Film Insight
2002 Chicago
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2002 Chicago
Chicago
Directed by Produced by Rob Marshall

Bob Weinstein Harvey Weinstein Craig Zadan Martin Richards Maurine Dallas Watkins Bob Fosse Fred Ebb Bill Condon Rene Zellweger Catherine Zeta-Jones Richard Gere Queen Latifah John C. Reilly Christine Baranski Taye Diggs Lucy Liu
Written by
Starring
Music by
Danny Elfman
Cinematography Dion Beebe Editing by Distributed by Release date(s) Running time Country Language Budget Box office Martin Walsh Miramax Films
December 27, 2002

[1]
Chicago is a 2002 musical film adapted from the satirical stage musical of the same name, exploring the themes of celebrity, scandal, and corruption in Jazz Age Chicago.[2] Directed and choreographed by Rob Marshall, and adapted by screenwriter Bill Condon, Chicago won six Academy Awards in 2003, including Best Picture. The film was critically lauded, and was the first musical to win Best Picture since Oliver! in 1969. Chicago centers on Roxie Hart and Velma Kelly, two murderesses who find themselves in jail together awaiting trial in 1920s Chicago. Velma, a vaudevillian, and Roxie, a housewife, fight for the fame that will keep them from the gallows. The film stars Rene Zellweger, Richard Gere, and Catherine Zeta-Jones also featuring Queen Latifah, John C. Reilly, Christine Baranski, Lucy Liu, Taye Diggs, Colm Feore, and Ma Harrison.
2002 Chicago
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Plot
In Chicago, circa 1924, nave but psychopathic Roxie Hart (Rene Zellweger) visits a nightclub, where star and also psychopathic Velma Kelly (Catherine Zeta-Jones) performs ("All That Jazz"). Roxie is there with Fred Casely (Dominic West), a lover she hopes will get her a vaudeville gig. After the show, Velma is arrested for killing her husband and sister, Veronica, after finding them in bed together. Later, Fred reveals to Roxie that he lied about his connections in order to sleep with her, at which point Roxie, in a fit of rage, shoots Fred three times, killing him. Roxie convinces her over faithful husband, Amos (John C. Reilly), to take the blame, telling him it was a burglar and that he needn't worry, he'll get off. When the officer points out that the victim is Fred Casely, who sold the Harts furniture, Amos abandons his lie and says Casely was dead when he got home ("Funny Honey"). Roxie is sent to Cook County Jail. Upon her arrival, she is sent to Murderess' Rowunder the care of the corrupt Matron "Mama" Morton (Queen Latifah), who takes bribes and supplies her prisoners with cigarettes and contraband ("When You're Good to Mama")to await trial. Roxie meets Velma, and learns the backstories of the other women in Murderess' Row ("Cell Block Tango"). Roxie decides that she wants to engage Velma's lawyer, the highly intelligent subcriminal psychopath Billy Flynn (Richard Gere) ("All I Care About"), and convinces her husband to talk to him. Flynn and Roxie manipulate the press at a press conference, reinventing Roxie's identity to make Chicago fall in love with her ("We Both Reached for the Gun"). Roxie becomes the new infamous celebrity of the Cook County Jail ("Roxie"), much to Velma's disgust and Mama's delight. Velma, desperate to get back into the limelight, tries to talk Roxie into opening a vaudeville act with her once they get out of jail ("I Can't Do It Alone"). Seeking revenge for an earlier mocking, Roxie haughtily refuses, and Roxie and Velma become locked in a rivalry to outshine each other. After an heiress (Lucy Liu) is arrested for a triple homicide (she killed her husband and the two women in bed with him), Roxie finds herself ignored by the paparazzi and neglected by Flynn. After being told by Velma that her name isn't in the paper, Roxie manages to steal back the limelight by claiming to be pregnant, which is confirmed by a doctor, whom it is implied she seduced. As paparazzi chase Roxie, Amos remains ignored ("Mister Cellophane"). Roxie witnesses the execution by hanging of another inmate (who was falsely accused) after losing her last appeal, which fuels Roxie's desire to be free. Roxie and Billy design their scheme to prove her innocence, by using her star power and sympathy vote. Her trial becomes a media spectacle ("Razzle Dazzle"), fed on the sensationalist reports of newspaper reporter and radio personality, Mary Sunshine (Christine Baranski). The trial goes Roxie's way until Velma shows up with Roxie's diary. In exchange for amnesty, Velma reads incriminating entries from the diary that could convict Roxie; however, Billy manages to get her off the hook. Roxie's publicity is short-lived: as soon as the trial concludes, the public's attention turns to a new murderess. Roxie leaves the courthouse after Billy tells her that it is Chicago and she can't beat fresh blood off the walls. Roxie reveals to Amos she faked her pregnancy for the fame. It is implied, but never stated, that Amos leaves her at this point. With nothing left, Roxie once more sets off to find a stage career, with little success ("Nowadays"). However, she is soon approached by Velma, also down on her luck, who is willing to revive a two-person act with Roxie. Roxie refuses at first, still not over the hate they shared for each other while in prison, but relents when Velma points out that "there's only one business in the world where that's not a problem at all: show business." The two murderesses, no longer facing jail time, finally become the enormous successes they have been longing to be ("Nowadays/Hot Honey Rag"). The film concludes with Roxie and Velma receiving a standing ovation from an enthusiastic audience that includes Mama and Billy.
2002 Chicago
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Cast
Rene Zellweger as Roxanne "Roxie" Hart, a housewife who aspires to be a vaudevillian. Catherine Zeta-Jones as Velma Kelly, a showgirl who is arrested for the murders of her husband and her sister. Richard Gere as Billy Flynn, a treacherous, smooth-talking lawyer who turns his clients into celebrities to gain public support for them. Queen Latifah as Matron "Mama" Morton, the corrupt matron of the Cook County Jail. John C. Reilly as Amos Hart, Roxie's nave, simple-minded, but devoted husband. Christine Baranski as Mary Sunshine, an overtrusting reporter who only highlights the good in people (a role originally intended to be played by a man in drag). Taye Diggs as The Bandleader, a shadowy, mystical master of ceremonies who introduces each song. Lucy Liu as Kitty Baxter, a millionaire heiress who briefly outshines Velma and Roxie when she kills her husband and his two mistresses. Dominic West as Frederick "Fred" Casely, Roxie's deceitful lover and murder victim. Colm Feore as Harrison, the prosecutor in both Roxie and Velma's court cases. Jayne Eastwood as Mrs. Borusewicz, the Harts neighbor from across the hall. Chita Rivera as Nicky. Susan Misner, Denise Faye, Deidre Goodwin, Ekaterina Chtchelkanova, and Ma Harrison as The Merry Murderesses (Liz, Annie, June, Katalin (Hunyak), and Mona). June is African-American while Hanyuk is Hungarian. Ken Ard as Wilbur, one of the murdered husbands.
Musical numbers
1. "Overture/All That Jazz" Velma, Company 2. "Funny Honey" Roxie 3. "When You're Good to Mama" Mama 4. "Cell Block Tango" Velma, Cell Block Girls 5. "All I Care About" Billy, Chorus Girls 6. "We Both Reached for the Gun" Billy, Roxie, Mary, Reporters 7. "Roxie" Roxie, Chorus Boys 8. "I Can't Do It Alone" Velma 9. "Mister Cellophane" Amos 10. "Razzle Dazzle" Billy, Company 11. "Class" Velma and Mama (This song, performed by Queen Latifah and Catherine Zeta-Jones, was filmed, but it was cut from the film. The scene was later included on the DVD release and the film's broadcast television premiere on NBC in 2005, and the song was included on the soundtrack album.) 12. "Nowadays" Roxie 13. "Nowadays/Hot Honey Rag" Roxie, Velma 14. "I Move On" Roxie and Velma (over the end credits) 15. "All That Jazz (reprise)" Velma, Company 16. "Exit Music" Instrumental
2002 Chicago
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History
The film is based on the 1975 Kander and Ebb Broadway musical of the same name, which in turn was based on the Maurine Watkins play, Chicago. That original play was based on the stories of two real-life Jazz-era killers, Beulah Annan and Belva Gaertner. The original 1975 Broadway production was not well received by audiences, primarily due to the show's cynical tone. However, the minimalist 1996 revival was much more successful, still running on Dresses worn by Roxie, Velma and Mama Broadway in 2012, and the influences of both productions can be seen Morton in the film version. The original production's musical numbers were staged as vaudeville acts; the film respects this but presents them in a cutaway form, while scenes that take place in "real life" have a hard-edged realism. A film version of Chicago was to have been the next project for legendary stage and film choreographer and director Bob Fosse, who directed and choreographed the original 1975 Broadway production. Though he died before this film was made, his distinctive jazz choreography style is evident throughout. In particular, the parallels to Cabaret (1972) are numerous and distinct. He is thanked in the film's credits. Chicago was produced by American companies Miramax Films and The Producers Circle in association with the German company Kallis Productions. Chicago was filmed in Toronto, Ontario, Canada. The courthouse scene was shot in Osgoode Hall. Other scenes were filmed at Queen's Park, former Gooderham and Worts Distillery, Casa Loma, the Elgin Theatre, Union Station, the Canada Life Building, the Danforth Music Hall, and at the Old City Hall. All vocal coaching for the film was led by Toronto-based Elaine Overholt, whom Richard Gere thanked personally during his Golden Globe acceptance speech.
Critical response
Chicago was received with positive reviews. On the review aggregate website Rotten Tomatoes, the film holds an 88% approval rating;[3] On Metacritic, the film averaged a critical score of 82 (indicating "universal acclaim").[4] Tim Robey, writer for The Daily Telegraph in the United Kingdom, labeled Chicago as "The best screen musical for 30 years." He also stated that it has taken a "three-step tango for us to welcome back the movie musical as a form." Robey said "This particular Chicago makes the most prolific use it possibly can out of one specific advantage the cinema has over the stage when it comes to song and dance: it's a sustained celebration of parallel montage." [5] Roger Ebert called it "Big, brassy fun".[6] However, other reviews claimed that there were issues with the film being too streamlined, and minor complaints were made toward Marshall's directing influences. AMC Filmcritic Sean O'Connell explains in his review of the film that "All That Jazz", "Funny Honey", and "Cell Block Tango" play out much like you'd expect them to on stage, with little enhancement (or subsequent interference) from the camera. But by the time "Razzle Dazzle" comes around, all of these concerns are diminished.[7]
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Box office
The film grossed $170,687,518 in the United States and Canada, as well $136,089,214 in other territories.[8] Combined, the film grossed $306,403,013 worldwide, which was, at the time, the highest gross of any film never to reach #1 or #2 in the weekly box office charts in the North American markets (Canada and United Stateswhere it peaked at #3). This record has since been outdone by Alvin and the Chipmunks: The Squeakquel.[9]
Home media
Chicago was released on DVD in Region 1 (USA, Canada, and US territories) on August 19, 2003. It was released in Full Screen and Widescreen. In addition to this release, a two-disc "Razzle Dazzle" Edition was released over two years later on December 20, 2005, and later, on Blu-ray format, in January 2007 and, in an updated release, in May 2011. Miramax was the label responsible for the production of the DVDs and the discs themselves provide a feature-length audio commentary track with director Rob Marshall and screenwriter Bill Condon. There is also a deleted musical number called "Class", performed by Catherine Zeta-Jones and Queen Latifah.

Category Nominee [10][11] Academy Awards Best Picture Best Actress Best Supporting Actor Best Supporting Actress Martin Richards Rene Zellweger John C. Reilly Catherine Zeta-Jones Queen Latifah Best Director Best Adapted Screenplay Best Cinematography Best Art Direction Best Costume Design Best Film Editing Best Sound Mixing Best Original Song Rob Marshall Bill Condon Dion Beebe John Myhre Colleen Atwood Martin Walsh Michael Minkler, Dominick Tavella and David Lee John Kander (for "I Move On") [12] BAFTA Awards Best Film Best Actress Best Supporting Actress Rene Zellweger Catherine Zeta-Jones Queen Latifah David Lean Award for Direction Best Cinematography Best Production Design Best Costume Design Best Make Up and Hair Rob Marshall Dion Beebe John Myhre Colleen Atwood Judi Cooper-Sealy Nominated Nominated Won Nominated Nominated Nominated Nominated Nominated Nominated Won Nominated Nominated Won Nominated Nominated Nominated Nominated Won Won Won Won Nominated Result
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Best Editing Best Sound Anthony Asquith Award for Film Music Martin Walsh Michael Minkler, David Lee and Dominick Tavella Danny Elfman [13] Golden Globes Best Motion Picture Musical or Comedy Best Actor Musical or Comedy Best Actress Musical or Comedy Richard Gere Rene Zellweger Catherine Zeta-Jones Best Supporting Actor Best Supporting Actress Best Director Best Screenplay John C. Reilly Queen Latifah Rob Marshall Bill Condon [14] Broadcast Film Critics Association Awards Best Picture Best Supporting Actress Best Acting Ensemble Chicago Film Critics Association Award Best Actress Rene Zellweger Dallas-Fort Worth Film Critics Association Award Best Picture Directors Guild of America Awards Outstanding Directing Rob Marshall Evening Standard British Film Awards Best Actress Catherine Zeta-Jones Florida Film Critics Circle Best Song "Cell Block Tango" National Board of Review of Motion Pictures Best Directorial Debut Rob Marshall Online Film Critics Society Awards Best Supporting Actress Best Ensemble Best Breakthrough Filmmaker Best Costume Design Best Editing Rob Marshall Colleen Atwood Martin Walsh Phoenix Film Critics Society Best Picture Best Actress Best Supporting Actress Best Acting Ensemble Rene Zellweger Catherine Zeta-Jones Nominated Nominated Won Nominated Catherine Zeta-Jones [15] Nominated Nominated Nominated Nominated Nominated Won Won Won Won Won Nominated Catherine Zeta-Jones Won Won Won Won Won Won Nominated Nominated Nominated Nominated Nominated Nominated Won Nominated
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Best Director Best Cinematography Best Costume Design Best Film Editing Best Newcomer Rob Marshall Dion Beebe Colleen Atwood Martin Walsh Rob Marshall Producers Guild of America Award Best Picture Martin Richards [16] Screen Actors Guild Awards Best Actress Best Actor Best Supporting Actress Rene Zellweger Richard Gere Catherine Zeta-Jones Queen Latifah Best Acting Ensemble Writers Guild of America Award Best Adapted Screenplay Bill Condon Nominated Won Nominated Won Nominated Won Won Nominated Nominated Won Won Nominated
References
[1] [2] [3] [4] [5] Chicago (http:/ / www. boxofficemojo. com/ movies/ ?id=chicago. htm) at Box Office Mojo New York Times (http:/ / movies. nytimes. com/ movie/ review?res=9B0DE0DC113CF934A15751C1A9649C8B63) "Chicago Movie Reviews, Pictures" (http:/ / www. rottentomatoes. com/ m/ chicago/ ). Rotten Tomatoes. . Retrieved June 5, 2009. "Chicago reviews" (http:/ / www. metacritic. com/ video/ titles/ chicago). Metacritic. . Retrieved August 13, 2009. Robey, Tim (Decembery 27, 2002). "This Jailhouse Rocks" (http:/ / www. telegraph. co. uk/ culture/ 4729504/ This-jailhouse-rocks. html). The Telegraph (London). . Retrieved November 17, 2009. [6] "Chicago (2002) - Cream of the Crops" (http:/ / www. rottentomatoes. com/ m/ chicago/ ?critic=creamcrop). Rotten Tomatoes. . Retrieved June 5, 2009. [7] O'Connell, Sean (January 21, 2003). "Chicago" (http:/ / www. filmcritic. com/ misc/ emporium. nsf/ reviews/ Chicago). Filmcritic.com. . Retrieved November 18, 2009. [8] "Chicago (2002)" (http:/ / www. boxofficemojo. com/ movies/ ?id=chicago. htm). Box Office Mojo. Internet Movie Database. . Retrieved February 3, 2012. [9] "Top Grossing Movies That Never Hit #1 at the Box Office" (http:/ / www. boxofficemojo. com/ alltime/ domestic/ never1. htm). Box Office Mojo. . Retrieved July 18, 2010. [10] "The 75th Academy Awards (2003) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 75th-winners. html). oscars.org. . Retrieved 2011-11-20. [11] "The 2003 Oscar Winners" (http:/ / www. ropeofsilicon. com/ award_show/ oscars/ 2003). Ropeofsilicon.com. . Retrieved August 10, 2009. [12] "Awards Database - The BAFTA site" (http:/ / www. bafta. org/ awards-database. html?year=2002& category=Film& award=false). Bafta.org. . Retrieved August 10, 2009. [13] "The 2003 Golden Globe Award Winners" (http:/ / www. ropeofsilicon. com/ award_show/ golden_globe_awards/ 2003). Ropeofsilicon.com. . Retrieved August 10, 2009. [14] "The BFCA Critics' Choice Awards :: 2002" (http:/ / www. bfca. org/ ccawards/ 2002. php). Bfca.org. . Retrieved August 10, 2009. [15] "O.F.C.S.: The Online Film Critics Society" (http:/ / ofcs. rottentomatoes. com/ pages/ awards/ 2002nominees). Rotten Tomatoes. January 6, 2003. . Retrieved August 10, 2009. [16] "The 2003 Screen Actors Guild Award Winners" (http:/ / www. ropeofsilicon. com/ award_show/ screen_actors_guild_awards/ 2003). Ropeofsilicon.com. . Retrieved August 10, 2009.
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External links
Chicago (http://www.imdb.com/title/tt0299658/) at the Internet Movie Database Chicago (http://tcmdb.com/title/title.jsp?stid=439832) at the TCM Movie Database Chicago (http://www.boxofficemojo.com/movies/?id=chicago.htm) at Box Office Mojo Chicago (http://www.rottentomatoes.com/m/chicago/) at Rotten Tomatoes
2003 The Lord of the Rings: The Return of the King
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The Lord of the Rings The Return of the King
Promotional poster
Directed by Produced by Peter Jackson

Peter Jackson Barrie M. Osborne Fran Walsh Fran Walsh Philippa Boyens Peter Jackson
Screenplay by
Based on Starring
The Return of the Kingby J. R. R. Tolkien

Elijah Wood Ian McKellen Sean Astin Andy Serkis Viggo Mortensen Dominic Monaghan Billy Boyd John Rhys-Davies Orlando Bloom Liv Tyler
Music by
Howard Shore
Cinematography Andrew Lesnie Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office

Jamie Selkirk WingNut Films The Saul Zaentz Company
New Line Cinema

1 December 2003 (Wellington premiere) 18 December 2003 (New Zealand)

[1]
200 minutes
New Zealand English $94 million

[1] [1]
$1,119,929,521
The Lord of the Rings: The Return of the King is a 2003 epic[2][3] fantasy-drama film directed by Peter Jackson that is based on the second and third volumes of J. R. R. Tolkien's The Lord of the Rings. It is the concluding film in The Lord of the Rings film trilogy, following The Fellowship of the Ring (2001) and The Two Towers (2002). As Sauron launches the final stages of his conquest of Middle-earth, Gandalf the Wizard, and Thoden King of Rohan rally their forces to help defend Gondor's capital Minas Tirith from the looming threat. Aragorn finally claims the throne of Gondor and summons an army of ghosts to help him defeat Sauron. Ultimately, even with full strength
2003 The Lord of the Rings: The Return of the King of arms, they realise they cannot win; so it comes down to the Hobbits, Frodo and Sam, to bear the burden of the Ring and deal with the treachery of Gollum. After a long journey they finally arrive in the dangerous lands of Mordor, seeking to destroy the One Ring in the place it was created, the volcanic fires of Mount Doom. Released on 17 December 2003, The Lord of the Rings: The Return of the King received rave reviews[4] and became one of the greatest critical and box-office successes of all time, being only the second film to gross $1 billion worldwide, becoming the highest grossing film from New Line Cinema, as well as the biggest financial success for Time Warner in general, until Harry Potter and the Deathly Hallows Part 2 surpassed The Return of the King's final gross in 2011. Notably, it won all eleven Academy Awards for which it was nominated, an Oscar record, and tied for largest number of awards won with Ben-Hur and Titanic. It also won the Academy Award for Best Picture, the first and only time a fantasy film has done so; it was also the second sequel to win a Best Picture Oscar (following The Godfather Part II) and the only time a sequel has won without a predecessor winning the award. It was the highest-grossing film of 2003.
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Plot
Gandalf, Aragorn, Legolas, Gimli, Thoden, Gamling and omer meet up with Merry, Pippin and Treebeard at Isengard. The group returns to Edoras, where Pippin looks into Saruman's recovered palantr, in which Sauron appears and invades his mind; Pippin tells him nothing regarding Frodo and the Ring. From this event, Gandalf deduces that Sauron is planning to attack Minas Tirith. Gandalf rides with Pippin to find Denethor, the Steward of Gondor, to whom Pippin swears his service. Gandalf urges Denethor to call Rohan for aid, but Denethor declines, fearing Aragorn and Gandalf plan to depose him. The Morgul army, led by the Nazgl, drives the Gondorians out of Osgiliath. Denethor sends his son Faramir on a suicide mission to reclaim the city. Pippin lights a beacon, signaling Thoden and Aragorn to assemble the Rohirrim for battle. Elrond informs Aragorn that Arwen did not go to the Undying Lands, and is now dying. Believing their forces to be outnumbered by Sauron's, Elrond gives Aragorn the sword Andril to acquire the service of the Army of the Dead, who owe allegiance to the heir of Isildur. owyn confesses her love for Aragorn and asks him not to go, but Aragorn reaffirms his love for Arwen and heads into battle. Accompanied by Legolas and Gimli, Aragorn ventures into the Paths of the Dead and gains the loyalty of the King of the Dead and his men by brandishing Andril, proving himself the Heir of Isildur. At Dunharrow, Thoden rides off to war, unaware that owyn and Merry have secretly joined his forces. Sauron's armies lay siege to Minas Tirith, led by the Witch-king. Believing a grievously wounded Faramir to be dead, Denethor tries to burn his son and himself alive, but Gandalf intervenes; he saves Faramir, but Denethor commits suicide. Just as the Gondorians are about to be overrun, the Rohirrim army arrives and counter-attacks in a massive cavalry charge led by Thoden. This shifts the tide of the battle, and the Orcs begin to retreat. However, the Haradrim arrive and join the Orc army, turning the tide. The Witch-king kills Thoden, only to be killed himself by owyn with help from Merry. On the verge of defeat, the Rohirrim are saved when Aragorn, Legolas, and Gimli arrive with the Army of the Dead and decimate Sauron's forces, ending the battle. Aragorn frees the Army of the Dead and their souls go to the afterlife. Meanwhile, Frodo, Sam and Gollum travel to Minas Morgul. Sam overhears Gollum's plans to murder them and take the Ring for himself. Gollum persuades Frodo that Sam wants the Ring for himself, and Frodo angrily tells Sam to go home. A heartbroken Sam leaves, but discovers Gollum's treachery and follows after them. Gollum betrays Frodo, leaving him in the lair of the giant spider Shelob, who paralyzes Frodo before being wounded and driven away by Sam. An Orc patrol captures Frodo and takes him to Sauron's fortress. Sam rescues Frodo from the tower, and they continue the journey to Mount Doom. Aragorn leads his remaining men to the Black Gate of Mordor, distracting Sauron and his forces and allowing Sam and Frodo to enter Mount Doom. Sam carries the weakened Frodo up the volcano, but Gollum attacks them. At the Crack of Doom, Frodo succumbs to the Ring's power, refusing to destroy it. Gollum attacks Frodo and bites his
2003 The Lord of the Rings: The Return of the King finger off, seizing the Ring for himself. An enraged Frodo attacks Gollum, and they both fall over the edge. At the last second, Frodo grabs onto the ledge, leaving Gollum to fall into the lava, taking the Ring with him. As the Ring melts in the volcano, Sauron is destroyed and the land of Mordor collapses, consuming most of his forces. Frodo and Sam are saved from the rising lava by Eagles, led by Gandalf. In the aftermath, Aragorn is crowned King, heralding a new age of peace, and is reunited with Arwen and the four hobbits are bowed by all of Gondor for their courageous efforts. The four Hobbits return home to the Shire, where Sam marries his childhood sweetheart, Rosie Cotton. A few years later, Frodo leaves Middle-earth for the Undying Lands with Gandalf, Bilbo, Elrond, Celeborn and Galadriel, leaving his account of their quest to Sam.
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Cast
Like the preceding films in the trilogy, The Return of the King has an ensemble cast,[5] and some of the cast and their respective characters include: Elijah Wood as Frodo Baggins: The Hobbit who continues his quest to destroy the Ring, which continues to torture him. Ian McKellen as Gandalf the White: The Wizard who travels to aid the Men of Gondor, acting as a general at the Siege of Gondor Sean Astin as Samwise Gamgee: Better known as Sam, he is Frodo's loyal Hobbit companion. Viggo Mortensen as Aragorn: Aragorn must finally face his destiny as King of Gondor. Dominic Monaghan as Meriadoc Brandybuck: Better known as Merry, the Hobbit who becomes an esquire of Rohan. Billy Boyd as Peregrin Took: Better known as Pippin, a Hobbit who looks into the palantr and later becomes an esquire of Gondor. Orlando Bloom as Legolas: An Elven prince and skilled archer who aids Aragorn in his quest to reclaim the throne. John Rhys-Davies as Gimli: The warrior Dwarf who continues his friendly rivalry over Orc kills with Legolas; a companion to Aragorn along with Legolas. Rhys-Davies also voices Treebeard the Ent leader. Andy Serkis voices and provides motion capture for Smagol/Gollum: The treacherous creature, once one of the River-folk (a race akin to Hobbits), who guides Frodo and Sam into Mordor. The first scene in the film portrays him in his former life as Smagol, his murder of his relative Deagol for possession of the Ring, as well as his degeneration into Gollum. He is the secondary antagonist of the film. Liv Tyler as Arwen, daughter of Elrond, Aragorn's lover. She gives up her immortal life for Aragorn. Bernard Hill as Thoden: King of Rohan. After triumphing at Helm's Deep, he is preparing his troops for the Battle of the Pelennor Fields. He is the uncle of omer and owyn. Miranda Otto as owyn: Thoden's niece, who wishes to prove herself in battle. She also starts to fall in love with Aragorn, who does not return her love. In the extended and regular version, she finds love with Faramir when they are both residing in the Houses of Healing. Karl Urban as omer: owyn's brother, and Chief Marshal of the Riders of Rohan. Nephew to King Thoden. David Wenham as Faramir: The head of the Gondorian Rangers defending Osgiliath. Second-born son to Denethor, he seeks his father's love in vain. John Noble as Denethor: Steward of Gondor and father to Faramir, as well as the slain Boromir. Due to grief over Boromir's death, and despair over Mordor's superior numbers, he falls into madness during the Siege of Gondor. Hugo Weaving as Elrond: The Elven lord of Rivendell who must convince Aragorn to take up the throne. Ian Holm as Bilbo Baggins: Frodo's elderly uncle, who has rapidly aged after giving away the Ring. Cate Blanchett as Galadriel: Elven lady of Lrien. She is aware the time of the Elves is at an end. Marton Csokas as Lord Celeborn: Elven lord of Lrien. Bruce Hopkins as Gamling: Right-hand man of Thoden and a skilled member of the Royal Guard of Rohan.
2003 The Lord of the Rings: The Return of the King Paul Norell as The King of the Dead: The cursed leader of the Dead Men at Dunharrow, from whom Aragorn must seek help. Lawrence Makoare plays the Witch-king of Angmar, the Lord of the Nazgl, he leads Mordor's assault on Minas Tirith. He also plays Gothmog, an Orc commander who is the tertiary antagonist, tvoiced by Craig Parker.[6] Sarah McLeod as Rosie Cotton: The girl of Sam's dreams. When Sam returns to The Shire, she marries him and has a family. Thomas Robins as Dagol, Smagol's cousin. Sean Bean as Boromir: Faramir's brother, in a flashback to his death at the end of The Lord of the Rings: The Fellowship of the Ring and in the extended cut when Denethor has a hallucination. The following appear only in the Extended Edition Christopher Lee as Saruman the White: A wizard, former Head of the White Council, now trapped by Treebeard. He is seen being killed by his servant, Grma. Brad Dourif as Grma Wormtongue: Saruman's sycophantic, treacherous servant. He is shot by Legolas after stabbing Saruman. Bruce Spence as The Mouth of Sauron: Sauron's ambassador at the Black Gate. There are also cameos from Peter Jackson, Richard Taylor, Gino Acevedo, Rick Porras and Andrew Lesnie on the Corsair ship, although all of them but Jackson appear only in the Extended Edition. Jackson also has another unofficial cameo, as Sam's hand stepping into view when he confronts Shelob.[7] Sean Astin's daughter played Sam & Rosie's older daughter Elanor in the last scene of the film; in the same scene, Sarah McLeod's daughter plays their younger daughter. Jackson's children also cameo as Gondorian extras, while Christian Rivers played a Gondorian soldier guarding the Beacon Pippin lights, and is later seen wounded. Royd Tolkien cameos as a Ranger in Osgiliath,[8] while in the Extended Edition Howard Shore appears as a celebrating soldier at Edoras. Additionally, four of the designers of The Lord of the Rings Strategy Battle Game are featured as Rohirrim at the Pelennor.[9] At the end of the film, during the closing credits, each cast member gets a sketched portrait morphed with the real photograph beside their name, which were sketched by Alan Lee, an idea suggested by Ian McKellen.[10]
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Comparison with the source material

The film contains major scenes that occurred in the middle portion of the novel, The Two Towers, but were not included in the film The Lord of the Rings: The Two Towers, such as Shelob and the palantr subplot, due to Jackson realigning the timeline as described in the book's Appendices, but not in the main prose.[11] Saruman's murder by Grma (seen only in the Extended Edition) is moved into the Isengard visit due to the cutting of the Scouring of the Shire. In the film, Saruman drops the palantr, whereas in the book Grma throws it at the Fellowship, unaware of its value. While the parting of Gandalf from Thoden's company in "The Two Towers" occurs hastily at Dol Baran with the appearance of a Nazgl on a winged steed, here he leaves from Edoras after the entire company arrives there to recuperate after the Battle of Helm's Deep. The muster of Gondor is absent from the film, and the major captains and generals, including Imrahil and the Knights of Dol Amroth, are not present. Denethor, the Steward of Gondor, was a more tragic character in the book. The film only focuses on his overwhelming grief over the death of Boromir as to ignore Sauron's threat (in the book he already lights the beacons), and is driven over the edge by Faramir's injury. The film only hints at his use of the palantr which drives him mad, information revealed in the Pyre scene, which is more violent than the book. Jackson also has Denethor jump off the Citadel in addition to burning himself on the Pyre, one of the earliest changes.[12] The Battle of the Pelennor Fields is altered: Faramir never goes on a suicide mission, and the conflict is a simplification of the siege of Osgiliath. With generals such as Forlong and Imrahil absent, Gandalf commands the defense of Minas Tirith due to Denethor's despair. While Denethor gives command to Gandalf in the book, in this film Gandalf forcibly takes control as Denethor tells the men to flee rather than fight. The Orcs also never get into
2003 The Lord of the Rings: The Return of the King the city in the book. The Witch-king enters and stands off against Gandalf before the Rohirrim arrive, but in the film Orcs invade the city after Grond breaks the Gate. The confrontation takes place while Gandalf journeys to save Faramir in the Extended Edition, during which Gandalf has his staff broken in the film (but not in the book). A subplot in which the Rohirrim are aided by the primitive Dredain into entering the besieged Gondor is also excised. The Red Arrow brought by a messenger from Gondor to ask for aid is absent. owyn's presence on the battlefield is unknown to the reader until she takes off her helmet, but in the film the audience is aware, as it would have been difficult to have Miranda Otto playing a man.[13] When hope seems lost, Gandalf comforts Pippin with a description of the Undying Lands, which is a descriptive passage in the book's final chapter.[11] The film depicts the Army of the Dead fighting in the Battle, whereas in the book they are released from service prior to this, after helping Aragorn defeat the Corsairs of Umbar at the port city of Pelargir in Lebennin; Aragorn's reinforcements are merely more Gondorians, and the Dnedain, Aragorn's people (the rangers of the North). An unstoppable and invulnerable force, the Dead wipe out Sauron's forces. The film also cuts out several supporting characters, such as: Halbarad, a friend of Aragorn's, who helps lead the Dnedain, Beregond, a member of the Citadel Guard of Gondor, whom Pippin befriends, and Elladan and Elrohir, the twin sons of Elrond who deliver Aragorn's banner and accompany him to the Pelennor Fields. Elladan and Elrohir are replaced by Elrond in the film, instead delivering Andril, and then returning to Rivendell. The film also altered the circumstances of Thoden's death; his death speech, in which he names omer the new king in the book, is trimmed and delivered to owyn instead, with an earlier scene in the Extended Edition even implying that she is next in line for the throne. Thoden's rallying cries before the initial charge are in fact spoken by omer in the book upon his realisation that owyn is also apparently dead. In the film Aragorn leads the entire remaining force of Rohan and Gondor's men to the Black Gate without incident. In the book tactics are discussed, forces divide and fight smaller skirmishes in Anrien and Ithilien before the army (only a fraction of the full remaining strength of the nations of men) reach the Morannon. The romance that develops between owyn and Faramir during their recoveries in the Houses of Healing is also largely cut, presumably to keep the focus on Aragorn and Arwen; the subplot is only briefly referenced in the Extended Edition with a scene where the two hold hands. Sam and Frodo's major rift in their friendship, due to Gollum's machinations, never takes place in the book, but was added by the writers in believing that it added drama and more complexity to the character of Frodo. Frodo enters Shelob's lair alone in the film, whereas in the book he and Sam entered together. This was done to make the scene more horrific with Frodo being alone, and Sam's rescue at the last minute more dramatic. Also, in the film we do not know that Sam has the Ring until he gives it back to Frodo, whereas in the book the reader knows that Sam has the Ring. Gollum's fall into the lava of Mount Doom was also rewritten for the film, as the writers felt Tolkien's original idea (Gollum simply slips and falls off) was anti-climactic. Originally, an even greater deviation was planned: Frodo would heroically push Gollum over the ledge to destroy him and the Ring, but the production team eventually realised that it looked more like Frodo murdering Gollum. As a result, they had Frodo and Gollum struggle for possession of the Ring and both slip over the edge by accident.[11] Also absent from the film are the other major attacks by Sauron on various regions of Middle-earth, referenced only briefly in the main text of The Return of the King, and expanded upon in the Appendices; the invasion of Rohan by the orcs of Moria, the attacks on Lothlrien and the Woodland Realm of Thranduil by the forces of Dol Guldur, and the attack on Dale and the Lonely Mountain by a force of Easterlings. There are several changes in the Battle of the Black Gate: Merry is not present there in the book, Pippin does not kill a troll as he does in the novel, the eagles fight and defeat some of the mounted Nazgl (while Frodo putting on the One Ring distracted the Nazgl, who raced away to Mount Doom in the book before a confrontation could occur), and Aragorn kills the Mouth of Sauron in the extended edition of the film but not in the book. There was an even larger change planned: Sauron himself would come out in physical form to battle Aragorn, who would only be saved by the destruction of the Ring. Jackson eventually realised it ignored the point of Aragorn's true bravery in distracting Sauron's army against overwhelming odds, and a computer generated Troll was placed over footage of
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2003 The Lord of the Rings: The Return of the King Sauron in the finished film. The ending is streamlined so as not to include the Scouring of the Shire, which was always seen by the screenwriters as anti-climactic.[11] It is referenced, though, in Frodo's vision of the future in Galadriel's mirror in The Fellowship of the Ring.
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Production
The Lord of the Rings film trilogy is unusual in that it is, to date, the only one whose separate installments were written and shot simultaneously (excluding pick up shoots). Jackson found The Return of the King the easiest of the films to make, because it contained the climax of the story, unlike the other two films.[14] The Return of the King was originally the second of two planned films under Miramax from January 1997 to August 1998,[15] and more or less in its finished structure as the first film was to end with The Two Towers' Battle of Helm's Deep.[16] Filming took place under multiple units across New Zealand, between 11 October 1999 and 22 December 2000, with pick up shoots for six weeks in 2003 before the film's release.
Design
Middle-earth as envisioned by Jackson was primarily designed by Alan Lee and John Howe, former Tolkien illustrators, and created by Weta Workshop, who handled all the trilogy's weapons, armour, miniatures, prosthetics and creatures, as well as the Art Department which built the sets. Richard Taylor headed Weta, while Grant Major and Dan Hennah organised the planning and building respectively. The city of Minas Tirith, glimpsed briefly in both the previous two films is seen fully in this film, and with it the Gondorian civilization. The enormous soundstage was built at Dry Creek Quarry, outside Wellington, from the Helm's Deep set. That set's gate became Minas Tirith's second, while the Hornburg exterior became that of the Extended Edition's scene where Gandalf confronts the Witch-king. New structures included the 8m tall Gate, with broken and unbroken versions, with a working opening and closing mechanism, with its engravings inspired by the Baptistry of San Giovanni. There were also four levels of streets with heraldic motifs for every house, as inspired by Siena.[17] There was also the Citadel, the exterior of which was in the Stone Street Studios backlot, using forced perspective. It contains the withered White Tree, built from polystyrene by Brian Massey and the Greens Department with real branches, influenced by ancient and gnarled Lebanese olive trees. The interior was within a 3 story former factory in Wellington, and colour wise is influenced by Charlemagne's Chapel, with a throne for Denethor carved from stone and polystyrene statues of past Kings. The Gondorian armour is designed to represent an evolution from the Nmenreans of the first film's prologue, with a simplified sea bird motif. 16th century Italian and German armour served as inspiration,[18] while civilians wear silver and blacks as designed by Ngila Dickson, continuing an ancient/medieval Mediterranean Basin look.[19] Minas Morgul, the Staircase and Tower of Cirith Ungol as well as Shelob's Lair were designed by Howe, with the Morgul road using forced perspective into a bluescreened miniature. Howe's design of Minas Morgul was inspired from the experience of having a wisdom tooth pulled out: in the same way, the Orcs have put their twisted designs on to a former Gondorian city.[20] Cirith Ungol was based on Tolkien's design, but when Richard Taylor felt it as "boring", it was redesigned with more tipping angles.[21] The interior set, like Minas Tirith, was built as a few multiple levels that numerous camera takes would suggest a larger structure.[17] The third film introduces the enormous spider Shelob. Shelob was designed in 1999,[21] with the body based on a tunnelweb spider and the head with numerous growths selected by Peter Jackson's children from one of many sculpts. Jackson himself took great joy in planning the sequence, being an arachnophobe himself.[18] Shelob's Lair was inspired by sandstone and sculpted from the existing Caverns of Isengard set.[17] The Return of the King also brings into focus the Dead Men of Dunharrow and the evil Haradrim from the south of Middle-earth, men who ride the mmakil. The Dead Men have a Celtic influence, as well as lines and symmetry to
2003 The Lord of the Rings: The Return of the King reflect their morbid state,[17] while their underground city is influenced by Petra.[20] The Haradrim were highly influenced by African culture, until Philippa Boyens expressed concern over the possibility of offensiveness, so the finished characters instead bear influence from Kiribati, in terms of weaving armour from bamboo, and the Aztecs, in use of jewellery. Also built was a single dead mmak.[18] Other minor cultures include the Corsairs, with an exotic, swarthy look, and the Grey Havens, Elven structures adapted to stone, with influence from J. M. W. Turner paintings.[21]
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Principal photography
The Return of the King was shot during 2000, though Sean Astin's coverage from Gollum's attempt to separate Frodo and Sam was filmed on 24 November 1999, when floods in Queenstown interrupted the focus on The Fellowship of the Ring.[7] Some of the earliest scenes shot for the film were in fact the last. Hobbiton, home of the Hobbits, was shot in January 2000 with early scenes from The Fellowship of the Ring, with the exterior shot at a Matamata farm, while interior scenes shot at Stone Street Studios in Wellington,[22] shared with the Grey Havens sequence. Due to the high emotions of filming the scene, the cast were in despair when they were required to shoot it three times, due to a continuity flaw in Sean Astin's costume, and then negatives producing out-of-focus reels.[7] Also shared with the previous films was the Rivendell interior in May. The Battle of the Black Gate was filmed in April[23] at the Rangipo Desert, a former minefield. New Zealand soldiers were hired as extras while guides were on the look out for unexploded mines. Also a cause for concern were Monaghan and Boyd's scale doubles during a charge sequence. In the meantime, Wood, Astin and Serkis filmed at Mount Ruapehu for the Mount Doom exteriors. In particular, they spent two hours shooting Sam lifting Frodo on to his back with cross-camera coverage.[7] Scenes shot in June were the Paths of the Dead across various locations, including Pinnacles.[23] In July the crew shot some Shelob scenes, and in August and September time was spent on the scenes in Isengard. Monaghan and Boyd tried numerous takes of their entrance, stressing the word "weed" as they smoked pipe-weed. Christopher Lee spent his part of his scene mostly alone, though McKellen and Hill arrived on the first day for a few lines to help.[7] Edoras exteriors were shot in October. The Ride of the Rohirrim, where Thoden leads the charge into the Orc army, was filmed in Twizel with 150 extras on horseback. The Battle of the Pelennor Fields has more extensive use of computer-generated imagery, in contrast to the more extensive use of live action in the Battle of Helm's Deep in the second film. Also filmed were the attempts by Faramir to recapture Osgiliath,[24] as were scenes in the city itself.[25] At this point production was very hectic, with Jackson moving around ten units per day, and production finally wrapped on the Minas Tirith sets, as well as second units shooting parts of the siege. Just as the Hobbit actors' first scene was hiding under a Ringwraith, their last scene was the bluescreened reaction shot of the inhabitants of Minas Tirith bowing to them.[7]
Pick-ups
The 2003 pick ups were filmed in the Wellington studio car park, with many parts of sets and bluescreens used to finish off scenes, which the design team had to work 24/7 to get the right sets ready for a particular day.[17] The shoot continued for two months, and became an emotional time of farewells for the cast and crew. The film has the most extensive list of reshoots given for the trilogy. Jackson took his time to reshoot Aragorn's coronation, rushed into a single day under second unit director Geoff Murphy on 21 December 2000. Jackson also reshot scenes in and around Mount Doom,[7] and Thoden's death, right after Bernard Hill was meant to wrap.[13] There was also the new character of Gothmog. This was a major new design addition for the film, as Jackson felt the Mordor Orcs were "pathetic" compared to the Uruk-hai of the second film after watching assembly cuts, and thus Weta created grotesque new "ber Orcs" as antagonists for the audience to focus on. Christian Rivers also redesigned the Witch-king and all of his scenes were reshot, due to confusion from non-readers over whether or not Sauron was on the battlefield.[18]
2003 The Lord of the Rings: The Return of the King With the positive response to Orlando Bloom, Legolas was given a fight with a mmak,[26] and Howard Shore also appeared in a cameo during Legolas and Gimli's drinking game at Edoras.[27] The final scenes shot were Aragorn escaping the Skull avalanche, and Frodo finishing his book. The cast also received various props associated with their characters, although in the case of John Rhys-Davies, he burned his final Gimli prosthetic. Viggo Mortensen headbutted the stunt team goodbye.[7] Pick-ups ended on 27 June 2003.[26] Scenes shot afterwards included various live-action shots of Riders for the Battle of the Pelennor Fields and a reaction shot of Andy Serkis as Gollum finally realises Frodo intends to destroy the Ring, shot in Jackson's house.[28] For the Extended DVD, Jackson shot in March 2004 a few shots of skulls rolling over for the avalanche scene; this was the final piece of footage ever shot for the trilogy, and Jackson noted that it must be the first time a director had shot scenes for a film after it had already won the Oscar.[29]
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Editing
Post-production on The Return of the King began in November 2002, with the completion of the 4 hour assembly cut of the film that Annie Collins had been completing over 2001 and 2002, from 4 hour dailies. For example, Thoden leading the charge went from 150 minutes of takes to a finished 90 seconds.[30] Jackson reunited with longtime collaborator Jamie Selkirk to edit the final film. Like The Two Towers, they would have to deal with multiple storylines, and Jackson paid attention to each storyline at a time before deciding where to intercut. Most importantly they spent three weeks working on the last 45 minutes of the film,[28] for appropriate intercutting and leaving out scenes such as the Mouth of Sauron, and the fates of characters like Legolas, Gimli, owyn and Faramir.[11] The film inherited scenes originally planned to go into the second film, including the reforging of Narsil, Gollum's backstory, and Saruman's exit. But the Saruman scene posed a structural problem: killing off the second film's villain when the plot has Sauron as the main villain.[28] Despite pick-ups and dubs, the scene was cut, causing controversy with fans and Saruman actor Christopher Lee, as well as a petition to restore the scene.[31] Lee nonetheless contributed to the DVDs and was at the Copenhagen premiere, although on the other hand he says he will never understand the reason for the cut and his relationship with Jackson is chilly.[32] They would, however, later reconcile upon Lee's casting in Jackson's Hobbit films. Jackson only had a lock on 5 out of 10 reels, and had to churn out 3 reels in 3 weeks to help finish the film. It was finally done on 12 November 2003.[33] Jackson never had a chance to view the film in full due to the hectic schedule, and only saw the film from beginning to end on 1 December at the Wellington premiere; according to Elijah Wood, his response was "yup, it's good, pretty good".[29]
Visual effects
The Return of the King contains 1,488 visual effect shots, nearly three times the number from the first film and almost twice that of the second. Visual effects work began with Alan Lee and Mark Lewis compositing various photographs of New Zealand landscape to create the digital arena of the Pelennor Fields in November 2002. Gary Horsfield also created a digital version of the Barad-dr during his Christmas break at home by himself, for the film's climax. In the meantime, Jackson and Christian Rivers used computers to plan the enormous battle up until February 2003, when the shots were shown to Weta Digital. To their astonishment, 60 planned shots had gone up to 250, and 50,000 characters were now 200,000.[34] Nevertheless they pressed on, soon delivering 100 shots a week, 20 a day, as the deadline neared within the last two months, often working until 2 a.m.[33] For the battle, they recorded 450 motions for the MASSIVE digital horses (though deaths were animated), and also had to deal with late additions in the film, such as Trolls bursting through Minas Tirith's gates as well as the creatures that pull Grond to the gate,[18] and redoing a shot of two mmakil omer takes down that had originally taken six months in two days. On a similar note of digital creatures, Shelob's head sculpture was scanned by a Canadian company for 10 times more detail than Weta had previously been able to capture.[34] Like the previous films, there are also extensive morphs between digital doubles for the actors. This time, there was Sam falling off Shelob, where the morph takes place as Astin hits the ground. Legolas attacking a mmak required
2003 The Lord of the Rings: The Return of the King numerous transitions to and fro, and Gollum's shots of him having recovered the One Ring and falling into the Crack of Doom were fully animated.[34] The King of the Dead is played by an actor in prosthetics, and his head occasionally morphs to a more skull-like digital version, depending on the character's mood. The Mouth of Sauron also had his mouth enlarged 200% for unsettling effect.[17] The Return of the King also has practical effects. In the Pyre of Denethor sequence, as the Steward of Gondor throws Pippin out of the Tomb, John Noble threw a size double named Fon onto a prostrate Billy Boyd, who immediately pushed his head into camera to complete the illusion. A few burning torches were also reflected off a plate of glass and into the camera for when Gandalf's horse Shadowfax kicks Denethor onto the pyre. Because of Jackson's requirement for complete representation of his fantasy world, numerous miniatures were built, such as 1:72 scale miniature of Minas Tirith, which rises 7m high and is 6.5m in diameter. 1:14 scale sections of the city were also required, and the Extended Edition scene of the collapsing City of the Dead has 80,000 small skulls, amounting in total to a single cubic meter.[20] The miniatures team concluded in November with the Black Gate, after 1000 days of shooting, and the final digital effects shot done was the Ring's destruction, on 25 November.[33]
647
Sound effects
The Sound department spent the early part of the year searching for the right sounds. A tasmanian devil was Shelob's shriek, which in turn gave inspiration for Weta's animators, while the mmakil is the beginning and end of a lion roar. Human screams and a donkey screech were mixed into Sauron's fall, and to avoid comparison with 9/11, broken glass was used for the collapsing sounds. For missile trading during Minas Tirith's siege, construction workers dropped actual 2 ton stone blocks previously lifted by a construction crane. Mixing began at a new studio on 15 August, although unfinished building work caused some annoyances.[35] The mixers finished on 15 November, after three months of non-stop work.[33]
Soundtrack
The music was composed by Howard Shore, who previously composed the first two parts of the trilogy. Shore watched the assembly cut of the film,[27] and had to write seven minutes of music per day to keep up with the schedule.[33] The score sees the full introduction of the Gondor theme, originally heard during Boromir's speeches at the Council of Elrond in The Fellowship of the Ring and at Osgiliath in The Two Towers Extended Edition. Actors Billy Boyd, Viggo Mortensen and Liv Tyler also contributed to the film's music. Boyd sings on screen as Faramir charges towards Osgiliath, Mortensen sings on screen as he is crowned King, and in the Extended Edition Tyler sings as Aragorn heals owyn. Rene Fleming, Ben Del Maestro and James Galway also contribute to the soundtrack. Fleming sings as Arwen has a vision of her son and when Gollum recovers the One Ring. Del Maestro sings when Gandalf lights his staff to save fleeing Gondorian soldiers from Osgiliath as the Nazgl attack. Galway plays the flute as Frodo and Sam climb Mount Doom. The end title song, "Into the West", was composed by Shore with lyrics by Fran Walsh. Annie Lennox (formerly of Eurythmics) performed it and also received songwriting credit. The song was partially inspired by the premature death from cancer of a young New Zealand filmmaker named Cameron Duncan who had befriended Peter Jackson.[27]
Release
After two years of attention and acclaim since the release of The Lord of the Rings: The Fellowship of the Ring, audience anticipation for the final installment of the trilogy had reached fever pitch when the film was complete. The world premiere was held in Wellington's Embassy Theatre, on 1 December 2003, and was attended by the director and many of the stars. It was estimated that over 100,000 people lined the streets, more than a quarter of the city's population.[36]
648
Critical reception
The film received mostly positive reviews; it has a 94% rating of positive reviews on Rotten Tomatoes. Richard Corliss of Time named it the best film of the year.[37] The main criticism of The Lord of the Rings: The Return of the King, was its running time, particularly the epilogue; even rave reviews for the film commented on its length. Joel Siegel of Good Morning America said in his review for the film (which he gave an 'A'): "If it didn't take forty-five minutes to end, it'd be my best picture of the year. As it is, it's just one of the great achievements in film history."[38] There was also criticism regarding the Army of the Dead's appearance, rapidly ending the Battle of the Pelennor Fields.[39] In February 2004, a few months after release, the film was voted as #8 on Empire's 100 Greatest Movies of All Time, compiled from readers' top 10 lists. This forced the magazine to abandon its policy of only allowing films being older than 12 months to be eligible.[40] In 2007, Total Film named The Return of the King the third best film of the past decade (Total Film's publication time), behind The Matrix and Fight Club.[41]
Box office
The film earned $377,845,905 in the USA and Canada and $742,083,616 in other countries for a worldwide total of $1,119,929,521. Worldwide, it is the sixth highest-grossing film,[42] the highest-grossing 2003 film[43] and the highest-grossing installment in The Lord of the Rings trilogy.[44] It was the second film in history to earn over $1 billion. In the USA and Canada, it is the seventeenth highest-grossing film,[45] the highest-grossing 2003 film,[46] the highest-grossing installment in The Lord of the Rings trilogy.[44] The film set an opening-Wednesday record with $34.5 million.[47] This record was first surpassed by Spider-Man 2 and ranks as the seventh largest Wednesday opening.[48] The film opened a day earlier for a midnight showing and it accounted for about $8million. This was nearly twice the first-day total of The Lord of the Rings: The Fellowship of the Ring (which earned $18.2 million on its opening day in 2001), and a significant increase over The Lord of the Rings: The Two Towers as well (which earned $26.1 million on its debut in 2002). Part of the grosses came from the Trilogy Tuesday event, in which the Extended Editions of the first two films were played on 16 December before the first midnight screening. It went on to make an opening weekend of $72.6 million ($124.1 million with weekday previews).[49] Its Friday-to-Sunday opening weekend was a record-high for December (first surpassed by I Am Legend).[50] The film also set single-day reocrds for Christmas Day and New Year's Day (both first surpassed by Meet the Fockers).[51][52] Outside the US and Canada, it is the seventh highest-grossing film,[53] the highest-grossing 2003 film[54] and the highest-grossing film of the trilogy.[44] On its first day (Wednesday, December 17, 2003), the film earned $23.5 million from 19 countries[47] and, during the 5-day weekend as a whole, it set an opening-weekend record outside the US and Canada with $125.9 million.[55] It set opening-day records in 13 of them, including the United Kingdom, Germany, Austria, Belgium, Holland, Spain, Greece, Switzerland, Scandinavia (as well as separately in Sweden, Finland, Norway and Denmark), Mexico, Chile and Puerto Rico.[47][55] It set opening-weekend records in the United Kingdom ($26.5 million in five days), Germany, Spain, Sweden, Denmark and Switzerland. In New Zealand, where filming took place, the film set opening-day, opening-weekend, single-day, Friday-gross, Saturday-gross and Sunday-gross records with $1.7 million in four days.[55] Compared to the first two films of the trilogy it performed better: each of the first two films grossed less than the third both in North America and overseas. The Lord of the Rings: Return of the King has helped The Lord of the Rings franchise to become the highest-grossing motion picture trilogy worldwide of all time with $2,911,746,256, beating other notable ones such as the Star Wars trilogies,[56] and surviving from being out-grossed by subsequent trilogies like Pirates of the Caribbean and Harry Potter, despite ticket price inflation. These figures do not include income from DVD sales, TV rights, etc. It has been estimated[57] that the gross income from non-box office sales and merchandise has been at least equal to the box office for all three films. If this is so, the total gross income for the trilogy would be in the region of $6billion following an investment of $300million
2003 The Lord of the Rings: The Return of the King ($426million including marketing costs).
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On 27 January 2004, the film was nominated for eleven Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, Best Original Score, Best Original Song, Best Visual Effects, Best Art Direction, Best Costume Design, Best Make-up, Best Sound Mixing and Best Film Editing. On 29 February, the film won all the categories for which it was nominated,[58] making it the most successful film in Academy Award history. The film also won four Golden Globes (including Best Picture for Drama and Best Director),[59][60][61] five BAFTAs, two MTV Movie Awards, two Grammy Awards, nine Saturn Awards, the New York Film Critics Circle award for Best Picture, the Nebula Award for Best Script, and the Hugo Award for Best Dramatic Presentation, Long Form. The film was nominated for the 10th Anniversary Edition of AFI's 100 Years...100 Movies.[62]
Home media
The theatrical edition of the film was released on DVD on 23 August 2004. The DVD was a 2-disc set with extras on the second disc. The theatrical DVD sets for the two previous films were released eight months after the films were released, but Return of the King's set was completed in five because it did not have to market a sequel (the previous films had to wait for footage of their sequels to become available for a ten minute preview). However, it contained a 7 minute trailer of the entire trilogy. The Return of the King followed the precedent set by its predecessors by releasing an Extended Edition (263 minutes) with new editing and added special effects and music, along with four commentaries and six hours of supplementary material, plus 10 minutes of fan-club credits. However, this set took longer to produce than the others because the cast and crew were spread all over the world working on other projects.[63] The set was finally released on 10 December 2004 in the UK and 14 December in the U.S. The final ten minutes comprises a listing of the charter members of the official fan club who had paid for three-year charter membership. New scenes such as: owyn's Dream, The Voice of Saruman, The Decline of Gondor, The Wizard's Pupil, Crossroads of the Fallen King, Merry's Simple Courage, The Witch-king's Hour, The Houses of Healing, The Mouth of Sauron, The Corsairs of Umbar & Sam's Warning, are added to progress the story and give it, as well as the characters depicted, more depth. Along with the new scenes, additional footage as been added to the battles in Osgiliath, Minas Tirith & Pelennor Fields. Likewise, more footage has been added to the Paths of the Dead, Edoras, as well as the time spent at Minas Tirith. A collectors' box set was also released, which included the Extended Set plus a sculpture of Minas Tirith and a bonus 50-minute music documentary DVD, Howard Shore: Creating The Lord of the Rings Symphony: A Composer's Journey Through Middle-earth. The DVD has a DTS-ES soundtrack. The DVD also features two humorous Easter Eggs, one where Dominic Monaghan plays a German interviewer with Elijah Wood over a phone, and another where Vince Vaughn and Ben Stiller attempt to convince Jackson to make a sequel, originally shown at the 2004 MTV Movie Awards. Both can be accessed via a Ring icon on the last page of both Disc 1 and 2's scene indexes. On 29 August 2006, a Limited Edition of The Return of the King was released. This Limited Edition contains two discs, the first is a two-sided DVD containing both the Theatrical and Extended editions of the film. The second disc is a bonus disc that contains a new behind-the-scenes documentary. The theatrical Blu-ray version of The Lord of the Rings was released in the United States on 6 April 2010.[64] The individual Blu-ray disc of The Return of the King was released on 14 September 2010 with the same special features as the complete trilogy release, except there was no digital copy.[65] The Extended Edition was released in the United States on 28 June 2011.[66]
650
References
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[6] "Craig Parker interview by SF-Radio" (http:/ / www. craig-parker. net/ articles/ sfradio. php). Craig Parker.net. . Retrieved 6 November 2006. [7] Cameras in Middle-earth: Filming the Return of the King (DVD). New Line Cinema. 2004. [8] Dowling, Stephen (17 December 2003). "Tolkien relative's kingly role" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ film/ 3324387. stm). BBC News online. . Retrieved 20 October 2006. [9] "Perry Miniatures" (http:/ / www. perry-miniatures. com/ index2. html). . Retrieved 18 June 2007. [10] Ian McKellen (2004). Cast Commentary (DVD). New Line Cinema. [11] Finding the Story: Forging the Final Chapter (Special Extended Edition documentary) (DVD). New Line Cinema. 2004. [12] Sibley, Brian (2006). Peter Jackson: A Film-maker's Journey. London: Harpercollins. p.345. ISBN0-00-717558-2. [13] Peter Jackson, Fran Walsh and Philippa Boyens (2004). Director/Writers' Special Extended Edition commentary (DVD). New Line Cinema. [14] Lee, Alana. 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[21] Russell, Gary (2004). The Lord of the Rings: The Art of the Return of the King. Harpercollins. ISBN0-00-713565-3. [22] Cameras in Middle-earth: Filming the Fellowship of the Ring (DVD). New Line Cinema. 2002. [23] "Tehanu" (11 October 2000). "One Year of Principal Photography" (http:/ / www. theonering. net/ features/ exclusives/ oneyear_page03. html). The One Ring.net. . Retrieved 22 October 2006. [24] Home of the Horse Lords (DVD). New Line Cinema. 2004. [25] Davidson, Paul (14 November 2000). "A Slew of The Lord of the Rings news" (http:/ / uk. movies. ign. com/ articles/ 034/ 034276p1. html). IGN. . Retrieved 24 October 2006. [26] Davidson, Paul (27 June 2003). "A new Return of the King poster" (http:/ / uk. movies. ign. com/ articles/ 426/ 426327p1. html). IGN. . Retrieved 21 October 2006. [27] Music for Middle-earth (DVD). New Line Cinema. 2004. [28] Editorial: Completing the Trilogy (Special Extended Edition documentary) (DVD). New Line Cinema. 2004. [29] The Passing of an Age (Special Extended Edition documentary) (DVD). New Line Cinema. 2004. [30] Sibley, Brian (2002). The Lord of the Rings: The Making of the Movie Trilogy. Harpercollins. 158. ISBN0-00-713567-X. [31] "Rings director cuts wizard scenes" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ film/ 3265475. stm). BBC News online. 12 November 2003. . Retrieved 17 October 2006. [32] Wootton, Dan (30 April 2006). "I will never forgive Jackson, says LOTR actor" (http:/ / www. nzherald. co. nz/ feature/ story. cfm?c_id=594& ObjectID=10379594). New Zealand Herald. . Retrieved 17 October 2006. [33] The End of All Things (Special Extended Edition documentary) (DVD). New Line Cinema. 2004. [34] Weta Digital (Special Extended Edition documentary) (DVD). New Line Cinema. 2004. [35] The Soundscapes of Middle-earth (DVD). New Line Cinema. 2004. [36] Mercer, Phil (1 December 2003). "How hobbits took over NZ's capital" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ film/ 3253708. stm). BBC News. . Retrieved 24 March 2010. [37] Richard Corliss (18 December 2003). "The Best Movies" (http:/ / www. time. com/ time/ bestandworst/ 2003/ story. html). Time. . Retrieved 9 November 2007. [38] Joel Siegel (19 December 2003). "Jackson Brings Lord of the Rings to Historic Completion" (http:/ / abcnews. go. com/ Entertainment/ JoelSiegel/ story?id=116553& page=1). ABC News. . Retrieved 16 February 2007. [39] "The best and worst movie battle scenes" (http:/ / www. cnn. com/ 2007/ SHOWBIZ/ Movies/ 03/ 29/ movie. battles/ index. html). CNN. 30 March 2007. . Retrieved 1 April 2007. [40] "The 100 Greatest Movies of All Time". Empire. 30 January 2004. p.96.

[41] "Ten Greatest Films of the Past Decade". Total Film. April 2007. p.98. [42] All Time Worldwide Box Office Grosses (http:/ / boxofficemojo. com/ alltime/ world/ ?pagenum=1& sort=wwgross& order=DESC& p=. htm) [43] 2003 Yearly Box Office Results (http:/ / boxofficemojo. com/ yearly/ chart/ ?view2=worldwide& yr=2003& p=. htm) [44] The Lord of the Rings Movies at the Box Office (http:/ / boxofficemojo. com/ franchises/ chart/ ?id=lordoftherings. htm) [45] All Time Domestic Box Office Results (http:/ / boxofficemojo. com/ alltime/ domestic. htm) [46] 2003 Yearly Box Office Results (http:/ / boxofficemojo. com/ yearly/ chart/ ?yr=2003& p=. htm) [47] Gray, Brandon (December 18, 2003). "'Return of the King' Rakes in $57.6M Worldwide on Opening Day" (http:/ / boxofficemojo. com/ news/ ?id=1284& p=. htm). Box Office Mojo. . Retrieved 2012-06-20. [48] "Opening Wednesday Records at the Box Office" (http:/ / boxofficemojo. com/ alltime/ days/ ?page=wed& p=. htm). Box Office Mojo. . Retrieved 2011-06-15. [49] "The Lord of the Rings: The Return of the King" (http:/ / www. boxofficemojo. com/ movies/ ?id=returnoftheking. htm). Box Office Mojo. . Retrieved 2011-06-15. [50] Top December Opening Weekends at the Box Office (http:/ / boxofficemojo. com/ alltime/ weekends/ month/ ?mo=12& p=. htm) [51] Single Day Records: High Grossing Movies on Christmas Day (http:/ / boxofficemojo. com/ alltime/ days/ holidays. htm?page=xmas& p=. htm) [52] Single Day Records: High Grossing Movies on New Year's Day (http:/ / boxofficemojo. com/ alltime/ days/ holidays. htm?page=newyrs& p=. htm) [53] All Time Worldwide Box Office Grosses (http:/ / boxofficemojo. com/ alltime/ world/ ?pagenum=1& sort=osgross& order=DESC& p=. htm) [54] 2003 Overseas Total Yearly Box Office Results (http:/ / boxofficemojo. com/ intl/ weekend/ yearly/ ?yr=2003& p=. htm) [55] Gray, Brandon (December 22, 2003). "'King' of the World: $250M in 5 Days" (http:/ / boxofficemojo. com/ news/ ?id=1286& p=. htm). Box Office Mojo. . Retrieved 2012-06-20. [56] "Top Box Office Earning Trilogies Worldwide" (http:/ / www. boxofficemojo. com/ alltime/ trilogyww. htm). Box Office Mojo.com. . Retrieved 10 February 2007. [57] Lord of the Rings revenue statistics on Time Warner (http:/ / www. timewarner. com/ corp/ businesses/ detail/ new_line_cinema/ index. html) [58] "The 76th Academy Awards (2004) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 76th-winners. html). oscars.org. . Retrieved 2011-11-20. [59] Crean, Ellen (25 January 2004). "Golden Globe Spins For 'Rings'" (http:/ / www. cbsnews. com/ stories/ 2004/ 01/ 25/ entertainment/ main595626. shtml). CBS News. . Retrieved 10 March 2011. [60] "Hail to the 'King' at Golden Globes" (http:/ / today. msnbc. msn. com/ id/ 4057351/ ns/ today-entertainment/ ). MSNBC. 26 January 2004. . Retrieved 10 March 2011. [61] Armstrong, Mark (25 January 2004). "'Rings,' 'Translation' Rule the Globes" (http:/ / www. people. com/ people/ article/ 0,,627488,00. html). People. . Retrieved 10 March 2011. [62] AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot (http:/ / www. afi. com/ Docs/ 100Years/ Movies_ballot_06. pdf) [63] Gary Susman (9 June 2004). "Hobbits for the Holidays" (http:/ / www. ew. com/ ew/ article/ 0,,649118,00. html). Entertainment Weekly. . Retrieved 17 February 2007. [64] "The Lord of the Rings: The Motion Picture Trilogy Blu-ray: Theatrical Editions" (http:/ / www. blu-ray. com/ movies/ The-Lord-of-the-Rings-The-Motion-Picture-Trilogy-Blu-ray/ 5174/ ). Blu-ray.com. . Retrieved 18 February 2010. [65] Calogne, Juan (23 June 2010). "Lord of the Rings Movies Get Separate Blu-ray editions" (http:/ / www. blu-ray. com/ news/ ?id=4787). Blu-ray.com. . Retrieved 28 November 2010. [66] "Lord of the Rings Pre-order Now Available" (http:/ / www. amazon. com/ Lord-Rings-Picture-Trilogy-Extended/ dp/ B0026L7H20). Amazon.com. 31 May 2011. . Retrieved 31 May 2011.
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External links
The Lord of the Rings: The Return of the King (http://www.allrovi.com/movies/movie/v278981) at AllRovi The Lord of the Rings: The Return of the King (http://www.imdb.com/title/tt0167260/) at the Internet Movie Database The Lord of the Rings: The Return of the King (http://www.rottentomatoes.com/m/ lord_of_the_rings_the_return_of_the_king/) at Rotten Tomatoes The Lord of the Rings: The Return of the King (http://www.boxofficemojo.com/movies/?id=returnoftheking. htm) at Box Office Mojo The Lord of the Rings: The Return of the King (http://www.metacritic.com/movie/ the-lord-of-the-rings-the-return-of-the-king) at Metacritic
2004 Million Dollar Baby
652

Million Dollar Baby
Directed by Produced by Clint Eastwood Clint Eastwood Albert S. Ruddy Tom Rosenberg Gary Lucchesi Paul Haggis F.X. Toole Morgan Freeman Clint Eastwood Hilary Swank Morgan Freeman Clint Eastwood
Screenplay by Story by Narrated by Starring
Music by
Cinematography Tom Stern Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Joel Cox Lakeshore Entertainment Malpaso Productions Warner Bros. Pictures

December 15, 2004 (Limited) January 28, 2005

[1][2]
$216,763,646
Million Dollar Baby is a 2004 sports drama film directed, co-produced, and scored by Clint Eastwood and starring Eastwood, Hilary Swank, and Morgan Freeman. It is the story of an under-appreciated boxing trainer, his elusive past, and his quest for atonement by helping an underdog amateur boxer (the film's title character) achieve her dream of becoming a professional. The film won four Academy Awards, including Best Picture. The screenplay was written by Paul Haggis, based on short stories by F.X. Toole, the pen name of fight manager and "cutman" Jerry Boyd. Originally published under the title Rope Burns, the stories have since been republished under the film's title.
653
Plot
Margaret "Maggie" Fitzgerald, a waitress from a Missouri town in the Ozarks, shows up in the Hit Pit, a run-down Los Angeles gym which is owned and operated by Frankie Dunn, a brilliant but only marginally successful boxing trainer. Maggie asks Dunn to train her, but he angrily responds that he "doesn't train girls." Maggie attempts to win Frankie over by working out tirelessly each day in his gym, even when others discourage her. Eddie "Scrap-Iron" Dupris, Frankie's friend and employee, encourages and helps her all he can. "Scrap" also narrates the story. Frankie's prize prospect, "Big" Willie Little, reluctantly signs with successful manager Mickey Mack after becoming impatient with Dunn's rejecting offers for a championship bout. With prodding from Scrap and impressed with her persistence, Frankie reluctantly agrees to train Maggie. He warns her that he will teach her only the basics and then find her a manager. His most important advice is that she should protect herself in the ring at all times. Before her first fight, Frankie leaves Maggie with another manager, much to her dismay, but rejoins her in the middle of the bout, and coaches her to victory. Maggie makes him promise not to abandon her again. Maggie turns out to be a natural. She fights her way up in the women's welterweight boxing division, winning many of her bouts with first-round knockouts. Estranged from his own daughter who returns his letters unopened, Frankie comes to establish an almost paternal bond with Maggie. Dupris becomes concerned when Frankie rejects several offers for big fights, though, and arranges a meeting for her with Mickey Mack, but she is loyal to Frankie, and is rewarded for her loyalty when he begrudgingly accepts a fight for her against a top-ranked opponent in the UK. He bestows a Gaelic nickname on her, which energizes the crowd, and the two travel Europe as she continues to win. Maggie's own white trash family cares little for her well-being. Maggie saves up enough of her winnings to buy her mother a house, but instead of being grateful, she berates Maggie for endangering her welfare payments and Medicaid benefits. She also belittles her daughter's success in the ring, saying that everyone back home is laughing at her. Frankie is finally willing to arrange a title fight. He secures Maggie a $1 million match in Las Vegas, Nevada against the WBA women's welterweight champion, Billie "The Blue Bear", a German ex-prostitute who has a reputation as a dirty fighter. Overcoming a shaky start, Maggie begins to dominate the fight, but after a round has ended, Billie knocks her out with a sucker punch from behind. Before Frankie can pull a stool out of the way, Maggie lands hard on it, breaking her neck and leaving her a quadriplegic. At first, Frankie refuses to accept the bleak prognosis, but dozens of other medical opinions unanimously confirm there is no hope of recovery. He half-heartedly places the responsibility on Scrap for convincing him to train Maggie, but in the end blames himself. In a medical rehabilitation facility, Maggie looks forward to a visit from her family, though Frankie repeatedly calls them with no success. Eventually, the family arrivesbut only after first visiting Disneyland and Universal Studios Hollywoodand with an attorney in tow. Their lone concern is to arrange the transfer of Maggie's assets to them. She sees through their transparent scheme and orders them to leave, threatening to sell the house, which they have not claimed in their name to continue receiving welfare payments, out from under them if they ever show their faces again. Frankie never leaves her side. He reads to her, urges her to go back to school and invites her to come live with him. As the days pass, however, Maggie develops bedsores and undergoes an amputation for an infected leg. She asks a favor of Frankie: to help her die while she can still remember the cheers she heard, saying she got what she most wanted out of life. A horrified Frankie refuses, but seeks the advice of his priest, Father Horvak, whom he has tormented for 23 years. Horvak warns him that euthanasia is a grave sin, and that he will be lost forever if he goes through with it. Maggie bites her tongue repeatedly in an attempt to bleed to death, but the medical staff saves her life each time and takes measures to prevent further suicide attempts.
2004 Million Dollar Baby Frankie sneaks in one night. Just before administering a fatal injection of adrenaline, he finally tells Maggie the meaning of a nickname he gave her, Mo Chuisle (spelled incorrectly in the film as "mo cuishle"): Irish for "my darling, and my blood" (literally, "my pulse"). He then disappears for good. Scrap's narration is revealed to be a letter to Frankie's daughter, informing her of her father's true character.
654
Cast
Clint Eastwood as Frankie Dunn, a gruff but well-meaning elderly boxing trainer. Hilary Swank as Margaret "Maggie" Fitzgerald, a spunky, highly skilled would-be boxer and the main protagonist. Morgan Freeman as Eddie "Scrap-Iron" Dupris, an elderly former boxer and Dunn's partner, who is blind in one eye. Jay Baruchel as Danger Barch, a would-be boxer with more enthusiasm than talent. Mike Colter as "Big" Willie Little, a boxer whom Dunn has trained for years. Lucia Rijker as Billie "The Blue Bear", a vicious German boxer and the main antagonist. Brian F. O'Byrne as Father Horvak, the priest of the church which Dunn attends, who cannot stand Dunn. Anthony Mackie as Shawrelle Berry, an overzealous boxer and frequent tenant of Dunn's gym. Margo Martindale as Earline Fitzgerald, Maggie's overweight selfish mother. Riki Lindhome as Mardell Fitzgerald, Maggie's sister. Michael Pea as Omar, a boxer and Shawrelle's best friend. Benito Martinez as Billie's manager Grant L Roberts (actor) as Billies cut man, (trainer) trained Hilary Swank off screen for her Academy award winning role Bruce MacVittie as Mickey Mack, a rival of Dunn. David Powledge as Counterman at Diner Joe D'Angerio as Cut Man Aaron Stretch as himself Don Familton as Ring announcer
Development and production

The film was stuck in so-called "development hell" for years before it was shot. Several studios rejected the project even when Eastwood signed on as actor and director. Even Warner Bros., Eastwood's longtime home base, would not agree to a US$30 million budget. Eastwood persuaded Lakeshore Entertainment's Tom Rosenberg to put up half the budget (as well as handle foreign distribution), with Warner Bros. contributing the rest ($15 million). Eastwood shot the film in less than 40 days between June and July 2004.[1][2] Filming occurred in Los Angeles and film sets at Warner Brothers Studios.[2] The term, 'Million Dollar Baby' was from a nose art on a WWII B24 heavy bomber. Eastwood had his daughter Morgan Colette appear in a brief role as a girl who waves to Swank's character at a gas station.[3]
655
Box office
Million Dollar Baby initially had a limited release, opening in eight theaters in December 2004.[4] In its later wide release, the film earned $12,265,482 in North America and quickly became a box-office hit both domestically and internationally. It grossed $216,763,646 in theaters; $100,492,203 in the United States, and $116,271,443 overseas. The film played in theaters for six and a half months.[5]
Critical reception
The film received critical acclaim; Roger Ebert of the Chicago Sun Times gave the film four stars and stated that "Clint Eastwood's Million Dollar Baby is a masterpiece, pure and simple," listing it as the best film of 2004.[6] Michael Medved stated: "My main objection to Million Dollar Baby always centered on its misleading marketing, and effort by Warner Brothers to sell it as a movie about a female Rocky, with barely a hint of the pitch-dark substance that led Andrew Sarris of the New York Observer to declare that 'no movie in my memory has depressed me more than Million Dollar Baby.'"[7] In early 2005, the film sparked controversy when some disability rights activists protested against the ending. Wesley J. Smith in The Weekly Standard also criticized the film for its ending and for missed opportunities; Smith said, "The movie could have ended with Maggie triumphing once again, perhaps having obtained an education and becoming a teacher; or, opening a business managing boxers; or perhaps, receiving a standing ovation as an inspirational speaker."[8] Eastwood responded to the criticism by saying the film was about the American dream.[9] In an interview with the Los Angeles Times, Eastwood distanced himself from the actions of characters in his films, noting, "I've gone around in movies blowing people away with a .44 Magnum. But that doesn't mean I think that's a proper thing to do".[10] Roger Ebert believes "a movie is not good or bad because of its content, but because of how it handles its content. Million Dollar Baby is classical in the clean, clear, strong lines of its story and characters, and had an enormous emotional impact".[11] Some Irish speakers criticized the fact that the phrase Mo Chuisle, a term of endearment meaning My pulse, was misspelled in the film as Mo Cuishle, as shown on the back of Maggie's robe.[12] In Irish and other Goidelic languages, consonants soften when followed by an 'h', hence the "c" in "chuisle" turns into a guttural "ch". It is translated in the film as "My darling, my blood". The original phrase is short for A chuisle mo chro, meaning "O pulse of my heart".[13] The film has also been praised for stirring interest in the Irish language in the U.S.[13]
Spoiler debate
When describing the plot of the film, Ebert gave a spoiler warning.[14] He noted in his reviews the difficulty of discussing the film without discussing details of the plot, saying that even warning about spoilers would itself be a spoiler.[15] Susan Wloszczyna of USA Today said the film "packs a surprise plot twist" and said "spoilsports already have begun to leak details about this drama", saying "the urge to divulge the story's secrets will only grow worse when the film finally goes nationwide." Wloszczyna noted that David Thomson of The Independent "offered readers only a hint of the story basics" and said "most reviewers have coddled the sports saga with similar care..." Wloszczyna quoted Thomson as saying, "My great wish always, which is difficult to achieve, is to go in knowing nothing about a film."[16] Jeffrey Overstreet of Christianity Today avoided revealing plot details, stating that while knowing the nature of the third part would not ruin the film, it would alter the experience significantly.[17] Mark Moring of Christianity Today said, "Who wants to watch a movie when you know how it ends? We've actually had to wrestle with that question around here lately..." Moring said, "We wondered if our 'moral obligation' to warn Christians about the potentially disturbing subject matter somehow 'trumped' our professional commitment to avoid plot spoilers especially the worst plot spoiler of all: divulging the end. After some discussion, we agreed that the right decision was to not give
2004 Million Dollar Baby away the end to Million Dollar Baby."[18] Michael Atkinson of The Village Voice said the film had a "spoiler-spawning shift in narrative."[19] Ian Grey of Baltimore City Paper said the last act seems to be from another film at first, and said "Naming this misfortune and its consequences, however, would be an unforgivable spoiler."[20]
656
Accolades
Million Dollar Baby received the award for Best Picture of 2004 at the 77th Academy Awards. Clint Eastwood was awarded his second Best Director Oscar for the film and also received a Best Actor in a Leading Role nomination. Hilary Swank and Morgan Freeman received Best Actress in a Leading Role and Best Actor in a Supporting Role Oscars, respectively. Joel Cox, Eastwood's editor for many years, was nominated for Best Film Editing, and Paul Haggis was nominated for the Best Adapted Screenplay award. The film was also nominated for and won a number of Golden Globes, SAG Awards, and the Directors Guild Award. 77th Academy Awards (Oscars) Won - Best Picture Clint Eastwood, Albert S. Ruddy, Tom Rosenberg Won - Best Director Clint Eastwood Won - Best Actress in a Leading Role Hilary Swank Won - Best Actor in a Supporting Role Morgan Freeman Nominated - Best Actor in a Leading Role Clint Eastwood Nominated - Best Film Editing Joel Cox Nominated - Best Adapted Screenplay Paul Haggis 2005 Amanda Awards Nominated - Best Foreign Feature Film Clint Eastwood 2005 American Cinema Editors (Eddies) Nominated - Best Edited Feature Film Joel Cox 2005 American Screenwriters Association Won - Discover Screenwriting Award Paul Haggis 2005 Art Directors Guild Nominated - Feature Film - Contemporary Film Henry Bumstead, Jack G. Taylor Jr. 2005 Black Reel Awards Nominated - Best Supporting Actor Morgan Freeman 2005 Broadcast Film Critics Association Awards Won - Best Actress Hilary Swank Nominated - Best Supporting Actor Morgan Freeman Nominated - Best Director Clint Eastwood Nominated - Best Picture 2005 Casting Society of America (Artios) Nominated - Best Casting for Feature Film: Drama Phyllis Huffman 2006 - Csar Award Won - Csar Award for Best Foreign Film 2005 Chicago Film Critics Association Awards Won - Best Director Clint Eastwood 2005 Directors Guild of America
2004 Million Dollar Baby Won - Outstanding Directorial Achievement in Motion Pictures Clint Eastwood, Tim Moore, Robert Lorenz, Donald Murphy, Katie Carroll, and Ryan Craig 2005 Director's Guild of Great Britain Nominated - Outstanding Directorial Achievement in International Film Clint Eastwood 2005 ESPY Awards Nominated - Best Sports Movie 2005 Florida Film Critics Circle Won - Florida Film Critics Circle Award for Best Actress Hilary Swank 2005 62nd Golden Globe Awards Won - Best Actress - Motion Picture Drama Hilary Swank Won - Best Director - Motion Picture Clint Eastwood Nominated - Best Supporting Actor - Motion Picture Morgan Freeman Nominated - Best Motion Picture (Drama) Nominated - Best Original Score Clint Eastwood 2006 Grammy Awards Nominated - Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media Clint Eastwood 2006 Billie Award Nominated - Entertainment (Best film) 2005 Image Awards Won - Outstanding Supporting Actor in a Motion Picture Morgan Freeman 2005 MTV Movie Awards Nominated - Best Female Performance Hilary Swank 2005 Motion Picture Sound Editors (Golden Reel Award) Nominated - Best Sound Editing in Domestic Features: Sound Effects/Foley Alar Robert Murray, Bub Asman, David Grimaldi, Jason King 2004 National Board of Review of Motion Pictures Special Achievement Award Clint Eastwood, for producing, directing, acting, and composing. 2004 New York Film Critics Circle Awards Won - Best Director Clint Eastwood 2005 PGA Golden Laurel Awards Nominated - Motion Picture Producer of the Year Award Clint Eastwood, Albert S. Ruddy, Tom Rosenberg 2004 Phoenix Film Critics Society Awards Won 2005 Screen Actors Guild Awards Won - Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Leading Role Hilary Swank Won - Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role Morgan Freeman Nominated - Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture
657
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Home media
The film was released on DVD on July 12, 2005, and all editions of the Region 1 DVD, except for the "Deluxe Edition", came with a paperback copy of the book Rope Burns: Stories from the Corner. An HD DVD release was issued on April 18, 2006.[21] The Blu-ray Disc version was released on November 14, 2006.[22] It was the first Best Picture winner released on either high-definition optical disc format in the U.S.; it and Unforgiven were the only ones released in the U.S. on HD DVD prior to the first one released in the U.S. on Blu-ray, Crash.[21][22]
References
[1] [2] [3] [4] [5] Eliot (2009), p. 309 Hughes, p. 156 Hughes, p. 157 Hughes, p. 160 "Million Dollar Baby (2004)" (http:/ / www. boxofficemojo. com/ movies/ ?id=milliondollarbaby. htm). Box Office Mojo. . Retrieved 6 January 2010. [6] Ebert, Roger (7 January 2005). "Million Dollar Baby" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20041214/ REVIEWS/ 41201004/ 1023). rogerebert.com. . Retrieved 26 November 2007. [7] Medved, Michael (17 February 2005). "My 'Million Dollar' Answer" (http:/ / www. opinionjournal. com/ la/ ?id=110006305). OpinionJournal/Dow Jones & Company, Inc.. . Retrieved 26 November 2007. [8] Million Dollar Missed Opportunity (http:/ / www. weeklystandard. com/ Content/ Public/ Articles/ 000/ 000/ 005/ 307qsmui. asp) [9] The New York Times > Arts > Frank Rich: How Dirty Harry Turned Commie (http:/ / www. nytimes. com/ 2005/ 02/ 13/ arts/ 13rich. html?ex=1265778000& en=20285b456ee22b66& ei=5090& partnrer=rssuserland) [10] "Movie & TV News @ IMDb.com - Studio Briefing - 27 January 2005" (http:/ / www. imdb. com/ news/ sb/ 2005-01-27). Internet Movie Database. 25 January 2007. . Retrieved 27 November 2007. [11] Roger Ebert (29 January 2005). "Critics have no right to play spoiler" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20050129/ COMMENTARY/ 501290301). Chicago Sun-Times. . Retrieved 27 November 2007. [12] IrishGaelicTranslator.com. Million Dollar Baby movie (http:/ / www. irishgaelictranslator. com/ articles/ ?p=39) [13] Wes Davis Fighting Words (http:/ / www. nytimes. com/ 2005/ 02/ 26/ opinion/ 26davis. html?ex=1267160400& en=63b9bdbd40e19929& ei=5090& partner=rssuserland). New York Times, 26 February 2005 [14] Eliot (2009), p. 311 [15] Roger Ebert (14 December 2004). ":: rogerebert.com :: Reviews :: Million Dollar Baby (xhtml)" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20041214/ REVIEWS/ 41201004/ 1023). Chicago Sun-Times. . Retrieved 24 November 2007. [16] Susan Wloszczyna (23 January 2005). "USATODAY.com - 'Million Dollar' mystery" (http:/ / www. usatoday. com/ life/ movies/ news/ 2005-01-23-million-dollar-baby-mystery_x. htm). USA Today. . Retrieved 24 November 2007. [17] Jeffrey Overstreet (7 January 2005). "Million Dollar Baby" (http:/ / web. archive. org/ web/ 20071115034422/ http:/ / www. christianitytoday. com/ movies/ reviews/ milliondollarbaby. html). Christianity Today. Archived from the original (http:/ / www. christianitytoday. com/ movies/ reviews/ milliondollarbaby. html) on 15 November 2007. . Retrieved 24 November 2007. [18] Mark Moring (18 January 2005). "Spoil the Ending?" (http:/ / web. archive. org/ web/ 20071115034422/ http:/ / www. christianitytoday. com/ movies/ reviews/ milliondollarbaby. html). Christianity Today. Archived from the original (http:/ / www. christianitytoday. com/ movies/ reviews/ milliondollarbaby. html) on 15 November 2007. . Retrieved 24 November 2007. [19] Michael Atkinson (13 December 2004). "Aging Bull" (http:/ / www. villagevoice. com/ film/ 0450,atkinson2,59205,20. html). The Village Voice. . Retrieved 24 November 2007. [20] Ian Grey (12 January 2005). "Kid Gloves" (http:/ / www. citypaper. com/ film/ review. asp?rid=8334). Baltimore City Paper. . Retrieved 24 November 2007. [21] Historical HD DVD Release Dates (http:/ / hddvd. highdefdigest. com/ releasedates_historical. html), High-Def Digest, accessed 12 March 2012 [22] Historical Blu-ray Release Dates (http:/ / bluray. highdefdigest. com/ releasedates_historical. html), High-Def Digest, accessed 12 March 2012
Bibliography Eliot, Marc (2009). American Rebel: The Life of Clint Eastwood. Harmony Books. ISBN978-0-307-33688-0. Hughes, Howard (2009). Aim for the Heart. London: I.B. Tauris. ISBN978-1-84511-902-7.
659
External links
Million Dollar Baby (http://www.imdb.com/title/tt0405159/) at the Internet Movie Database Million Dollar Baby (http://www.allrovi.com/movies/movie/v305809) at AllRovi Million Dollar Baby (http://www.boxofficemojo.com/movies/?id=milliondollarbaby.htm) at Box Office Mojo Million Dollar Baby (http://www.rottentomatoes.com/m/million_dollar_baby/) at Rotten Tomatoes Million Dollar Baby (http://www.metacritic.com/movie/million-dollar-baby) at Metacritic US News article: Million Dollar Maybe, A real-life version of Maggie Fitzgerald (http://www.usnews.com/ usnews/news/articles/050214/14crockett.peo.htm) Another possible real-life Maggie Fitzgerald (http://www.nytimes.com/2005/03/09/national/09boxer. html?ex=1268110800&en=5d5861e0a3d8b010&ei=5090&partner=rssuserland) Million Dollar Baby (http://www.sportsinmovies.com/boxing/million-dollar-baby.asp) at the Sports Movie Database
2005 Crash
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2005 Crash
Crash
Directed by Produced by Paul Haggis Paul Haggis Mark R. Harris Robert Moresco Don Cheadle Bob Yari Cathy Schulman Paul Haggis Bobby Moresco Paul Haggis Sandra Bullock Don Cheadle Matt Dillon Jennifer Esposito Brendan Fraser Terrence Howard Chris "Ludacris" Bridges Thandie Newton Ryan Phillippe Larenz Tate Michael Pea Mark Isham
Screenplay by Story by Starring
Music by
Cinematography J. Michael Muro Editing by Studio Hughes Winborne ApolloProScreen GmbH & Co Harris Company BlackFriar's Bridge Bull's Eye Entertainment Yari Film Group DEJ Productions Lionsgate(USA) Path (UK)

September 10, 2004 (TIFF) May 6, 2005 (United States)
112 minutes United States Germany English $7 million $98,410,061
Crash is a 2004 American drama film co-written, produced, and directed by Paul Haggis. The film is about racial and social tensions in Los Angeles, California. A self-described "passion piece" for Haggis, Crash was inspired by a real life incident in which his Porsche was carjacked outside a video store on Wilshire Boulevard in 1991.[1] It won
2005 Crash three Oscars: Best Picture, Best Original Screenplay and Best Editing in 2005 at the 78th Academy Awards. Several characters' stories interweave during two days in Los Angeles: a black detective estranged from his mother; his criminal younger brother and gang associate; the white District Attorney and his irritated and pampered wife; a racist white police officer who disgusts his more idealistic younger partner; an African American Hollywood director and his wife who must deal with the officer; a Persian-immigrant father who is wary of others; and a Hispanic locksmith. The film differs from many other films about racism in its rather impartial approach to the issue. Rather than separating the characters into victims and offenders, victims of racism are often shown to be racist themselves in different contexts and situations. Also, racist remarks and actions are often shown to stem from ignorance and misconception rather than a malicious personality.
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Plot
Los Angeles detectives Graham Waters (Don Cheadle) and his partner Ria (Jennifer Esposito) approach a crime scene investigation (CSI). Ria and Kim Lee, an Asian woman in another car, get into an argument about right-of-way and soon are exchanging racial insults. Waters exits the car to check out the scene. One day prior, Farhad (Shaun Toub), a Persian shop owner, and his daughter, Dorri (Bahar Soomekh), argue with each other in front of a gun store owner as Farhad tries to buy a revolver. The shop keeper grows impatient and orders an infuriated Farhad outside while making a racist comment. Dorri defiantly finishes the gun purchase, which she had opposed. The purchase entitles the buyer to one box of ammunition. She selects a red box. In another part of town, Rick Cabot (Brendan Fraser), the local district attorney, and his wife, Jean (Sandra Bullock), are carjacked as they are about to enter their Lincoln Navigator, by Anthony (Chris "Ludacris" Bridges) and Peter (Larenz Tate). Later, at the Cabot house, Hispanic locksmith Daniel Ruiz (Michael Pea) is changing their locks when he overhears Jean complaining about having been carjacked earlier by two black men and now having to endure a heavily tattooed Hispanic with a shaved head changing their locks, because she is sure he is going to leave and give copies of the new keys to "his other gang members." Detectives Waters and Ria next arrive at the scene of a shooting between two drivers. The surviving shooter is a white male, identified as an undercover police officer. The dead shooter, a black male, is revealed also to be an undercover police officer. There is a large amount of cash found in the black officer's trunk. This is the third time the white officer has shot and killed a black man. LAPD Officer John Ryan (Matt Dillon) and his partner, Tom Hanson (Ryan Phillippe), begin their evening patrol. They pull over a Navigator similar to the one carjacked earlier, despite discrepancies in the descriptions of the carjackers and in the license plate numbers. They order the couple, TV director Cameron Thayer (Terrence Howard) and his wife Christine, (Thandie Newton) to exit. Cameron is cooperative, but Christine has had a few drinks and is argumentative. This annoys Ryan, who sexually molests Christine under the pretense of administering a pat-down; intimidated, Cameron says nothing. The couple is released without a citation. Once home, Christine becomes enraged that Cameron did nothing while she was being violated. Cameron insists that what he did was correct and storms out. Arriving home from work long after dark, Daniel finds his young daughter, Lara, hiding under her bed after hearing a gunshot outside. To comfort her, Daniel gives her an "invisible impenetrable cloak," which makes her feel safe enough to fall asleep in her bed. In the carjacked SUV, Anthony and Peter, arguing and distracted, hit something while passing a parked white van. Stopping, they discover that they have run over an Asian man (Daniel Dae Kim), now trapped under the SUV. They argue about what to do with him, finally dumping him in front of a hospital and driving away. The next day, at the LAPD station, Hanson talks to his superior, Lt. Dixon (Keith David), about switching partners. Dixon, a black man, claims that Hanson's charge of Ryan as a racist could cost both Hanson and Dixon their jobs. Dixon suggests a transfer to a one-man car and mockingly tells Hanson that he should justify it by claiming to have
2005 Crash uncontrollable flatulence. Ryan visits Shaniqua Johnson (Loretta Devine), a "managed care" insurance representative with whom he argued earlier. Apologizing for insulting her previously, he explains that his father was previously diagnosed with a bladder infection but he fears the diagnosis is incorrect and that it may be prostate cancer. Ryan wants him to see a different doctor, but Shaniqua icily informs him that the health plan won't cover it. Daniel is seen replacing a lock at Farhad's shop and tries to explain to him that the door frame is shattered and not secure and needs to be replaced. Farhad, whose English is limited, misunderstands and accuses Daniel of cheating him and refuses to pay. The next morning, Farhad discovers the store has been looted, wrecked and tagged with graffiti. His insurance company does not cover the damage, calling it a case of negligence, as he had been advised to replace the door and did not. Farhad looks for and finds Daniel's full name on the discarded invoice and vows revenge. Detective Waters visits his mother, a some-time hard drug abuser. She asks him to find his missing younger brother; he promises and takes notice that there is almost no food in the apartment as he is leaving. In the studio where Cameron works, a white producer, Fred (Tony Danza), suggests that a black actor isn't acting "black" enough, as he was using proper grammar. Cameron had been satisfied with the take just completed, but Fred strongly suggests that another take be done, with the black actor speaking more "black." Cameron initially pushes back but, threatened with his job, he concedes. Ryan comes across a car accident and as he crawls into the overturned vehicle, he finds Christine, who is trapped. Upon recognizing Ryan, Christine becomes hysterical, screaming for him to leave her alone and refusing his help, but gasoline is leaking from the tank and running downhill towards another wreck, which has already caught fire. He calms her down, and with the assistance of his partner and spectators, Ryan pulls Christine out just as her car bursts into flames. A confused but grateful Christine is taken away by EMTs. Anthony and Peter attempt to carjack Cameron. Cameron has reached his limit of being pushed around, and he resists the attempt. As police officers arrive, Cameron jumps back in the car and drives away, with Anthony continuing to hold a gun on him. A car chase ensues; one of the police responders to the chase is Tom Hanson, who recognizes the vehicle as the one he and Ryan pulled over the night before. Cameron drives to a dead end, grabs Anthony's gun, and gets out of the car, all the while yelling insults at the officers. Just before he pulls out the gun, Hanson convinces him to stop aggravating the situation and just go home. Hanson vouches for Cameron to the other officers, telling them that Cameron has no prior history of breaking the law and promises to give him a "harsh warning." All depart. Cameron tells Anthony that as a black man he is embarrassed for him and gives back the gun as he drops Anthony at a bus stop. Using the White Pages of the phone book, Farhad locates Daniel's home address and travels there with his gun. As Daniel's wife Elizabeth (Karina Arroyave) watches in horror, Farhad shoots at Daniel at point-blank range -- just as Daniel's daughter Lara jumps into his arms to protect her father with the "invisible cloak." It takes the grief-stricken parents a moment to realize that Lara is miraculously unharmed; the red box of ammunition that Dorri had selected contained blanks, rendering Farhad's gun harmless. Farhad later tells his daughter that he believes that the little girl was his angel, saving him from committing a terrible crime. Peter, who is hitchhiking, is picked up by Hanson. They awkwardly try to bridge the gap between their cultures. Peter sees that Hanson has a small statuette of Saint Christopher, which he also has. He begins to laugh as he realizes that there is no difference between the two of them, but Hanson thinks that he is being racist. Peter then pulls his statuette out of his pocket, but Hanson thinks it is a gun and shoots and kills Peter. Hanson dumps the body and then torches his own car in another part of town. Peter is revealed to be Waters' missing brother. Waters and his mother meet up at the morgue, and Waters promises to find who is responsible. His mother tells him not to bother, as she blames him for his brother's death.
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2005 Crash Anthony returns to the white van owned by the Asian man that they had run over earlier. Finding the keys still hanging from the door lock, he drives the van away. Kim Lee (the Asian woman from the crash at the film's opening) arrives at a hospital looking for her husband Choi Jin Gui, the man Anthony and Peter ran over. Conscious and coherent, he tells her to go and immediately cash a check that he has in his wallet. Anthony has driven the white van to a chop shop he frequents, and as they inspect the van, a number of Asian immigrants are discovered to be chained and locked in the back of the van, revealing that Choi was, in fact, involved in human trafficking. Anthony is offered $500 for each person in the van. The last scene of the movie shows the white van being parked in Chinatown, where Anthony walks to the back, opens the van, and sets the Asians free. He tells the uncomprehending passengers that "this is America" ("the land of the free, the place where dreams are achieved"), and he gives $40 to one of the men, telling him to buy everyone something to eat. As Anthony drives away, he passes a minor crash, which turns out to involve Shaniqua. The film closes as Shaniqua and the other driver, who rear-ended her car, hurl racial insults at one another.
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Critical reception
The film received generally positive reviews, with the website Rotten Tomatoes reporting that 148 out of the 196 reviews they tallied were positive, for a score of 76% positive reviews and a certification of "fresh," with an average score of 7.1 out of 10.[2] while Metacritic tallied an average score of 69 out of 100 for Crash's critical consensus.[3] Roger Ebert gave the film 4/4 stars and described it as "a movie of intense fascination,"[4] listing it as the best film of 2005. The film also ranks at number 460 in Empire's 2008 list of the 500 greatest movies of all time.[5] From an alternative perspective, the film has been critiqued for "laying bare the racialized fantasy of the American dream and Hollywood narrative aesthetics" and for depicting the Persian shopkeeper as a "deranged, paranoid individual who is only redeemed by what he believes is a mystical act of God."[6] The film has also been criticised for using multicultural and sentimental imagery to cover over material and "historically sedimented inequalities" that continue to affect different racial groups in Los Angeles.[7]
Box office
Crash opened in wide release on May 6, 2005, and was a box-office success in the late spring of 2005. The film had a budget of $6.5 million (plus $1 million in financing). Because of the financial constraints, director Haggis filmed in his own house, borrowed a set from the TV show Monk, used his car in parts of the film, and even used cars from other staff members. It grossed $53.4 million domestically, making back more than seven times its budget. Despite its success in relation to its cost, Crash was the least grossing film at the domestic box office to win Best Picture since The Last Emperor in 1987.
Awards
Best Picture Oscar
In 2005, controversy was generated when Crash won the Best Picture Oscar, beating the critically favored Brokeback Mountain and making it only the second film ever (the other being The Sting) to win the Academy Award for Best Picture without having been nominated for any of the three Golden Globe Awards for Best Motion Picture (Best Drama, Best Comedy/Musical and Best Foreign Film). The film's use of moral quandary as a storytelling medium was widely reported as ironic, since many saw it as the "safe" choice to Brokeback Mountain. Critic Kenneth Turan suggested that Crash benefited from anti-homosexual discomfort among Academy members[8][9] while critic Roger Ebert was of a different opinion, arguing that the better film won that year. He went on to question why many critics weren't mentioning the other nominees and that they were just mindlessly bashing Crash merely because it won over Brokeback Mountain. Ebert also placed Crash on his
2005 Crash best ten list as number one best film of 2005[10] and correctly predicted it to win best picture.[11] Film Comment magazine placed Crash first on their list of "worst winners of best picture oscars," followed by Slumdog Millionaire at number two, and Chicago at number three.[12] Crash was nominated for six awards in the 78th Academy Awards (2006) and won three of them, including the win for Best Picture. It was nominated for two Golden Globe Awards: one for Best Supporting Actor (Matt Dillon) and the other for Best Screenplay (Paul Haggis and Robert Moresco). Other awards include Best Ensemble Cast at the 2005 Screen Actors Guild Awards; Best Original Screenplay at the Writers Guild of America Awards 2005; Best Original Screenplay and Best Supporting Actress (Newton) at the BAFTA Awards; Best Writer at the Critics' Choice Awards; Outstanding Motion Picture and Outstanding Actor in a Leading Role (Howard) at the Black Movie Awards; Best First Feature and Best Supporting Male (Dillon) at the Independent Spirit Awards; Best Acting Ensemble and Best Writer at the Broadcast Film Critics Association Awards; and Outstanding Supporting Actor in a Motion Picture (Howard) and Outstanding Motion Picture at the NAACP Image Awards.
Award 78th Academy Awards Best Director Best Editing Best Picture Category Winner/Nominee Paul Haggis Hughes Winborne Paul Haggis & Cathy Schulman "In the Deep" Paul Haggis & Robert Moresco Matt Dillon Michael Pea Paul Haggis No Yes Won No Yes
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Best Original Song Best Screenplay Original
Best Supporting Actor 2006 ALMA Awards 1st Austin Film Critics Association Awards Outstanding Actor in a Motion Picture Best Director Best Film 59th BAFTA Film Awards Best Cinematography Best Director Best Editing Best Film Best Sound Best Screenplay Original
No Yes Yes
J. Michael Muro Paul Haggis Hughes Winborne
No
Paul Haggis & Robert Moresco Don Cheadle Matt Dillon Thandie Newton Don Cheadle
Yes
Best Supporting Actor Best Supporting Actor Best Supporting Actress Black Reel Awards 2005 Best Actor Best Cast Best Film Best Supporting Actor Best Supporting Actor Best Supporting Actress
No
Yes No Yes
Terrence Howard Matt Dillon Thandie Newton No
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Best Cast Best Director Best Film Best Supporting Actor Best Supporting Actor Best Writer Matt Dillon Terrence Howard Paul Haggis & Robert Moresco Sarah Finn & Randi Hiller Yes Paul Haggis Yes No
11th BFCA Critics' Choice Awards
Casting Society of America Awards 2005 18th Chicago Film Critics Association Awards
Best Film Casting Drama Best Film Best Screenplay
Yes Yes
Paul Haggis & Robert Moresco Terrence Howard No No Yes No No Yes No
Best Supporting Actor Cinema Audio Society Awards 2005
Outstanding Achievement in Sound Mixing for Motion Pictures Matt Dillon Paul Haggis Matt Dillon Thandie Newton
12th Dallas-Fort Worth Film Critics Association Awards Best Supporting Actor 58th Directors Guild of America Awards Empire Awards Outstanding Directorial Achievement Best Actor Best Actress Best Film Scene of the Year 63rd Golden Globe Awards Best Screenplay
Paul Haggis & Robert Moresco Matt Dillon
No
Best Supporting Actor 37th NAACP Image Awards Outstanding Motion Picture Outstanding Supporting Actor in a Motion Picture Outstanding Supporting Actor in a Motion Picture Outstanding Supporting Actor in a Motion Picture Outstanding Supporting Actor in a Motion Picture Outstanding Supporting Actress in a Motion Picture 17th Producers Guild of America Awards Motion Picture Producer of the Year
Yes Terrence Howard
Chris "Ludacris" Bridges
No
Don Cheadle
Larenz Tate
Thandie Newton
Paul Haggis & Cathy Schulman
No
12th Screen Actors Guild Awards
Best Cast Best Supporting Actor Best Supporting Actor Don Cheadle Matt Dillon Terrence Howard
Yes No
6th Vancouver Film Critics Circle Awards
Yes
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Best Cast Best Film Best Screenplay Original Paul Haggis & Robert Moresco Matt Dillon Terrence Howard Paul Haggis & Robert Moresco Yes Yes No Yes
4th Washington D.C. Area Film Critics Association Awards
Best Supporting Actor Best Supporting Actor 58th Writers Guild of America Awards Best Screenplay Original
No
Original score
All songs were written and composed by Mark Isham, except where noted. The original score was released through labels Gut and Colosseum in 2005.
No. Title 1. "Crash" 2. "Go forth my son" 3. "Hands in plain sight" 4. "...Safe now" 5. "No such things as monsters" 6. "Find my baby" 7. "Negligence" 8. "Flames" 9. "Siren" 10. "A really good cloak" 11. "A harsh warning" 12. "Saint Christopher" 13. "Sense of touch" 14. "In the Deep" 15. "Maybe Tomorrow" co-written by Bird York and Michael Becker; sung by Bird York by Stereophonics Note Length 3:21 0:57 3:48 1:03 3:59 4:23 2:56 7:59 4:41 3:28 2:51 1:55 6:44 5:55 4:34
Soundtrack
The soundtrack's title is : Crash - Music from and inspired by the film.
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No. Title 1. "If I..." 2. "Plastic Jesus" 3. "Are You Beautiful" 4. "Free" 5. "Hey God" 6. "Take The Pain Away" 7. "Problems" 8. "Arrival"
Artist KansasCali Billy Idol Chris Pierce Civilization Randy Coleman Al Berry Move.meant Pale 3 / Beth Hirsch
Length 4:18 4:49 2:52 3:43 4:04 4:19 3:49 5:08 3:00 3:48 5:08 4:37
9. "Acedia (The Noonday Demon)" Quinn 10. "In The Deep" 11. "Afraid" 12. "Maybe Tomorrow" Bird York Quincy Stereophonics
Note: The country song playing during the carjacking scene is Whiskey Town by Moot Davis [13].
Home media
Crash was released on DVD on September 6, 2005, as widescreen and fullscreen one-disc versions, with a number of bonus features, including a music video by KansasCali (now known as The Rocturnals) for the song "If I..." off of the "Inspired by Soundtrack to Crash." The director's cut of the film was released in a 2-disc special edition DVD on April 4, 2006, with more bonus content than the one-disc set. The director's cut is three minutes longer than the theatrical cut. The scene where Daniel is talking with his daughter under her bed is extended and a new scene is added with Officer Hanson in the police station locker room. The film also was released in a limited-edition VHS version. It was the last Academy Award (Best Picture) winning film to be released in the VHS-tape format. It was also the first Best Picture winner to be released on Blu-ray Disc in the U.S., on June 27, 2006.[14] Crash is also currently #2 in the list of Netflix Top 100, a list compiled of films most frequently rented on Netflix.com.[15]
Television series
A 13-episode series premiered on the Starz network on October 17, 2008. The series features Dennis Hopper as a record producer in Los Angeles, California, and how his life is connected to other characters in the city, including a police officer (Ross McCall) and his partner, actress-turned-police officer, Arlene Tur. The cast consists of a Brentwood mother (Clare Carey), her real-estate developer husband (D. B. Sweeney), former gang member-turned-EMT (Brian Tee), a street-smart driver (Jocko Sims), an undocumented Guatemalan immigrant (Luis Chavez), and a detective (Nick Tarabay).[16]
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References
[1] [2] [3] [4] Crash DVD Commentary Track. 2005. "Crash Movie Reviews, Pictures" (http:/ / www. rottentomatoes. com/ m/ 1144992-crash/ ). Rotten Tomatoes. . Retrieved 2010-04-30. "Crash reviews at" (http:/ / www. metacritic. com/ film/ titles/ crash?q=Crash). Metacritic.com. . Retrieved 2010-04-30. "Crash :: rogerebert.com :: Reviews" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20050505/ REVIEWS/ 50502001/ 1023). Rogerebert.suntimes.com. . Retrieved 2010-04-30. [5] "Empire Features" (http:/ / www. empireonline. com/ 500/ 8. asp). Empireonline.com. . Retrieved 2010-04-30. [6] "darkmatter Crash and the City" (http:/ / www. darkmatter101. org/ site/ 2007/ 05/ 07/ crash-and-the-city/ ). Darkmatter101.org. 2007-05-07. . Retrieved 2010-04-30. [7] "Film Criticism Current Issue" (http:/ / filmcriticism. allegheny. edu/ archives31_2. htm). Filmcriticism.allegheny.edu. . Retrieved 2010-04-30. [8] Turan, Kenneth (March 5, 2006). "Breaking no ground: Why Crash won, why Brokeback lost and how the academy chose to play it safe" (http:/ / theenvelope. latimes. com/ awards/ oscars/ env-turan5mar05,0,5359042. story). The Los Angeles Times. . [9] "Maybe Crash's upset at the Oscars shouldn't have been such a surprise?" (http:/ / goldderby. latimes. com/ awards_goldderby/ 2009/ 04/ maybe-crashs-upset-at-the-oscars-shouldnt-have-been-such-a-surprise. html). The Los Angeles Times. April 16, 2009. . [10] "The fury of the 'Crash'-lash" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20060306/ OSCARS/ 603070301). Chicago Sun-Times. . [11] http:/ / moviecitynews. com/ 2006/ 02/ on-ebert-crash/ [12] http:/ / www. filmcomment. com/ article/ extended-trivial-top-20 Film Comment, March/April 2012 [13] http:/ / www. mootdavis. com [14] "historical Blu-ray Release Dates" (http:/ / bluray. highdefdigest. com/ releasedates_historical. html). Bluray.highdefdigest.com. . Retrieved 2010-04-30. [15] "Netflix Top 100" (http:/ / www. netflix. com/ Top100?lnkctr=mhT100& lnkce=sntTpLk). Netflix. . Retrieved 2010-12-13. [16] "Crash: A Starz Original Series" (http:/ / www. starz. com/ originals/ crash). Starz.com. . Retrieved 2010-04-30.
External links
Official website (http://www.crashfilm.com/) Crash (http://www.imdb.com/title/tt0375679/) at the Internet Movie Database Crash (http://www.allrovi.com/movies/movie/v301205) at AllRovi Crash (http://www.boxofficemojo.com/movies/?id=crash05.htm) at Box Office Mojo Crash (http://www.rottentomatoes.com/m/1144992/) at Rotten Tomatoes
2006 The Departed
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2006 The Departed

The Departed
Directed by Produced by Martin Scorsese

Brad Pitt Brad Grey Graham King
William Monahan Infernal Affairsby Alan Mak and Felix Chong

Leonardo DiCaprio Matt Damon Jack Nicholson Mark Wahlberg
Music by
Howard Shore
Cinematography Michael Ballhaus Editing by Studio Thelma Schoonmaker

Plan B Entertainment GK Films Vertigo Entertainment Media Asia Films
Warner Bros.

September 26, 2006 (New York City premiere) October 6, 2006 (United States)

[1] [1]
$289,847,354
The Departed is a 2006 American crime thriller film directed by Martin Scorsese. The screenplay by William Monahan was based on the 2002 Hong Kong film Infernal Affairs.[2] The film stars Leonardo DiCaprio, Matt Damon, Jack Nicholson, and Mark Wahlberg, with Martin Sheen, Ray Winstone, Vera Farmiga, Anthony Anderson, and Alec Baldwin in supporting roles. It won several awards, including four Oscars at the 79th Academy Awards: Best Picture, Best Director (Scorsese), Best Adapted Screenplay and Best Film Editing. Wahlberg was nominated for Best Supporting Actor. The film takes place in Boston, Massachusetts, where Irish Mob boss Francis "Frank" Costello plants Colin Sullivan as an informant within the Massachusetts State Police. Simultaneously, the police assign undercover cop William "Billy" Costigan to infiltrate Costello's crew. When both sides realize the situation, each man attempts to discover the other's true identity before his own cover is blown.
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Plot
Colin Sullivan (Damon) is introduced to organized crime by Irish-American mobster Frank Costello (Nicholson) in the Irish neighborhood of South Boston. Costello trains him to become a mole inside the Massachusetts State Police. Sullivan is accepted into the Special Investigations Unit, which focuses on organized crime. Before he graduates from the police academy, Billy Costigan (DiCaprio) is asked by Captain Queenan (Sheen) and Staff Sergeant Dignam (Wahlberg) to go undercover, as his family ties to organized crime make him a perfect infiltrator. He drops out of the academy and does time in prison on a fake assault charge to increase his credibility. As both infiltrate their respective organizations, Sullivan begins a romance with psychiatrist Madolyn Madden (Farmiga). Costigan sees her for his probation and also develops a relationship with her. After Costello escapes a sting operation, both moles become aware of the other's existence. Sullivan is told to find the "rat" and asks Costello for information to determine who is the informer within his crew. Costigan follows Costello into a movie theater where Costello gives Sullivan an envelope containing personal information on his crew members. Costigan then chases Sullivan through Chinatown. When it is over, neither man knows the other's identity. Sullivan has Queenan tailed to a meeting with Costigan. Costello's men go in and Queenan is killed. When they exit, Costigan pretends he has come to join them. Later, Costello's henchman, Fitzgibbons (O'Hara), reveals that Delahunt (Rolston), a crew member, was an undercover cop. Using Queenan's phone, Sullivan reaches Costigan, who refuses to abort his mission. Sullivan learns of Costello's role as an informant for the FBI from Queenan's diary, causing him to worry about his identity being revealed. With Costigan's help, Costello is traced to a cocaine drop-off, where a gunfight erupts between his crew and police, resulting in most of the crew being killed. Costello, confronted by Sullivan, admits he is an occasional FBI informant. Sullivan then shoots him multiple times. With Costello dead, Sullivan is applauded the next day by everyone on the force. In good faith, Costigan comes to him for restoration of his true identity, but notices the envelope from Costello on Sullivan's desk and flees. Knowing he has been found out, Sullivan erases all records of Costigan from the police computer system. Madolyn tells Sullivan that she is pregnant, but does not reveal who the father is. Later, she discovers a package from Costigan containing a CD with recordings of Costello's conversations with Sullivan. Sullivan walks in as she is listening and tries unsuccessfully to assuage her suspicions. He contacts Costigan, who reveals that Costello recorded every conversation he had with Sullivan. Costello's attorney left Costigan in possession of the recordings and he intends to implicate Sullivan. They agree to meet at the building where Queenan died. On the roof, Costigan catches Sullivan off-guard and handcuffs him. As Costigan had secretly arranged, Officer Brown appears on the roof as well. Shocked, Brown draws his gun on Costigan, who attempts to justify his actions by exposing Sullivan as the rat. Costigan asks Brown why Dignam did not accompany him, but Brown does not answer. Costigan leads Sullivan to the elevator. When it reaches the ground floor, Costigan is shot in the head by Officer Barrigan, who then shoots Brown and reveals to Sullivan that Costello had more than one mole in the police. When Barrigan turns, Sullivan shoots him in the head. At police headquarters, Sullivan identifies Barrigan as the mole and has Costigan posthumously given the Medal of Merit. At Costigan's funeral, Sullivan and Madolyn stand at the grave. Sullivan attempts to talk to her, but she ignores him. When Sullivan enters his apartment, Dignam, wearing hospital footies and surgical gloves, shoots him in the head with a silenced pistol.
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Cast
Leonardo DiCaprio as William "Billy" Costigan Jr. Matt Damon as Staff Sergeant Colin Sullivan Jack Nicholson as Francis "Frank" Costello Mark Wahlberg as Staff Sergeant Sean Dignam Martin Sheen as Captain Oliver Charles Queenan Vera Farmiga as Dr. Madolyn Madden Ray Winstone as Arnold "Frenchy" French Alec Baldwin as Captain George Ellerby Anthony Anderson as Trooper Brown James Badge Dale as Trooper Barrigan David O'Hara as "Fitzy" Fitzgibbons Mark Rolston as Timothy Delahunt Kevin Corrigan as Sean Costigan John Cenatiempo as Mark Brambilla Armen Garo as Eugene Fratti Robert Wahlberg as FBI Special Agent Frank Lazio
Kristen Dalton as Gwen Costello Conor Donovan as a Young Colin Sullivan
Themes
Film critic Stanley Kauffmann describes a major theme of The Departed as one of the oldest in dramathe concept of identityand how it "affects one's actions, emotions, self-assurance and even dreams."[3] The father-son relationship is a motif throughout the film. Costello acts as a father figure to both Sullivan and Costigan while Queenan acts as Costello's foil in the role of father-figure, presenting both sides of the Irish-American father archetype.[4] Sullivan refers to Costello as 'Dad' whenever he calls him to inform him of police activities.
Reception
The Departed was highly anticipated, and was released on October 6, 2006 to universal acclaim. The film is one of the highest-rated wide release films of 2006 on Rotten Tomatoes at 93%.[5] Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "If they're lucky, directors make one classic film in their career. Martin Scorsese has one per decade (Taxi Driver in the '70s, Raging Bull in the '80s, Goodfellas in the '90s). His 2006 Irish Mafia masterpiece kept the streak alive."[6] Online critic James Berardinelli awarded the film four stars out of four, praising it as "an American epic tragedy." He went on to compare the film favorably to the onslaught of banality offered by American studios in recent years. "The movies have been in the doldrums lately. The Departed is a much needed tonic," he wrote. He went on to claim that the film deserves to be ranked alongside Scorsese's past successes, including Taxi Driver, Raging Bull and Goodfellas.[7] Andrew Lau, the co-director of Infernal Affairs, who was interviewed by Hong Kong newspaper Apple Daily, said, "Of course I think the version I made is better, but the Hollywood version is pretty good too. [Scorsese] made the Hollywood version more attuned to American culture." Andy Lau,[8] one of the main actors in Infernal Affairs, when asked how the movie compares to the original, said, "The Departed was too long and it felt as if Hollywood had combined all three Infernal Affairs movies together."[9] Lau pointed out that the remake featured some of the "golden quotes" of the original but did have much more swearing. He ultimately rated The Departed 8/10 and said that the
2006 The Departed Hollywood remake is worth a view, though "the effect of combining the two female characters in the [later film] into one isn't as good as in the original," according to Lau's spokeswoman Alice Tam.[10]
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Top ten lists

The film appeared on many critics' top ten lists of the best films of 2006.[11] Carrie Rickey of The Philadelphia Inquirer, Joe Morgenstern of The Wall Street Journal, Ruthe Stein of the San Francisco Chronicle, and Steven Rea of The Philadelphia Inquirer named it one of the top ten films of 2006.[11] Richard Roeper of the Chicago Sun-Times named it the best film of 2000s.
1st Richard Roeper, Ebert and Roeper 1st Peter Travers, Rolling Stone 1st Kevin Smith 1st Rene Rodriguez, The Miami Herald 1st Scott Tobias, The A.V. Club 1st Joshua Rothkopf, Time Out New York 1st Philip Martin, Arkansas Democrat-Gazette 1st James Berardinelli, ReelViews 2nd Chris Kaltenbach, The Baltimore Sun 2nd- Adam Kempenaar, Filmspotting 2nd Keith Phipps, The A.V. Club 2nd Kyle Smith, New York Post 2nd Mike Russell, The Oregonian 2nd Richard Schickel, TIME 3rd Frank Scheck, The Hollywood Reporter 4th Glenn Kenny, Premiere 4th Marc Savlov, The Austin Chronicle 4th Michael Wilmington, Chicago Tribune 4th Roger Ebert, Chicago Sun-Times 5th Empire 5th David Ansen, Newsweek 5th Kevin Crust, Los Angeles Times 5th Lisa Schwarzbaum, Entertainment Weekly 5th Stephen Hunter, The Washington Post 6th Ann Hornaday, The Washington Post 6th Jack Mathews, Daily News 6th Nathan Rabin, The A.V. Club 6th Ty Burr, The Boston Globe 7th Nathan Lee, The Village Voice 7th Noel Murray, The A.V. Club 7th Peter Hartlaub, San Francisco Chronicle 8th Michael Sragow, The Baltimore Sun 9th Claudia Puig, USA Today 9th Desson Thomson, The Washington Post 9th Lou Lumenick, New York Post 9th Michael Rechtshaffen, The Hollywood Reporter
2nd Richard James Havis, The Hollywood Reporter
Box office
The film grossed $26,887,467 in its opening weekend, becoming the third Scorsese film to debut at number one. The film saw small declines in later weeks, remaining in the list of top ten films for seven weeks. Budgeted at $90 million, the film grossed $289,835,021 worldwide of which $132,384,315 was from North America, becoming one of the most commercially successful of Scorsese's career.
Accolades
The film won four Academy Awards at the 79th Academy Awards for Best Picture, Best Director (Martin Scorsese), Best Film Editing (Thelma Schoonmaker), and Best Adapted Screenplay (William Monahan). Mark Wahlberg was nominated for the Best Supporting Actor award for his performance, but he lost to Alan Arkin for his role in Little Miss Sunshine. The film marked the first time Scorsese won an Oscar; many felt that he deserved it years earlier for prior efforts.[12] Some have even gone further, calling it a Lifetime Achievement Award for a lesser film.[13] Scorsese himself stated that he won because: "This is the first movie I've done with a plot."[14] In 2008, The Departed was nominated for AFI's Top 10 Gangster Films list.[15]
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Music
There were two albums released for The Departed, one presenting the original score composed for the movie by Howard Shore, and the other featuring earlier recordings, mostly pop/rock songs, which were used on the soundtrack.
Soundtrack
The Departed: Music from the Motion Picture

Soundtrack album by Various Artists Released Genre November 7, 2006 Rock Country Pop Warner Sunset Jason Cienkus
Label Producer
Once again Robbie Robertson had a hand in picking out the music. The film opens with "Gimme Shelter" by The Rolling Stones ("Let it Loose" also appears later on), and prominently plays "I'm Shipping Up to Boston" by Dropkick Murphys with lyrics written by Woody Guthrie, which gained the band some popularity. The film features the live cover of Pink Floyd's "Comfortably Numb" by Roger Waters, Van Morrison, and Rick Danko, Levon Helm, and Garth Hudson of The Band from the 1990 Berlin Wall Concert. Although "Gimme Shelter" is featured twice in the film, the song does not appear on the album soundtrack. Also heard in the movie but not featured on the soundtrack is "Thief's Theme" by Nas, "Well Well Well" by John Lennon, "Bang Bang" by Joe Cuba, and the Act II Sextet from Donizetti's Lucia di Lammermoor (Which is also Costello's ringtone in the film). The film closes with a cover of Don Gibson's "Sweet Dreams," by Roy Buchanan.
Track listing No. Title 1. "Comfortably Numb" 2. "Sail On, Sailor" 3. "Let It Loose" 4. "Sweet Dreams" 5. "One Way Out" 6. "Baby Blue" Artist(s) Roger Waters (Feat. Van Morrison & The Band) The Beach Boys The Rolling Stones Roy Buchanan The Allman Brothers Band Badfinger Length 7:59 3:18 5:18 3:32 4:57 3:36 2:34 2:18 3:10 2:34 3:32 2:33
7. "I'm Shipping Up to Boston" Dropkick Murphys 8. "Nobody but Me" 9. "Tweedle Dee" 10. "Sweet Dreams (of You)" 11. "The Departed Tango" 12. "Beacon Hill" The Human Beinz LaVern Baker Patsy Cline Howard Shore, Marc Ribot Howard Shore, Sharon Isbin
2006 The Departed
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Score
The Departed: Original Score

Film score by Howard Shore Released Genre Label Producer December 5, 2006 Film scores New Line Jason Cienkus
The film score for The Departed was written by Howard Shore and performed by guitarists Sharon Isbin, G. E. Smith, Larry Saltzman and Marc Ribot. The score was recorded in Shore's own studio in New York State.
Track listing No. Title 1. "Cops or Criminals" 2. "344 Wash" 3. "Beacon Hill" 4. "The Faithful Departed" 5. "Colin" 6. "Madolyn" 7. "Billy's Theme" 8. "Command" 9. "Chinatown" 10. "Boston Common" 11. "Miss Thing" 12. "The Baby" 13. "The Last Rites" 14. "The Departed Tango" Length 2:01 2:03 2:36 3:01 2:09 2:14 6:58 3:15 3:16 2:53 1:45 2:48 3:05 3:38
Home media
The Departed was released by Warner Brothers on DVD on February 13, 2007 in Region 1 format and on February 19, 2007 in Region 2 format, and was released on March 14, 2007 in Region 4 format. The film is available in a single-disc full screen (1:33:1), single-disc widescreen (2:40:1) edition, and 2-disc special edition. The second disc of this film predominately contains features that concerned the crimes that influenced Scorsese with deleted scenes being the only feature that are actually film related. The Region 1 version has three available audio tracks: English, Spanish, and French (all of which are in Dolby Digital 5.1), and three subtitle tracks (English, Spanish, French). The film was released on HD DVD and Blu-ray at the same time as the standard-definition DVD. The 2-Disc Special Edition was packaged in a Limited Edition Steelbook. It marked the first time that an Oscar winning Best Picture was released to the home video market in DVD format only, as VHS was totally phased out by the start of 2006.
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Sequel
In a February 2007 interview with Empire, Mark Wahlberg stated that there might be a sequel focusing on his character, Dignam, with Robert De Niro potentially playing a corrupt senator. He also stated that William Monahan was writing the script.[16] The film is said to be on hold, because producer Brad Grey is now the head of Paramount Pictures and the film is a Warner Bros. project.[17] In June 2010, Wahlberg and Monahan still expressed interest in a sequel, which was said to be projected for a 2012 release date.[18]
Homages
Throughout the film, Scorsese used Xs mostly shown in the background to mark characters for death; examples include shots of Costigan walking through the airport while talking to Sgt. Dignam (Mark Wahlberg), Queenan falling to his death (on the building glass windows as Queenan falls to ground), and Sullivan returning to his apartment at the end of the movie (on the hallway floors). This is a homage to Howard Hawks' classic 1932 film Scarface.[19]
Notes
[1] "The Departed (2006)" (http:/ / www. boxofficemojo. com/ movies/ ?id=departed. htm). Box Office Mojo. IMDb. Retrieved 2011-06-22. [2] "Infernal Affairs vs. the remake, The Departed" (http:/ / www. film. com/ features/ story/ infernal-affairs-vs-remake-departed/ 11973483). Film.com. Retrieved 2011-06-22. [3] Kauffmann, Stanley. (October 30, 2006). "Themes and Schemes." The New Republic. Vol. 235, Issue 18. [4] "'The Departed'" (http:/ / www. post-gazette. com/ pg/ 06279/ 727779-120. stm). Post-Gazette.com. 2006-10-06. . Retrieved 2009-10-17. [5] "The Departed Movie Reviews" (http:/ / www. rottentomatoes. com/ m/ departed). Rotten Tomatoes. Flixter. . Retrieved 2009-10-17. [6] Geier, Thom; Jensen, Jeff; Jordan, Tina; Lyons, Margaret; Markovitz, Adam; Nashawaty, Chris; Pastorek, Whitney; Rice, Lynette; Rottenberg, Josh; Schwartz, Missy; Slezak, Michael; Snierson, Dan; Stack, Tim; Stroup, Kate; Tucker, Ken; Vary, Adam B.; Vozick-Levinson, Simon; Ward, Kate (December 11, 2009), "THE 100 Greatest MOVIES, TV SHOWS, ALBUMS, BOOKS, CHARACTERS, SCENES, EPISODES, SONGS, DRESSES, MUSIC VIDEOS, AND TRENDS THAT ENTERTAINED US OVER THE PAST 10 YEARS". Entertainment Weekly. (1079/1080): 74-84. [7] "Review: Departed, The" (http:/ / www. reelviews. net/ movies/ d/ departed. html). ReelViews.net. . Retrieved 2009-10-17. [8] "My Infernal Affairs is better than Scorsese's says Lau" (http:/ / www. guardian. co. uk/ film/ 2006/ oct/ 10/ news1). Guardian.co.uk (London: The Guardian). 2006-10-10. . Retrieved 2006-10-10. [9] "Andy Lau comments on The Departed (Chinese)" (http:/ / web. archive. org/ web/ 20061216120725/ http:/ / hk. news. yahoo. com/ 061005/ 60/ 1u6o2. html). 2006-10-06. Archived from the original (http:/ / hk. news. yahoo. com/ 061005/ 60/ 1u6o2. html) on December 16, 2006. . Retrieved 2006-10-06. [10] "Andy Lau Gives 'Departed' an 8 Out of 10" (http:/ / web. archive. org/ web/ 20061216120725/ http:/ / hk. news. yahoo. com/ 061005/ 60/ 1u6o2. html). 2006-10-07. Archived from the original (http:/ / hk. news. yahoo. com/ 061005/ 60/ 1u6o2. html) on December 16, 2006. . Retrieved 2006-10-07. [11] "Metacritic: 2006 Film Critic Top Ten Lists" (http:/ / web. archive. org/ web/ 20071213004758/ http:/ / www. metacritic. com/ film/ awards/ 2006/ toptens. shtml). Metacritic. Archived from the original (http:/ / www. metacritic. com/ film/ awards/ 2006/ toptens. shtml) on 2007-12-13. . Retrieved 2008-01-08. [12] "Martin Scorsese Wins Something!" (http:/ / www. eonline. com/ uberblog/ b54326_martin_scorsese_wins_something. html). E! Online. 2007-02-04. . Retrieved 2009-10-17. [13] MSNBC and Associated Press. "Scorsese wins Oscar with film thats not his best" (http:/ / today. msnbc. msn. com/ id/ 17351684). MSNBC (NBC Universal). February 27, 2007. Web. October 16, 2010. [14] James Wray and Ulf Stabe (2007-02-04). "Scorsese takes top DGA honors" (http:/ / www. monstersandcritics. com/ movies/ news/ article_1255397. php/ Scorsese_takes_top_DGA_honors). Monsters and Critics. . Retrieved 2009-10-17. [15] "AFI's 10 Top 10 Ballot" (http:/ / www. afi. com/ drop/ ballot. pdf). AFI.com. [16] "Exclusive: News On Departed 2... And 3!" (http:/ / www. empireonline. com/ news/ story. asp?NID=20343). EmpireOnline.com. 2007-02-07. . Retrieved 2007-02-07. [17] Stax (2007-02-05). "No Departed 2 Just Yet" (http:/ / movies. ign. com/ articles/ 761/ 761346p1. html). IGN. . Retrieved 2007-02-07. [18] "The Departed Sequel Will Arrive in 2012" (http:/ / thefilmstage. com/ 2010/ 06/ 10/ the-departed-sequel-arriving-in-2012). TheFilmStage.com. June 10, 2010. . Retrieved June 10, 2010. [19] Rene Rodriguez (2007-01-11). "X marks the spot in 'The Departed'" (http:/ / miamiherald. typepad. com/ reeling/ 2007/ 01/ x_marks_the_spo. html). The Miami Herald. . Retrieved 2009-11-26.
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Further reading
Brad Balfour (2006). "MARTIN SCORSESE, LEONARDO DiCAPRIO, MATT DAMON, VERA FARMIGA AND WILLIAM MONAHAN (Records two 40-minute press conference sessions)" (http://www. popentertainment.com/scorsese.htm). PopEntertainment.com. Retrieved 2007-09-10.
External links
Official website (http://thedeparted.warnerbros.com) The Departed (http://www.imdb.com/title/tt0407887/) at the Internet Movie Database The Departed (http://www.allrovi.com/movies/movie/v310756) at AllRovi The Departed (http://www.rottentomatoes.com/m/departed/) at Rotten Tomatoes The Departed (http://www.metacritic.com/movie/the-departed) at Metacritic The Departed (http://www.boxofficemojo.com/movies/?id=departed.htm) at Box Office Mojo
2007 No Country for Old Men
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No Country for Old Men
Directed by Produced by Joel Coen Ethan Coen Joel Coen Ethan Coen Scott Rudin Joel Coen Ethan Coen No Country for Old Menby Cormac McCarthy Tommy Lee Jones Javier Bardem Josh Brolin Carter Burwell
Screenplay by Based on
Starring
Music by
Cinematography Roger Deakins Editing by Distributed by Release date(s) Running time Country Language Budget Box office Roderick Jaynes Miramax Films Paramount Vantage
November 9, 2007
No Country for Old Men is a 2007 American thriller written and directed by Joel and Ethan Coen, based on the Cormac McCarthy novel of the same name.[1][2] The film stars Tommy Lee Jones, Javier Bardem and Josh Brolin, and tells the story of an ordinary man to whom chance delivers a fortune that is not his, and the ensuing cat-and-mouse drama, as three men crisscross each other's paths in the desert landscape of 1980 West Texas.[3] Themes of fate, conscience and circumstance re-emerge that the Coen brothers have previously explored in Blood Simple and Fargo. Among its four Oscars at the 2008 Academy Awards were awards for Best Picture, Best Director, and Best Adapted Screenplay, allowing the Coen brothers to join the five previous directors honored three times for the same film.[4][5] In addition, the film won three British Academy Film Awards (BAFTA) including Best Director,[6] and two Golden Globes.[7] The American Film Institute listed it as an AFI Movie of the Year,[8] and the National Board of Review selected the film as the best of 2007.[9] The film premiered in competition at the 2007 Cannes Film Festival on May 19,[10] and commercially opened in limited release in 28 theaters in the United States on November 9, 2007, grossing $1,226,333 over the opening weekend, and opened in the United Kingdom (limited release) and Ireland on January 18, 2008.[11] It became the biggest box-office hit for the Coen brothers to date,[12] grossing more than 170 million dollars worldwide,[13] until it was surpassed by True Grit in 2010.[14]
2007 No Country for Old Men No Country for Old Men appeared on more critics' top ten lists (354) than any other film of 2007, and was the most selected as the best film of the year.[15] It is regarded by many critics as the Coen brothers' finest film.[16][17][18][19] Roger Ebert of the Chicago Sun-Times called it "as good a film as the Coen brothers...have ever made,"[16] The Guardian journalist John Patterson said "that the Coens' technical abilities, and their feel for a landscape-based Western classicism reminiscent of Anthony Mann and Sam Peckinpah, are matched by few living directors,"[20] and Peter Travers of Rolling Stone said that it is "a new career peak for the Coen brothers" and is "as entertaining as hell."[21]
678
Plot
West Texas in June 1980 is desolate, wide open country, and Ed Tom Bell (Tommy Lee Jones) laments the increasing violence in a region where he, like his father and grandfather before him, has risen to the office of sheriff. Llewelyn Moss (Josh Brolin), hunting pronghorn, comes across the aftermath of a drug deal gone awry: several dead men and dogs, a wounded Mexican begging for water, and two million dollars in a satchel that he takes to his trailer home. Late that night, he returns with water for the dying man, but is chased away by two men in a truck and loses his vehicle. When he gets back home he grabs the cash, sends his wife Carla Jean (Kelly Macdonald) to her mother's, and makes his way to a motel in the next county[22] where he hides the satchel in the air vent of his room. Anton Chigurh (Javier Bardem) is a hitman who has been hired to recover the money. He has already strangled a sheriff's deputy to escape custody and stolen a car by using a captive bolt pistol to kill the driver. Now he carries a receiver that traces the money via a tracking device concealed inside the satchel. Bursting into Moss' hideout at night, Chigurh surprises a group of Mexicans set to ambush Moss, and murders them all. Moss, who has rented the connecting room on the other side, is one step ahead. By the time Chigurh removes the vent cover with a dime, Moss is already back on the road with the cash. In a border town hotel, Moss finally finds the electronic bug, but not before Chigurh is upon him. A firefight between them spills onto the streets, leaving both men wounded. Moss flees across the border, collapsing from his injuries before he is taken to a Mexican hospital. There, Carson Wells (Woody Harrelson), another hired operative, offers protection in return for the money. After Chigurh cleans and stitches his own wounds with stolen supplies, he gets the drop on Wells back at his hotel and kills him just as Moss calls the room. Picking up the call and casually raising his feet to avoid the spreading blood, Chigurh promises Moss that Carla Jean will go untouched if he gives up the money. Moss remains defiant. Moss arranges to rendezvous with his wife at a motel in El Paso to give her the money and send her out of harm's way. She reluctantly accepts Bell's offer to save her husband, but he arrives only in time to see a pickup carrying several men speeding away from the motel and Moss lying dead in his room. That night, Bell returns to the crime scene and finds the lock blown out in his suspect's familiar style. Chigurh hides behind the door of a motel room, observing the shifting light through an empty lock hole. His gun drawn, Bell enters Moss' room and notices that the vent cover has been removed with a dime and the vent is empty. Bell visits his Uncle Ellis (Barry Corbin), an ex-lawman. Bell plans to retire because he feels "overmatched," but Ellis points out that the region has always been violent. For Ellis, thinking it is "all waiting on you, that's vanity." Carla Jean returns from her mother's funeral to find Chigurh waiting in the bedroom. When she tells him she does not have the money, he recalls the pledge he made to her husband that could have spared her. The best he will offer is a coin toss for her life, but she says that the choice is his. Chigurh leaves the house alone and carefully checks the soles of his boots. As he drives away, he is injured in a car accident and abandons the damaged vehicle. Now retired, Bell shares two dreams with his wife (Tess Harper), both involving his deceased father. In the first dream he lost "some money" that his father had given him; in the second, he and his father were riding horses through a snowy mountain pass. His father, who was carrying fire in a horn, quietly passed by with his head down, "going on ahead, and fixin' to make a fire" in the surrounding dark and cold. Bell knew that when he got there his
2007 No Country for Old Men father would be waiting.
679
Cast
Tommy Lee Jones as Sheriff Ed Tom Bell, a laconic, soon-to-retire county sheriff on the trail of Chigurh and Moss. Javier Bardem as Anton Chigurh, a hitman hired to recover the missing money. The directors sought an actor "who could have come from Mars", and introduce the character, typical of the their "Unstoppable Evil" archetype, in a manner reminiscent of The Man Who Fell to Earth.[23] For this morally serious story, they wanted to avoid comparisons to the Terminator[24] and now he seems a "modern equivalent of Death from Ingmar Bergman's 1957 film The Seventh Seal."[25] Bardem had been a Coens' fan since he saw their debut, Blood Simple,[26] but he had to endure a distinctive haircut, derived from a 1979 book supplied by Jones that featured photos of brothel patrons on the Texas-Mexico border.[27] The strange hair left the actor's "psyche... affected," Bardem says, "in a very delicate way,"[28] and, convinced he wouldn't get laid for two months, too depressed to leave his house.[29] Josh Brolin as Llewelyn Moss, a welder and Vietnam veteran who flees with two million dollars in drug money that he finds in an open field in Texas. Kelly Macdonald as Carla Jean Moss, Llewelyn Moss' wife. Despite having severe misgivings about her husband's plans to keep the money, she still supports him. Macdonald said that what attracted her to the character of Moss was that she "wasn't obvious. She wasn't your typical trailer trash kind of character. At first you think she's one thing and by the end of the film, you realize that she's not quite as nave as she might come across."[30] Woody Harrelson as Carson Wells, a cocky bounty hunter and acquaintance of Chigurh hired to recover the drug money. Garret Dillahunt as Deputy Wendell, Bell's inexperienced deputy sheriff assisting in the investigation and providing comic relief. Tess Harper as Loretta Bell, the sheriff's wife, who provides reassurance in his darker moods. Barry Corbin as Ellis, a retired deputy shot in the line of duty and now wheelchair-bound. He acts as a straight-talking sounding board to his nephew, Bell. Beth Grant as Agnes, Carla Jean's mother and the mother-in-law of Moss. She provides comic relief despite the fact that she is dying from "the cancer." Stephen Root as the man who hires Chigurh, Wells (only mentioned in passing as a possible party to the original drug deal), and the Mexicans. Gene Jones as Thomas Thayer, an elderly rural gas station clerk with good fortune, as his call on Anton's coin flip saves his life. Brandon Smith as a stern INS official wearing sunglasses as he guards the U.S.-Mexican border. He lets Moss cross once he learns he was in the Vietnam War.
Production
Producer Scott Rudin bought the book rights to McCarthy's novel and suggested a film adaptation to the Coen brothers, who at the time were attempting to adapt the novel To the White Sea by James Dickey.[23] By August 2005, the Coen brothers agreed to write and direct a film adaptation of No Country for Old Men, having identified with how the novel provided a sense of place and also how it played with genre conventions. Joel Coen said of the unconventional approach, "That was familiar, congenial to us; we're naturally attracted to subverting genre. We liked the fact that the bad guys never really meet the good guys, that McCarthy did not follow through on formula expectations."[23][31] The Coens also identified the appeal of the novel to be its "pitiless quality." Ethan Coen explained, "That's a hallmark of the book, which has an unforgiving landscape and characters but is also about finding some kind of beauty without being sentimental." The adaptation was to be the second of McCarthy's work, following the 2000 film All the Pretty Horses.[32]
680
Writing
"One of us types into the computer while the other holds the spine of the book open flat." Co-director Ethan Coen on writing the script from the Cormac McCarthy novel.
[20]
The Coens' script was unusually faithful to their source material. In fact, Ethan said, "One of us types into the computer while the other holds the spine of the book open flat."[20] Still, they pruned where necessary.[23] A teenage runaway who appeared late in the book and some backstory related to Bell were both removed.[24] Also changed from the original was Carla Jean Moss's reaction when finally faced with the imposing figure of Chigurh. As Kelly MacDonald explained to CanMag: "The ending of the book is different. She reacts more in the way I react. She kind of falls apart. In the film she's been through so much and she can't lose any more. It's just she's got this quiet acceptance of it."[30] Richard Corliss of Time magazine stated that "the Coen brothers have adapted literary works before. Miller's Crossing was a sly, unacknowledged blend of two Dashiell Hammett's tales, Red Harvest and The Glass Key; and O Brother Where Art Thou? transferred The Odyssey [of Homer] to the American south in the 1930s. But No Country for Old Men is their first film taken, pretty straightforwardly, from a [contemporary] prime American novel."[33] (Their 2004 film The Ladykillers is based on a 1955 British black comedy film of the same name).[34] The writing is also notable for its minimal use of dialogue. Josh Brolin discussed his initial nervousness with having so little dialogue to work with: I mean it was a fear, for sure, because dialogue that's what you kind of rest upon as an actor, you know? [...] Drama and all the stuff is all dialogue motivated. You have to figure out different ways to convey ideas. You don't want to over-compensate because the fear is that you're going to be boring if nothing's going on. You start doing this and this and taking off your hat and putting it on again or some bullshit that doesn't need to be there. So yeah, I was a little afraid of that in the beginning.[35] Peter Travers of the Rolling Stone praised the novel adaptation. "Not since Robert Altman merged with the short stories of Raymond Carver in Short Cuts have filmmakers and author fused with such devastating impact as the Coens and McCarthy. Good and evil are tackled with a rigorous fix on the complexity involved."[21] Director Joel Coen justified his interest in the McCarthy novel. "There's something about it there were echoes of it in No Country for Old Men that were quite interesting for us", he said, "because it was the idea of the physical work that somebody does that helps reveal who they are and is part of the fiber of the story. Because you only saw this person in this movie making things and doing things in order to survive and to make this journey, and the fact that you were thrown back on that, as opposed to any dialogue, was interesting to us."[36] Co-director Joel Coen stated that this is the brothers' "first adaptation". He further explained why they chose the Cormac McCarthy's novel: "Why not start with Cormac? Why not start with the best?" Coen further described this McCarthy novel in particular as "unlike his other novels ... it is much pulpier." Coen stated that they haven't changed much in the adaptation. "It really is just compression," he said. "We didn't create new situations." He further assured that the he and his brother Ethan had never met McCarthy when they were writing the script, but first met him during the shooting of the film. He believed that McCarthy liked the film, while his brother Ethan said, "he didn't yell at us. We were actually sitting in a movie theater/screening room with him when he saw it ... and I heard him chuckle a couple of times, so I took that as a seal of approval, I don't know, maybe presumptuously." [37]
2007 No Country for Old Men Title The title is taken from the opening line of 20th-century Irish poet and dramatist William Butler Yeats' poem "Sailing to Byzantium"[38]: "THAT is no country for old men. The young In one another's arms, birds in the trees Those dying generations at their song, The salmon-falls, the mackerel-crowded seas, Fish, flesh, or fowl, commend all summer long Whatever is begotten, born, and dies. Caught in that sensual music all neglect Monuments of unageing intellect" Richard Gilmore relates the Yeats poem to the Coens' film. "The lament that can be heard in these lines," he says, "is for no longer belonging to the country of the young. It is also a lament for the way the young neglect the wisdom of the past and, presumably, of the old ... Yeats chooses Byzantium because it was a great early Christian city in which Plato's Academy, for a time, was still allowed to function. The historical period of Byzantium was a time of culmination that was also a time of transition. In his book of mystical writings, A Vision, Yeats says, 'I think that in early Byzantium, maybe never before or since in recorded history, religious, aesthetic, and practical life were one, that architect and artificers...spoke to the multitude and the few alike.' The idea of a balance and a coherence in a society's religious, aesthetic, and practical life is Yeats's ideal ...It is an ideal rarely realized in this world and maybe not even in ancient Byzantium. Certainly within the context of the movie No Country for Old Men, one has the sense, especially from Bell as the chronicler of the times, that things are out of alignment, that balance and harmony are gone from the land and from the people."[39] Differences from the novel Tasha Robinson lists the differences between the Coen brothers' award-winning script and the Cormac McCarthy novel: "The book is less removed about the end of the interaction between Chigurh (the Javier Bardem character) and Moss' wife ...; it spells out the fact that he shoots her. She also doesn't refuse to call heads or tails on his coin: She calls it incorrectly, though they then have pretty much the same conversation they have in the film, about how he, not the coin, is deciding her fate. The book is also more specific about how Chigurh ended up in the car of the deputy he kills at the beginning of the film; he murdered a man for a snotty remark, then permitted himself to be captured 'to see if I could extricate myself by an act of will.' Explaining some aspects of his life to Carson Wells (the Woody Harrelson character) before killing him, Chigurh describes this as a vain, foolish act. The first hotel confrontation between Moss and Chigurh plays out very differently; rather than punching out the lock and wounding Moss, Chigurh apparently steals a key from the murdered clerk and quietly enters Moss' room, and Moss hides and takes him captive at gunpoint, so they have a chance to see and know each other. Then Moss runs and the chase/shootout begins. There's a scene where Chigurh delivers the recovered cash to some higher-up whom he's never met before, but whom he's clearly decided is now his employer; he presents the money and they come to terms after a brief 'How did you find me?' 'What difference does it make?' conversation. There's also a protracted scene toward the end where Sheriff Bell interviews one of the kids who witnessed Chigurh's car accident, and apparently stole Chigurh's gun out of his car afterward. The chase scene with the dog that follows Moss downstream until he manages to dry out his gun and shoot it is an invention of the film, and doesn't appear in the book in any way.
681
2007 No Country for Old Men Where the film last sees Moss alive heading off to have a beer with a lady who calls to him from poolside at her hotel, the book has a lengthy interlude between him and a young female hitchhiker, whom he gives money and advice ... He actually dies because he puts down his gun when the Mexicans following him take her hostage. Robinson adds that "the list of plot changes above may seem long, but they represent a small percentage of the actual story, which mostly plays out in the film exactly as McCarthy puts it on the page, scene for scene, conversation for conversation. A lot of the speeches and wittiest exchanges are verbatim from the book."[40] Other listed differences include: "[The film] omits all references to Bell's experience in World War II, which is a key to understanding his character in the novel. In the novel, in the scene with Uncle Ellis, Bell tells a long story about how he received a medal of honor in the war, which he feels he did not deserve because he ran away and left his men. Bell is haunted by his guilt about this incident, which the film completely omits. The opening [voice-over narration] is composed of lines taken from 3 different passages of first-person narration: (90; 634; 34). As one can see from the page numbers, the filmmakers took passages out of their contexts and reworked them into one coherent statement. [In the] shoot out between Chigurh and Moss after Moss escapes from Hotel Eagle: This scene intensifies the dramatic action in which Moss barely escapes in the truck and then waits for Chigurh and wounds him, momentarily turns the tables as Moss hunts Chigurh who escapes. In the novel, Chigurh gets involved with battling the Mexicans and loses track of Moss."[41] Craig Kennedy adds that "one key difference is that of focus. The novel belongs to Sheriff Bell. Each chapter begins with Bell's narration, which dovetails and counterpoints the action of the main story. Though the film opens with Bell speaking, much of what he says in the book is condensed and it turns up in other forms. Also, Bell has an entire backstory in the book that doesn't make it into the film. The result is a movie that is more simplified thematically, but one that gives more of the characters an opportunity to shine."[42] Jay Ellis elaborates on Chigurh's encounter with the man behind the counter at the gas station. "Where McCarthy gives us Chigurh's question as, 'What's the most you ever saw lost on a coin toss? (55)', he says, 'the film elides the word 'saw', but the Coens of course tend to the visual. Where the book describes the setting as 'almost dark' (52), the film clearly depicts high noon: no shadows are notable in the establishing shot of the gas station, and the sunlight is bright even if behind cloud cover. The light through two windows and a door comes evenly through three walls in the interior shots. But this difference increases our sense of the man's desperation later, when he claims he needs to close and he closes at 'near dark'; it is darker, as it were, in the cave of this man's ignorance than it is outside in the bright light of truth."[43]
682
Casting
Javier Bardem told the Coens that he would happily take the part even though he hated violence, had never fired a gun, was uncomfortable speaking English and doesn't drive a car.
[44]
Actors Javier Bardem and Tommy Lee Jones entered talks to join the cast in February 2006.[45] Jones was the first actor to be officially cast in No Country for Old Men. The Coen brothers felt that Jones fit the role since they wanted to avoid sentimentality and not have the audiences perceive the character to be a Charley Weaver type.[23] Praising Jones' credentials, the Coen brothers said, "He's from San Saba, Texas, not far from where the movie takes place. He's the real thing regarding that region." Joel Coen further outlined the directors' reasons for hiring Tommy Lee Jones in interview with Emanuel Levy: There are just very, very few people who can carry a role like this one [...] Sheriff Bell is the soul of the movie and also, in a fundamental way, the region is so much a part of Sheriff Bell, so we needed someone who understood it [...] It's a role that also requires a kind of subtlety that only a really, really great actor can bring to it. Again, the list of these is pretty short, so when you put those two criteria together, you come up with Tommy Lee Jones. Being a Texan, the region is a part of his core.[46]
2007 No Country for Old Men Javier Bardem stated that the Coen brothers are his favorite directors of all time. "The complexity of Chigurh was a kind of dream," he added. "... I saw him as a man with a mission that was beyond his control. Someone chose his fate for him. I thought of him as a man who never had sex. He doesn't like human fluids, even his own ... It was important to think about how he relates to other people, even sexually." Bardem told the Coens that he would happily take the part even though he hated violence, had never fired a gun, was uncomfortable speaking English and doesn't drive a car. "They weren't concerned," he said. "When you act, you learn things. Before 'No Country,' I had never held a gun and now I can drive a car. When I was doing Chigurh, my English became so good that I was dreaming in English."[44] Josh Brolin joined the cast shortly after in April, prior to the start of production.[47] Robert Rodriguez and Quentin Tarantino filmed Brolin's first audition for the movie on a Panavision Genesis camera during lunch while filming Grindhouse. However, Brolin was initially overlooked for the role of Llewelyn. Other actors had been offered the role, including Heath Ledger, who turned down the offer to take time off from acting.[48] According to Brolin, the Coens' only response to the audition tape was, "Who lit it?"[49] Brolin said it was only due to his agents' persistence that he eventually got a callback: What I found out now was their last casting session, they were focused on a couple of actors. They called me the night before and they said, basically, no harm, no foul. 'Leave us alone, have him come down.' I studied a few scenes and I came down and I met them, and there was really no reaction in the meeting. I walked out thinking, 'It was great meeting the Coens. I'm a big fan. That's cool.' And by the time I got home I found out they wanted me to do it.[35] Brolin broke his collarbone in a motorcycle accident a few days before filming was due to begin, but he and his doctor lied about the extent of his injury to the Coens and they let him continue in the role.[50] The Coens later wrote a short tongue-in-cheek piece for Esquire magazine called "Josh Brolin, the Casting Mistake of the Year", in which they claimed to have believed that they had cast James Brolin in the role of the aging Vietnam vet, and upon realizing their mistake were forced to reset the movie in the year 1980.[51] Kelly Macdonald's agent originally wasn't sure she was right for the part of Moss' wife, and Macdonald is reported as having to "fight for the role".[52] She was ultimately nominated for a BAFTA for Best Supporting Actress. Macdonald explained how she mastered the Texas accent even though she is from Glasgow, Scotland. "I've got a very good friend who's a dialect coach," she said, "and when I first went in to meet [casting director] Ellen Chenoweth I was in New York, and I spoke to my good friend for a half hour or so in the hotel bathroom, and I went in to see her and it kind of just clicked, and I don't know why. I could just hear a voice when I read it." [53]
683
Filming
The project was a co-production between Miramax Films and Paramount's classics-based division in a 50/50 partnership, and production was scheduled for May 2006 in New Mexico and Texas. With a total budget of $25 million (at least half spent in New Mexico[54]), production was slated for the New Mexico cities of Santa Fe, Albuquerque, and Las Vegas (which doubled as the border towns of Eagle Pass and Del Rio, Texas), with other scenes shot around Marfa and Sanderson in West Texas.[55] The U.S.-Mexico border crossing bridge was actually a freeway overpass in Las Vegas, with a border checkpoint set built at the intersection of Interstate 25 and New Mexico State Highway 65.[56] The Mexican town square was filmed in Piedras Negras, Coahuila.[55] In advance of shooting, Cinematographer Roger Deakins saw that "the big challenge" of his ninth collaboration with the Coen brothers was "making it very realistic, to match the story.... I'm imagining doing it very edgy and dark, and quite sparse. Not so stylized."[57] "Everything's storyboarded before we start shooting," Deakins said in Entertainment Weekly. "In No Country, there's maybe only a dozen shots that are not in the final film. It's that order of planning. And we only shot 250,000 feet, whereas most productions of that size might shoot 700,000 or a million feet of film. It's quite precise, the way they approach everything.... We never use a zoom," he said. "I don't even carry a zoom lens with me, unless it's for
2007 No Country for Old Men something very specific." The famous coin-tossing scene between Chigurh and the old gas station clerk is a good example; the camera tracks in so slowly that the audience isn't even aware of the move. "When the camera itself moves forward, the audience is moving, too. You're actually getting closer to somebody or something. It has, to me, a much more powerful effect, because it's a three-dimensional move. A zoom is more like a focusing of attention. You're just standing in the same place and concentrating on one smaller element in the frame. Emotionally, that's a very different effect."[58] In a later interview, he mentions the "awkward dilemma [that] No Country certainly contains scenes of some very realistically staged fictional violence, but... without this violent depiction of evil there would not be the emotional 'pay off' at the end of the film when Ed Tom bemoans the fact that God has not entered his life."[59]
684
Directing
The Coen brothers acknowledge the influence of Sam Peckinpah's work on their own. In an interview for The Guardian, they said, "Hard men in the south-west shooting each other that's definitely Sam Peckinpah's thing. We were aware of those similarities, certainly."[20] They discuss choreographing and directing the film's violent scenes in the Sydney Morning Herald: "'That stuff is such fun to do', the brothers chime in at the mention of their penchant for blood-letting. 'Even Javier would come in by the end of the movie, rub his hands together and say, 'OK, who am I killing today?' adds Joel. 'It's fun to figure out', says Ethan. 'It's fun working out how to choreograph it, how to shoot it, how to engage audiences watching it.'"[60] Director Joel Coen described the process of film making: "I can almost set my watch by how I'm going to feel at different stages of the process. It's always identical, whether the movie ends up working or not. I think when you watch the dailies, the film that you shoot every day, you're very excited by it and very optimistic about how it's going to work. And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before."[36] David Denby of The New Yorker criticized the way the Coens "disposed of" Llewelyn Moss. "The Coens, however faithful to the book", he said, "cannot be forgiven for disposing of Llewelyn so casually. After watching this foolhardy but physically gifted and decent guy escape so many traps, we have a great deal invested in him emotionally, and yet he's eliminated, off-camera, by some unknown Mexicans. He doesn't get the dignity of a death scene. The Coens have suppressed their natural jauntiness. They have become orderly, disciplined masters of chaos, but one still has the feeling that, out there on the road from nowhere to nowhere, they are rooting for it rather than against it."[61] Josh Brolin discussed the Coens' directing style in an interview, saying that the brothers "only really say what needs to be said. They don't sit there as directors and manipulate you and go into page after page to try to get you to a certain place. They may come in and say one word or two words, so that was nice to be around in order to feed the other thing. 'What should I do right now? I'll just watch Ethan go humming to himself and pacing. Maybe that's what I should do, too.'"[35] In an interview with Logan Hill of New York magazine, Brolin expressed that he had "a load of fun" while working with the Coens. "We had a load of fun making it," he said. "Maybe it was because we both [Brolin and Javier Bardem] thought we'd be fired. With the Coens, there's zero compliments, really zero anything. No 'nice work.' Nothing. And thenI'm doing this scene with Woody Harrelson. Woody can't remember his lines, he stumbles his way through it, and then both Coens are like, 'Oh my God! Fantastic!'"[62] David Gritten of The Daily Telegraph wonders: "Are the Coens finally growing up?" He adds: "If [the film] feels pessimistic, Joel insists that's not the Coens' responsibility: 'I don't think the movie is more or less so than the novel. We tried to give it the same feeling.' The brothers do concede, however, that it's a dark piece of storytelling. 'It's refreshing for us to do different kinds of things,' says Ethan, 'and we'd just done a couple of comedies.'"[63]
685
Musical score and sound

"What you hear mostly is a suffocating silence" ... Skip Lievsay, the film's sound editor said: "I think [removing the score] makes the movie much more suspenseful. You're not guided by the score and so you lose that comfort zone."
[64]
The Coens minimized the score used in the film, leaving large sections devoid of music. The concept was Ethan's, who persuaded a skeptical Joel to go with the idea. There is some music in the movie, scored by the Coens' longtime composer, Carter Burwell, but after finding that "most musical instruments didn't fit with the minimalist sound sculpture he had in mind [...] he used singing bowls, standing metal bells traditionally employed in Buddhist meditation practice that produce a sustained tone when rubbed." The movie contains a "mere" 16 minutes of music, with several of those in the end credits. The music in the trailer was called "Diabolic Clockwork" by Two Steps from Hell. Sound editing and effects were provided by another longtime Coens collaborator, Skip Lievsay, who used a mixture of emphatic sounds (gun shots) and ambient noise (engine noise, prairie winds) in the mix. The Foley for the captive bolt pistol used by Chigurh was created using a pneumatic nail gun.[64] Anthony Lane of The New Yorker states that "there is barely any music, sensual or otherwise, and Carter Burwell's score is little more than a fitful murmur",[65] and Douglas McFarland states that "perhaps [the film's] salient formal characteristic is the absence, with one telling exception, of a musical soundtrack, creating a mood conducive to thoughtful and unornamented speculation in what is otherwise a fierce and destructive landscape."[66] Jay Ellis, however, disagrees. "[McFarland] missed the extremely quiet but audible fade in a few tones from a keyboard beginning when Chigurh flips the coin for the gas station man", he said. "This ambient music (by long-time Coens collaborator Carter Burwell) grows imperceptibly in volume so that it is easily missed as an element of the mis-en-scene. But it is there, telling our unconscious that something different is occurring with the toss; this becomes certain when it ends as Chigurh uncovers the coin on the counter. The deepest danger has passed as soon as Chigurh finds (and Javier Bardem's acting confirms this) and reveals to the man that he has won."[67] In order to achieve such sound effect, Burwell "tuned the music's swelling hum to the 60-hertz frequency of a refrigerator."[64] Dennis Lim of The New York Times stressed that "there is virtually no music on the soundtrack of this tense, methodical thriller. Long passages are entirely wordless. In some of the most gripping sequences what you hear mostly is a suffocating silence." Skip Lievsay, the film's sound editor called this approach "quite a remarkable experiment," and added that "suspense thrillers in Hollywood are traditionally done almost entirely with music. The idea here was to remove the safety net that lets the audience feel like they know what's going to happen. I think it makes the movie much more suspenseful. You're not guided by the score and so you lose that comfort zone."[64] James Roman observes the effect of sound in the scene where Chigurh pulls in for gas at the Texaco rest stop. "[The] scene evokes an eerie portrayal of innocence confronting evil," he says, "with the subtle images richly nuanced by sound. As the scene opens in a long shot, the screen is filled with the remote location of the rest stop with the sound of the Texaco sign mildly squeaking in a light breeze. The sound and image of a crinkled candy wrapper tossed on the counter adds to the tension as the paper twists and turns. The intimacy and potential horror that it suggests is never elevated to a level of kitschy drama as the tension rises from the mere sense of quiet and doom that prevails."[68] Jeffrey Overstreet adds that "the scenes in which Chigurh stalks Moss are as suspenseful as anything the Coens have ever staged. And that has as much to do with what we hear as what we see. No Country for Old Men lacks a traditional soundtrack, but don't say it doesn't have music. The blip-blip-blip of a transponder becomes as frightening as the famous theme from Jaws. The sound of footsteps on the hardwood floors of a hotel hallway are as ominous as the drums of war. When the leather of a briefcase squeaks against the metal of a ventilation shaft, you'll cringe, and the distant echo of a telephone ringing in a hotel lobby will jangle your nerves."[69]
686
Style
While No Country for Old Men is a "doggedly faithful" adaptation of McCarthy's 2005 novel and its themes, the film also revisits themes which the Coens had explored in their earlier movies Blood Simple and Fargo.[70] The three films share common themes, such as pessimism and nihilism.[71][72][73][74][75] The novel's motifs of chance, free-will, and predestination are familiar territory for the Coen brothers, who presented similar threads and tapestries of "fate [and] circumstance" in earlier works including Raising Arizona, which featured another hitman, albeit less serious in tone.[76][77] Numerous critics cited the importance of chance to both the novel and the film, focusing on Chigurh's fate-deciding coin flipping,[78] but noted that the nature of the film medium made it difficult to include the "self-reflective qualities of McCarthy's novel."[79] Still, the Coens open the film with a voice-over narration by Tommy Lee Jones (who plays Sheriff Ed Tom Bell) set against the barren Texas country landscape where he makes his home. His ruminations on a teenager he sent to the chair explain that, although the newspapers described the boy's murder of his 14-year-old girlfriend as a crime of passion, "he told me there weren't nothin' passionate about it. Said he'd been fixin' to kill someone for as long as he could remember. Said if I let him out of there, he'd kill somebody again. Said he was goin' to hell. Reckoned he'd be there in about 15 minutes."[80] Chicago Sun-Times critic Roger Ebert praised the narration. "These words sounded verbatim to me from No Country for Old Men, the novel by Cormac McCarthy", he said. "But I find they are not quite. And their impact has been improved upon in the delivery. When I get the DVD of this film, I will listen to that stretch of narration several times; Jones delivers it with a vocal precision and contained emotion that is extraordinary, and it sets up the entire film."[16] In The Village Voice, Scott Foundas writes that "Like McCarthy, the Coens are markedly less interested in who (if anyone) gets away with the loot than in the primal forces that urge the characters forward... In the end, everyone in No Country for Old Men is both hunter and hunted, members of some endangered species trying to forestall their extinction."[81] Roger Ebert writes that "the movie demonstrates how pitiful ordinary human feelings are in the face of implacable injustice."[16] New York Times critic A. O. Scott observes that Chigurh, Moss, and Bell each "occupy the screen one at a time, almost never appearing in the frame together, even as their fates become ever more intimately entwined."[82] Variety critic Todd McCarthy describes Chigurh's modus operandi: "Death walks hand in hand with Chigurh wherever he goes, unless he decides otherwise.... [I]f everything you've done in your life has led you to him, he may explain to his about-to-be victims, your time might just have come. 'You don't have to do this,' the innocent invariably insist to a man whose murderous code dictates otherwise. Occasionally, however, he will allow someone to decide his own fate by coin toss, notably in a tense early scene in an old filling station marbled with nervous humor."[83] Jim Emerson describes how the Coens introduced Chigurh in one of the first scenes when he strangles the deputy who arrested him: "A killer rises: Our first blurred sight of Chigurh's face ... As he moves forward, into focus, to make his first kill, we still don't get a good look at him because his head rises above the top of the frame. His victim, the deputy, never sees what's coming, and Chigurh, chillingly, doesn't even bother to look at his face while he garrotes him."[84] Critic Peter Bradshaw of The Guardian stated that "the savoury, serio-comic tang of the Coens' film-making style is recognisably present, as is their predilection for the weirdness of hotels and motels". But he added that they "have found something that has heightened and deepened their identity as film-makers: a real sense of seriousness, a sense that their offbeat Americana and gruesome and surreal comic contortions can really be more than the sum of their parts".[85] Geoff Andrew of Time Out London said that the Coens "find a cinematic equivalent to McCarthy's language: his narrative ellipses, play with point of view, and structural concerns such as the exploration of the similarities and differences between Moss, Chigurh and Bell. Certain virtuoso sequences feel near-abstract in their focus on objects,
2007 No Country for Old Men sounds, light, colour or camera angle rather than on human presence ... Notwithstanding much marvellous deadpan humour, this is one of their darkest efforts."[86] Arne De Boever believes that there is a "close affinity, and intimacy even, between the sheriff and Chigurh in No Country for Old Men [which is developed] in a number of scenes. There is, to begin with, the sheriff's voice at the beginning of the film, which accompanies the images of Chigurh's arrest. This initial weaving together of the figures of Chigurh and the sheriff is further developed later on in the film, when the sheriff visits Llewelyn Moss' trailer home in search for Moss and his wife, Carla Jean. Chigurh has visited the trailer only minutes before, and the Coen brothers have the sheriff sit down in the same exact spot where Chigurh had been sitting (which is almost the exact same spot where, the evening before, Moss joined his wife on the couch). Like Chigurh, the sheriff sees himself reflected in the dark glass of Moss' television, their mirror images perfectly overlapping if one were to superimpose these two shots. When the sheriff pours himself a glass of milk from the bottle that stands sweating on the living room tablea sign that the sheriff and his colleague, deputy Wendell (Garret Dillahunt), only just missed their manthis mirroring of images goes beyond the level of reflection, and Chigurh enters into the sheriff's constitution, thus further undermining any easy opposition of Chigurh and the sheriff, and instead exposing a certain affinity, intimacy, or similarity even between both."[87]
687
Depicted violence
In an interview with Charlie Rose, co-director Joel Coen acknowledged that "there's a lot of violence in the book," and considered the violence depicted in the film as "very important to the story". He further added that "we couldn't conceive it, sort of soft pedaling that in the movie, and really doing a thing resembling the book ... it's about a character confronting a very arbitrary violent brutal world, and you have to see that."[37] Los Angeles Times critic Kenneth Turan commented on the violence depicted in the film: "The Coen brothers dropped the mask. They've put violence on screen before, lots of it, but not like this. Not anything like this. No Country for Old Men doesn't celebrate or smile at violence; it despairs of it." However, Turan explained that "no one should see No Country for Old Men underestimating the intensity of its violence. But it's also clear that the Coen brothers and McCarthy are not interested in violence for its own sake, but for what it says about the world we live in ... As the film begins, a confident deputy says I got it under control, and in moments he is dead. He didn't have anywhere near the mastery he imagined. And in this despairing vision, neither does anyone else."[88] NPR critic Bob Mondello adds that "despite working with a plot about implacable malice, the Coen Brothers don't ever overdo. You could even say they know the value of understatement: At one point they garner chills simply by having a character check the soles of his boots as he steps from a doorway into the sunlight. By that time, blood has pooled often enough in No Country for Old Men that they don't have to show you what he's checking for."[89] Critic Stephanie Zacharek of Salon states that "this adaptation of Cormac McCarthy's novel touches on brutal themes, but never really gets its hands dirty. The movie's violence isn't pulpy and visceral, the kind of thing that hits like a fist; it's brutal, and rather relentless, but there are still several layers of comfortable distance between it and us. At one point a character lifts his cowboy boot, daintily, so it won't be mussed by the pool of blood gathering at his feet ... The Coens have often used cruel violence to make their points that's nothing new but putting that violence to work in the service of allegedly deep themes isn't the same as actually getting your hands dirty. No Country for Old Men feels less like a breathing, thinking movie than an exercise. That may be partly because it's an adaptation of a book by a contemporary author who's usually spoken of in hushed, respectful, hat-in-hand tones, as if he were a schoolmarm who'd finally brought some sense and order to a lawless town."[90] Ryan P. Doom explains how the violence devolves as the film progresses. "The savagery of American violence," he says, "begins with Chigurh's introduction: a quick one-two punch of strangulation and a bloody cattle gun. The strangulation in particular demonstrates the level of the Coens' capability to create realistic carnage-to allow the audience to understand the horror that violence delivers.
2007 No Country for Old Men Over the duration of No Country for Old Men, Chigurh kills a total of 12 (possibly more) people, and, curiously enough, the violence devolves as the film progresses. During the first half of the film, the Coens never shy from unleashing Chigurh ... The devolution of violence starts with Chigurh's shootout with Moss in the hotel. Aside from the truck owner who is shot in the head after Moss flags him down, both the hotel clerk and Wells' death occur offscrean. Wells' death in particular demonstrates that murder means nothing. Calm beyond comfort, the camera pans away when Chigurh shoots Wells with a silenced shotgun as the phone rings. He answers. It's Moss, and while they talk, blood oozes across the room toward Chigurh's feet. Not moving, he places his feet up on the bed and continues the conversation as the blood continues to spread across the floor. By the time he keeps his promise of visiting Carla Jean, the resolution and the violence appear incomplete. Though we're not shown Carla Jean's death, when Chigurh exits and checks the bottom of his socks [boots] for blood, it's a clear indication that his brand of violence has struck again."[91]
688
Similarities to earlier Coen brothers' films

Richard Gillmore states that "the previous Coen brothers' movie that has the most in common with No Country for Old Men is, in fact, Fargo (1996). In Fargo there is an older, wiser police chief, Marge Gunderson (Frances McDormand) just as there is in No Country for Old Men. In both movies, a local police officer is confronted with some grisly murders committed by men who are not from his or her town. In both movies, greed lies behind the plots. Both movies feature as a central character a cold-blooded killer who does not seem quite human and whom the police officer seeks to apprehend."[39] Joel Coen seems to agree. In an interview with David Gritten of The Daily Telegraph, Gritten states that "overall [the film] seems to belong in a rarefied category of Coen films occupied only by Fargo (1996), which ... is also a crime story with a decent small-town sheriff as its central character. Joel sighs. 'I know. There are parallels.' He shakes his head. 'These things really should seem obvious to us.'"[63] In addition, Ethan Coen states that "we're not conscious of it, [and] to the extent that we are, we try to avoid it. The similarity to Fargo did occur to us, not that it was a good or a bad thing. That's the only thing that comes to mind as being reminiscent of our own movies, [and] it is by accident."[53] Richard Corliss of Time magazine adds that "there's also Tommy Lee Jones playing a cop as righteous as Marge in Fargo",[92] while Paul Arendt of the BBC stated that the film transplants the "despairing nihilism and tar-black humour of Fargo to the arid plains of Blood Simple."[93]
Genre
"Crime western noir horror comedy" Critic Rob Mackie of The Guardian on the many genres he believes are reflected in the film.
[94]
In an interview with The New York Times, the Coens "do not agree that [the film] is a western. 'When we think about westerns,' Joel explained, 'we think about horses and six-guns, saloons and hitching posts.' Ethan, who was sitting next to his older brother on the couch in their cluttered college-dorm-like production office in downtown Manhattan, continued the thought. 'No Country for Old Men is sort of a western,' he said, 'and sort of not.'"[95] Joel Coen later stated that "it's as close as we'll come to doing an action movie. It's a chase storywith Chigurh chasing Moss and the Sheriff bringing up the tail. It's a lot of physical activity to achieve a purpose. It's interesting in a genre way; but it was also interesting to us because it subverts the genre expectations."[96] For Richard Gillmore, "No Country for Old Men is, and is not, a western. It takes place in the West and its main protagonists are what you might call westerners. On the other hand, the plot revolves around a drug deal that has gone bad; it involves four-wheel-drive vehicles, semiautomatic weapons, and executives in high-rise buildings, none of which would seem to belong in a western."[39]
2007 No Country for Old Men William J. Devlin categorizes the film as a "neo-western", distinguishing it from the classic western by the way it "demonstrates a decline, or decay, of the traditional western ideal... The moral framework of the West or the country, or the world is changing. The traditional western framework that contained innocent and wholesome westerners striving to live out the American Dream, typical villains driven by greed and power, and the heroes who fought for what is right, is fading. The villains, or the criminals, act in such a way that the traditional hero cannot make sense of their criminal behavior. While the traditional villains, such as Ryker and Wilson [in the traditional western film Shane], are immoral and clearly 'bad guys', we can understand them because their actions are rational. We can see their actions are based on moral egoism, measured by their own self interests. But in the world of No Country for Old Men, the 'bad guys' act irrationally. They don't even act with criminal passion. As such, Bell cannot comprehend the enemies he should be confronting as the hero of todayfor him, 'it's hard to even take measure.'"[97] Devlin adds that "the stability of the western film collapses in the sense that we lose the order of the western narrative that provides us with the happy ending in which good triumphs over evil. In No Country for Old Men, without the final showdown between the hero and the villain, good cannot triumph. And so we see that the good either is killed (Llewelyn) or runs away (Bell). But does this mean that evil triumphs over good? Not necessarily. Bad guys, such as Wells and Chigurh's boss are killed, but it takes an even worse person to do it."[97] Gillmore, though, finds "a mixing of the two great American movie genres, the western and film noir," which "reflect the two sides of the American psyche. On the one hand, there is a western in which the westerner is faced with overwhelming odds, but between his perseverance and his skill, he overcomes the odds and triumphs. This allegorizes the optimism of the American psyche. In film noir, on the other hand, the hero is smart (more or less) and wily and there are many obstacles to overcome, the odds are against him, and, in fact, he fails to overcome them. He is overwhelmed by the juggernaut of other people's evil or by the way the world just happens to go. This genre reflects the pessimism and fatalism of the American psyche. With No Country for Old Men, the Coens combine these two genres into one movie. It is a western with a tragic, existential, film noir ending. The western speaks to our youth (and nostalgically to us in our old age); film noir speaks to the sadder wisdom of age. No Country for Old Men speaks of both."[39] Deborah Biancott debates that the film is a "western gothic". "Cormac McCarthy becomes a kind of genre thief," she says, "taking tropes from the thriller, the road movie, the western, and most notably Gothic literature to build a tale that feels both modern and timeless. He uses Gothic structure in particular to examine modern anxieties: loss of faith, anonymous violence, angst, madness, and moral decline. For No Country for Old Men is a Gothic story, a struggle for and with God, an examination of a humanity haunted by its past and condemned to the horrors of its future. It's an examination of class and inheritance, with the good ol' boys of Texas up against anonymous drug barons in high (and high-security) glass towers. It's a story about the mess and unholiness of modern human existence. And it's a tale of unrepentant evil, the frightening but compelling bad guy who lives by a moral code that is unrecognizable and alien. The wanderer, the psychopath, Anton Chigurh, is a man who's supernaturally invincible. He's a man with no particular class loyalties, no particular background, no particular and this is important community."[98] Still, Paul Arendt of the BBC states that "No Country can be enjoyed as a straightforward genre thriller (and there are suspense sequences here that rival the best of Hitchcock)",[93] while Rob Mackie of The Guardian observes that many genres such as "crime western noir horror comedy" are reflected in the film.[94]
689
690
Themes and analysis

Themes
Authors and critics stressed that many themes are reflected in the film, including principle, higher laws and fate. Richard Gillmore stated that the sudden and violent crash that occurs right after Chigurh leaves the house where Carla Jean was staying is a sign that there are higher laws yet in the universe than Chigurh's principle. [39] Enda McCaffrey focuses on the theme of 'fate', where in requesting Carson and Carla Jean to choose life or death on the toss of a coin, Chigurh is not just deferring choice to the realms of gratuity but he is also handing responsibility over to 'fate' in an act of bad faith that prevents him from taking responsibility for his own ethical choices.[99] Other themes cover degenerate times, evolving evil, and ageing anxieties, where William Luhr explains that Sheriff Bell feels that the evil surrounding him has metastasized beyond his comprehension and that he can no longer even pretend that he can deal productively with it the world is entering a phase so degenerate that traditional agents of law, stability, and continuity can no longer cope with, or even understand, it.[100] Topics of religion, ethics and McCarthys Catholicism are also believed to be covered in the film. Enda McCaffrey explains that Moss return to help the lone survivor is a moral choice, motivated by (religious) compassion and an obligation to pre-established values.[99] William Deresiewicz of The Nation elaborates that McCarthy had a Catholic upbringing, and his work is driven by a Catholic sense of sin and evil, where his novels are obsessed with good and evil, sin and suffering, fate and death, their imaginative power and philosophical depth are founded on the agonized perplexity with which they approach such questions. Call it Catholicism minus revelation.[101] Alison Young states that although ostensibly a criminal, Llewelyn Moss is the films hero, an Everyman figure who commits a crime in unusual circumstances, and the spectator is thus able to view his theft as understandable rather than reprehensible.[102], while Roger D. Hodge of Harpers Magazine believes that leaving the money behind would be unthinkable, where the world in which he finds himself has foreclosed that possibility.[103] Richard Gilmore focuses on themes of Greek tragedy, and explains that what is of interest to McCarthy and the Coens is rather what happens when a good, but flawed, man encounters this force of nature in human guise. In this sense, No Country for Old Men recapitulates the patters of ancient Greek tragedy. As in ancient Greek tragedy, a good but flawed man will become enmeshed in events that will prove to be his ruin. A key element of the Greek tragedy is the idea of the protagonist's hamartia, the fatal flaw. This is quite literally suggested of Llewelyn at the beginning of the movie when he is hunting for antelope and ends up shooting one in the hindquarters. In a sense, the entire movie is prefigured in this scene. It is a scene that shows Llewelyn to be highly competent, an expert in hunting ... but the scene also shows his ultimate hubris, literally and figuratively. Instead of killing the antelope, he only wounds it, the worst possible outcome for a responsible hunter ... His experience is a Greek tragedy in miniature. [104] Claude Mangion highlights themes of nihilism and philosophy of Friedrich Nietzsche, and believes that the character of Llewelyn Moss reminds us of the frailty and futility of the human will as it struggles to overcome meaninglessness. It was Nietzsche who pointed out, in [On] the Genealogy of Morals ... that it is not suffering per se that bothers humans, but pointless suffering. Humans are ready to die as testified by the Christian martyrs if they believe there is a point to their death, if their death can be re-configured within a larger framework of meaning, a metanarrative.[105] William J. Devlin notices that "whether it is the attendant who lives by correctly calling the coin flip, Carla Jean who dies, Bell who ends up not confronting Chigurh, or Chigurh getting into a car accidentall of these events occurred by some degree of chance. This suggests that the question of good versus bad is no longer a significant question since these values can no longer be applied to individuals ... This leads to nihilism in the western frontier. As Friedrich Nietzsche (18441900) explains, nihilism occurs when one infers 'that there is no meaning at all';
2007 No Country for Old Men 'everything lacks meaning.' According to nihilism, life and the world are meaningless because there are no inherent structure, stability, order, or framework to them. As such, all the values that were once held to be significant are now seen as empty. Or as Nietzsche puts it, 'the biggest values devalue themselves.'" [106]
691
Cinematic influences: Alfred Hitchcock and Sam Peckinpah

Critic Tony Macklin noted that most of No Country for Old Men "is fraught with haphazard violence and tension. Some of the suspenseful sequences are excruciating. The master Hitchcock would be proud. The film is full of Hitchcockian touches and themes." [107] Dennis Lim of The New York Times states that "there is at least one sequence in No Country for Old Men that could be termed Hitchcockian in its virtuosic deployment of sound. Holed up in a hotel room, Mr. Brolin's character awaits the arrival of his pursuer, Chigurh. He hears a distant noise. He calls the lobby. The rings are audible through the handset and, faintly, from downstairs. No one answers. Footsteps pad down the hall. The beeps of Chigurh's tracking device increase in frequency. Then there is a series of soft squeaks only when the sliver of light under the door vanishes is it clear that a light bulb has been carefully unscrewed."[64] Critics stated that the film has similarities with Hitchcocks Strangers on a Train (1951),[108] and Psycho (1960)[107][109][110] John Patterson of The Guardian states that "No Country for Old Men proves that the Coens' technical abilities, and their feel for a landscape-based western classicism reminiscent of Anthony Mann and Sam Peckinpah, are matched by few living directors. Peckinpah is the director whose themes and concerns masculinity and self-preservation among them sit foremost in the mind when reading the McCarthy novel and when seeing the movie, which is a faithful, almost verbatim adaptation." The brothers are amenable to the comparison. Ethan: 'We were aware of the basic link just by virtue of the setting, the south-west, and this very male aspect of the story. Hard men in the south-west shooting each other that's definitely Sam Peckinpah's thing. We were aware of those similarities, certainly.' Joel: 'Especially in the section of the movie where Woody Harrelson makes an appearance. He reminded us of a Peckinpah character in a certain way.' Ethan: 'Yeah, you show a hard-on guy in a western-cut suit and it already looks like a Peckinpah movie. Same kind of shorthand.'" [20] Critics drew similarities between the film and Peckinpahs The Wild Bunch (1969), The Getaway (1972).[117][118][119][120]
[111] [112][113][114][115] [116]
and
Anton Chigurh
Richard Gilmore observes Chigurhs rules and stresses that he recognizes that it is precisely his feelings, his desires, that make him vulnerable. His rulethat chance must trump any desire that he might haveis in the service of maximum invulnerability.[121] William J. Devlin states that: First, Chigurh does not appeal to money or power as the greatest end for which one should strive. Second, Chigurh does not appear to be acting purely out of self-interest. By murdering his boss and Carla Jean, he gains nothing for himself. Third, Chigurhs own justification of his actions doesnt appeal to the consequences that are produced; rather like Kants deontology, he justifies his actions insofar as they are good in themselves. [97] Mick Hubris-Cherrier stresses that "latent violence is [the undercurrent in a scene where] the psychopathic killer Anton Chigurh (Javier Bardem), who has already left behind a collection of corpses in his search for pilfered money, has arrived at the hideout of Carla Jean, the wife of the man who took the money. We already know that Chigurh can kill easily, or he can just as easily let people go. But we don't know which Chigurh is in the room with Carla Jean as she tries to reason with him to spare her life. The Coens (and [Director of Photography] D.P. Roger Deakins) chose to place Chigurh in the shadows in a corner of the room. The decision to expose for the bright areas of the room (... his hands in the sun) and allow Chigurh's face to fall several stops into underexposure heightens the tension of the scene because it keeps his features difficult to make out and his intentions inscrutable."[122]
2007 No Country for Old Men Alison Reed explains that the film is about seeing and who has the power to see: Chigurh [destroys] everyone who wields the gaze within a country that excludes him on the basis of [the] violent act of seeing When Llewelyn calls asking for Carson Wells (Woody Harrelson), Chigurh answers the phone and demands: You need to come see me. Chigurh is obsessed with the sight of his victims. Those who threaten to see him (beyond the literal meaning) have little chance of survival. Wells is shocked to hear that Llewelyn has seen Chigurh: You've seen him, and you're not dead? [123] As for Chigurhs weapons of choice, Scott Covell explains that "Chigurhs most intriguing weapon (and door-opening unit) is also one of the most perfect McCarthy/Coen brothers postmodern elements to the film and novel: the carbon dioxidepowered captive bolt pistol. Here is a weapon that offers an inversion or subversion of the usual manly implementia carted about by our Western villains: it suggests a subversion of the ubiquitous cowboy and his use of a rifle to guard the vast herds of steer back in the Wild West days. This gun is used to kill the steernot guard them. In the film version of No Country for Old Men, the Coen brothers and Javier Bardem have combined with Cormac McCarthy to create a new type of killer. He is postmodern Recent Westerns surprisingly have fashioned some of the best ruminations into these questions, offering new villains with intriguing moral, behavioral, and ontological complexities and nuances." [124] Chigurhs haircut, according to Actor Javier Bardem, was the idea of the Coen brothers. Joel Coen stated that the idea for the hair, for Javiers character, was the result of a photograph that we saw of a man sitting at a bar in a bordertown whorehouse in 1979. He had that haircut, and very similar clothes to what Javier wore in the movie. It was sort of patterned on that guy. [53] Associated Press reported that the haircut was created by hair stylist Paul LeBlanc. LeBlanc created the hairstyle for Bardem's character in No Country for Old Men, drawing on the mop tops of the British warriors in the medieval Crusades as well as the haircuts of the 1960s for inspiration.[125] In April 2008, Entertainment Weekly magazine chose Chigurhs haircut as one of the 21 Bad Movie Hairdos. [126] Characterization Many critics, in addition to Co-Director Joel Coen, discuss the characterization of Chigurh. In an interview with Charlie Rose, Coen believed that Chigurh is the one character in the book that actually departs from a certain sense of realism, hes both sort of real in the book and an idea. [37] Manuel Broncano describes Chigurh as the Antichrist. Of the three major branches of Christian eschatology, he says, "No Country for Old Men orchestrates an apocalyptic rhetoric by which drug dealing is described as a devastating and biblical-like plague and Anton Chigurh as a true Antichrist." [127] Don Graham states that "we are introduced to one of Satans chief subalterns, Anton Chigurh, he of the pneumatic device, an otherworldly psychopath possessed of a philosophical bent Chigurhs philosophy doesnt come from Christianity but from a source thats not identified and is therefore sure to intrigue the intrepid McCarthy exegetes on the Internet" [128] Actor Josh Brolin described the character of Anton Chigurh as the Grim Reaper. He added in a press interview released by Miramax: "He's the devil incarnate ... You don't understand [his violence], you can't pigeonhole it. You can't categorize it." [129] Paula Bomer believes that Chigurh is an angel, sent by God to destroy all of those who suffer from greed. He is punishing normal, human sinners, which is something the Catholic God does. Anton (after Saint Anthony, renowned for his work against the Devil) kills everyone who in any way took money, drug money, which did not belong to them. He is the opposite of evil. He is divine power. He is fighting the Devil in the shape of drugs and drug money.[130]
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2007 No Country for Old Men Jim Welsh describes Chigurh as a 'ghost' and assures that there is no ultimate showdown between the professional lawman and the professional assassin, and one wonders if this is by accident or by design Sheriff Bell is tracking a killer, but there will be no clear, dramatic confrontation, perhaps because Sheriff Bell knows he cant cheat Death or kill the Devil, that the deck may be stacked against him. If not the Devil, then maybe a ghost, as Bell himself suggests? So who said he was chasing an abstraction? The killer, the ghost, Anton Chigurh, seems too spooky, too otherworldly to be 'real'" [131] Louis Proyect highlights that [Chigurhs] character is a mixture of a less interesting version of the Samuel Jackson hit-man in Pulp Fiction and the very first Terminatorthe unrelenting evil one. Entirely missing is the kind of bent humor found in the kidnappers in Fargo, who despite being creeps were a source of amusement.[132] William Ferraiolo states that Chigurh seems, at some points in the narrative, to behave as an instrument of karmic consequence; he ensures that others reap what, in his estimation, they have sown Chigurh is something closer to a force of nature as inexorable and disinterested in human life as a flood, earthquake, or, indeed, a [bubonic] plague Chigurh is the implement linking karma and consequence as he is also a product of karma and consequence.[133]
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The coin-toss scene

William J. Devlin believes that Chigurh, in the coin-toss scene, "detaches himself" from "any moral responsibility for his actions." Chigurh is acknowledging that since this is a life or death decision, it is only morally right for the person whose life is at stake to roll the dice of chance. By offering his potential victims the coin flip, Chigurh sees himself as introducing a chance occurrence into the equation and he introduces the notion of luck and chance occurrences into his decision making, thereby negating, in his own estimation, any moral responsibility for his actions.[134] Roberta Piazza, Monika Bednarek and Fabio Rossi relate the importance of the coin-toss scene to two reasons: "Firstly, it introduces us to the use of discourse in film as a tool for characterisation, e.g. as way of entering the mind of a character, or his/her mind style (Fowler 1977) - in this case the madman, the assassin, the alienated and feared other. Secondly, it reveals the importance of discourse in film (and television), where it can fulfill a number of specific functions: beside contributing to characterisation, it defines narrative genres and engages viewers." [135] Matthew Fotis observes similarities between No Country for Old Men and Christopher Nolans The Dark Knight (2008). "Like many aspects of folklore," Fotis notes, "coin tossing has made its way into film. Two of the most critically acclaimed films of 2007 and 2008 prominently feature coin tosses. Anton Chigurh (Javier Bardem), the cold blooded villain of the Coen Brothers Academy Award winning No Country for Old Men, and Harvey Dent (Aaron Eckhart), the white knight district attorney in Christopher Nolan's The Dark Knight, both use coin tosses throughout their respective films. The use of Flipism by Chigurh and Dent seemingly suggests a world ordered by fate, destiny and the cosmos." [136]
Cultural perceptions: Ethnicity, race and gender roles

Alison Reed states that upon entering Mexico, Llewelyn forfeits his markers of whitenessthe cowboy hat, the crisp white work shirt, the stiff denimand thus all too easily slides into otherness. After his encounter with the three American men, he wakes up in a Mexican hospital with the bounty hunter Carson Wells at his side. The bouquet of flowers that Wells holds out in front of him starkly contrasts the white walls and sterile furniture of the small hospital room. Llewelyn, stripped of the visual cues that mark his whiteness and instead draped in a nondescript hospital gown, appears Mexican only in relation to his environment: his darkly tanned skin, slick black hair, moustache, and four oclock shadow juxtaposed against the whiteness of the hospital walls and of Carson Wells. Wells, hovering over him with blond hair, blue eyes, and a cowboy hat, replaces Llewelyn as cowboy: without the visual markers of his Texan identity, Llewelyn no longer clearly reads as white. When Llewelyn walks back into Texas, still wearing his white hospital gown, he must convince the Border Patrol agent to admit him back into the
2007 No Country for Old Men United States. Unconvinced and threatening, the border patrol agent admits Llewelyn only at the moment in which Llewelyn secures his status as a Vietnam War veteran. Unable to be pinned racially, Llewelyn proves his whiteness only by virtue of his military service.[123] Ryan P. Doom discusses the role of women and claims that "the women in No Country for Old Men serve no purpose other than to offer support. They do not influence the story in regards to action or the decisions that the men make. Its as if the setting were indeed in the Old West, as if the women lacked the right to vote." [91] Erin K. Johns, however, disagrees and explains that Carla Jean "gains agency as the film progresses; she becomes a woman at odds not only with her husband, Llewelyn, but also with Anton Chigurh, the systematic and cold psychopathic killer who relies on the system of fate ... Carla Jean Moss and Loretta Bell, Ed Toms wife, recognize and work with and against all of the different and constantly adapting masculine systems. The two major women in the film offer the only places of resistance to the ultimate masculine system: the justified fate that Chigurh inflicts through death." She adds that "although set in the 1980s, No Country for Old Men exposes the rapidly changing gender structure of the twenty-first century: one where stereotypical and traditional male roles are constantly being resisted and replaced by roles that have traditionally been termed feminine ... Perhaps, as the end of the movie suggests, a man can either wither away quietly into retirement or fashion himself a sling for his broken bodystill disappearing from the scene like a ghost. In either case, No Country for Old Men shows that a ghost is all that is left of masculine or patriarchal systems and codes." [137]
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West Texas: Landscape, settings and history

In an interview with The Guardian, Joel Coen emphasized the importance of landscape in his films. "There's a very direct relationship of character and story to landscape, or location," he said. "It's hard for us to come up with a story unless we establish that pretty early. It's hard for us to write a story that can take place just as easily here or there. It has to be specific. The 'here' is where you start." [138] Roger D. Hodge of Harper's Magazine presents a brief history of the West Texas region where the events in the novel took place, and describes its effect on McCarthy's literature. He further explains that "McCarthy insists on the relics of ancient, vanished peoples in his landscapes. And he makes no secret of his view that those whose lives he describes are no less ephemeral. Indeed, what the landscape of West Texas suggests is that the ranchers who have peopled [his] last four novels are a good deal more likely to vanish without a trace than were the Indians, whose art, exposed to the elements for thousands of years, still bears witness to their lifeways. The metal implements used by the ranchers to make horseshoes and axes and elaborate irrigation systems have rusted and are crumbling into dust, together with concrete water troughs and cedar picket stock pens. Some of these artifacts may survive to be puzzled over by future generations, though perhaps it will be the opium tins and pipes and iron woks of the Chinese workers who populated railroad camps for a year or two along the Rio Grande in the 1880s. Or other nameless implements that were used to chisel passages and tunnels for the railroad. Or the clever wire swivels used by Mexican goat herders to stake kids under rock lean-tos in kidding camps. This landscape, which appears almost empty today, is a palimpsest of cultures. All of them lost, undone." [103]
Metaphor for contemporary America

Joan Mellen compares the film, "set in 1980, in an explicitly post-Vietnam aftermath," to Paul Haggis' In the Valley of Elah, which regards the Iraq War and was released in the same year. "The highly trained soldiers and former soldiers in In the Valley of Elah and No Country for Old Men," she says, "formidably skilled in violence and tactics for survival under unspeakable conditions, returned home as deformed human beings, tormented by their experience and a danger to others and to themselves. This harrowing conjunction of professionalism at war and personal brutalization may be read as a metaphor for the entropy of contemporary America."
2007 No Country for Old Men Mellen also compares Anton Chigurh and war veterans in No Country for Old Men and In the Valley of Elah to Special Forces Colonel Walter E. Kurtz, portrayed by Marlon Brando in Francis Ford Coppola's Apocalypse Now (1979) about the Vietnam War and adapted from Joseph Conrad's novella Heart of Darkness. "Chigurh is a direct descendant of Joseph Conrad's Kurtz," she says. "Once the emissary of 'pity, science and progress,' as Conrad puts it, Kurtz ends up a murderous madman, answerable to no one. He decorated his Congo [in the novella] encampment with the shrunken heads of his victims, and only, at the moment of his death, could he pass judgment on the entire imperialist enterprise, of which he was a part: 'The horror, the horror.' These men, having returned from Vietnam and from Iraq, have grown, in varying degrees, into instinctual killers. The soldiers and former soldiers in No Country for Old Men and In the Valley of Elah surpass Kurtz in one respect: they have brought their atrocities home. Both films depict a precipitous decline in the moral tenor of American society where the safety of its citizens has become, as never before, a virtual anachronism." [139]
695
Film ending and final scene

Co-Director Joel Coen stated that "the ending of the movie is taken verbatim from the end of the novel. That was one of the things that interested us when we first read the novel, just as a story, the way that Cormac set up an expectation of a genre piece in a way, and sort of pulled the rug out from under you as you read it." [53] Curt Holman of CL Atlanta also argues that "there's something deflating about the film's final scenes. McCarthy raises the ancient problem of human evil: Is it an inherent flaw of human nature, or the net result of random fate? McCarthy seems to conclude that it's a generational thing. 'Anytime you quit hearing 'Sir' and 'Ma'am', the end is pretty much in sight,' says [Sheriff] Bell, and you suspect he's only half-kidding." [140] Actor Josh Brolin, however, defended the ending of the film. "I love that people are talking about this movie. I love that people leave the movie saying, 'I hate the ending. I was so pissed.' Good, it was supposed to piss you off," the 39-year-old star told MTV News. "You completely lend yourself to [my] character and then you're completely raped of this character. I don't find it manipulative at all. I find it to be a great homage to that kind of violence." After being chased by Javier Bardem's Anton Chigurh the entire movie, Brolin meets his violent end off-screen. Soon after, his wife is brutally murdered off-screen as well. After all that build-up, all that destruction, the film ends, not with an orgasmic culmination of violence, but with a quiet monologue from Sheriff Tom Bell Tommy Lee Jones. "If you were expecting something different," Brolin argues, that "says more about you than the movie. You wanted to see his death, why? Because you're used to it. Aren't you so pleased to see a different take on the same cat and mouse game?" he asked.[141]
Release
Theatrical release and box office
No Country for Old Men premiered in competition at the 2007 Cannes Film Festival on May 19.[10] Stephen Robb of the BBC covered the film opening at Cannes. "With no sign yet of an undisputed classic in competition at this 60th Cannes," he said, "No Country for Old Men may have emerged as a frontrunner for the trophy Joel and Ethan Coen collected for Barton Fink in 1991. 'We are very fortunate in that our films have sort of found a home here,' says Joel. 'From the point of view of getting the movies out to an audience, this has always been a very congenial platform.' The reception to the film's first press screening in Cannes was positive. Screen International's jury of critics, assembled for its daily Cannes publication, all gave the film three or four marks out of four. The magazine's review said the film fell short of 'the greatness that sometimes seems within its grasp'. But it added that the film was 'guaranteed to attract a healthy audience on the basis of the track record of those involved, respect for the novel and critical support.'"[142]
2007 No Country for Old Men The film commercially opened in limited release in 28 theaters in the United States on November 9, 2007, grossing $1,226,333 over the opening weekend. The film expanded to a wide release in 860 theaters in the United States on November 21, 2007, grossing $7,776,773 over the first weekend. The film subsequently increased the number of theaters to 2,037. It was the 5th highest ranking film at the US box office in the weekend ending December 16, 2007.[143] The film opened in Australia on December 26, 2007, and in the United Kingdom (limited release) and Ireland on January 18, 2008.[11] As of February 13, 2009, the film had grossed $74,283,000 domestically (United States).[143][144][145] No Country for Old Men became the biggest box-office hit for the Coens to date,[12] until it was surpassed by True Grit in 2010.[146] The film was the second top grossing Best Picture nominee for 2007, after Juno, which was distributed by Fox Searchlight and earned over $125 million in revenue.[147] However, as a winner of the Academy Award for Best Picture, No Country for Old Men was ranked as the third lowest-grossing Oscar winner, only surpassed in terms of lower revenues by Crash (2005) and The Hurt Locker (2009). CNBC commented that "neither the Oscar win nor the slow roll-out of the film into wide release could get it past the $100 million mark, or even the $75 million mark [domestically], and No Country for Old Men remains one of the lowest-grossing Best Picture winners of all time."[148] Paul Monaco observed that the studio employed a 'gradual-release' strategy. "With No Country for Old Men," he said, "Miramax had followed its patented gradual-release strategy for the movie's marketing. Produced for $30 million, it had earned just over $60 million by the time it won the Best Picture Oscar. Industry predictions expected only another $10 million to $20 million in revenues theatrically following the awards. The final balance sheet on No Country for Old Men, indeed, was a $74 million gross [domestically]."[96] Nick Redfern evaluates the film's box office performance as an Academy Award for Best Picture winner. "The King's Speech won the Best Picture Oscar on Sunday [the 83rd Academy Awards on February 27, 2011]," he said, "and has so grossed over $245 million worldwide against a budget of $15 million. This film follows in the footsteps of The Hurt Locker, Slumdog Millionaire, and No Country for Old Men in being voted Best Picture despite being anything but the blockbuster-type films that Hollywood is so economically dependent upon. No Country for Old Men is another film released in November. It is another film that was initially given a limited release to just 28 theatres (grossing $1,226,333) before going wide after two weeks to 860 theatres (grossing $7,776,773) hence the big jump in grosses around day 15 ... It is another film to have benefitted from the nomination and the win, with weekend grosses picking up after each (although the weekday grosses after the nomination do not appear to have changed that much). Taking these films together The King's Speech, The Hurt Locker, Slumdog Millionaire, and No Country for Old Men we can see that the Academy Award for Best Picture over the past four years has gone to films that have had similar release patterns. In fact, we have to go back to The Departed in 2006 to find a Best Picture winner with the time series chart that is typical of Hollywood blockbusters a big opening weekend followed by a steady decline."[149]
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Home media
Buena Vista Home Entertainment released the movie on DVD and in the high definition Blu-ray format on March 11, 2008 in the US. The only extras are three behind-the-scenes featurettes.[150] The release topped the home video rental charts upon release and remained in the top 10 positions for the first 5 weeks.[151] Website Blu-ray.com reviewed the Blu-ray edition of the film, and gave the video quality an almost full mark. It stated that "with its AVC MPEG-4 video on BD-50, the picture quality of No Country for Old Men stands on the highest rung of the home video ladder. Color vibrancy, black level, resolution and contrast are reference quality ... Every line and wrinkle in Bell's face is resolved and Chigurh sports a pageboy haircut in which every strand of hair appears individually distinguishable. No other film brings its characters to life so vividly solely on the merits of visual technicalities ... Watch the nighttime shoot-out between Moss and Chigurh outside the hotel ... As bullets slam
2007 No Country for Old Men through the windshield of Moss' getaway car, watch as every crack and bullet hole in the glass is extraordinarily defined." The audio quality earned an almost full mark, where the "24-bit 48 kHz lossless PCM serves voices well, and excels in more treble-prone sounds ... Perhaps the most audibly dynamic sequence is the dawn chase scene after Moss returns with water. Close your eyes and listen to Moss' breathing and footsteps as he runs, the truck in pursuit as it labors over rocks and shrubs, the crack of the rifle and hissing of bullets as they rip through the air and hit the ground ... the entire sequence and the film overall sounds very convincing."[152] Kenneth S. Brown of website High-Def Digest stated that "the Blu-ray edition of the film ... is magnificent ... and includes all of the 480i/p special features that appear on the standard DVD. However, to my disappointment, the slim supplemental package doesn't include a much needed directors' commentary from the Coens. It would have been fascinating to listen to the brothers dissect the differences between the original novel and the Oscar winning film. It may not have a compelling supplemental package, but it does have a striking video transfer and an excellent PCM audio track."[153] The Region 2 DVD (courtesy of Paramount) was released on June 2, 2008. The film was released on Blu-ray Disc in the UK on September 8, 2008. A 3-disc special edition with a digital copy was released on DVD and Blu-ray on April 7, 2009. It was presented in 2.35:1 anamorphic widescreen and Dolby Digital 5.1 (English, Spanish). This release included over five hours of new bonus features, almost all of which are complete interviews with an assortment of press sources. It lacks deleted scenes and audio commentary. Some of the bonus material/features on the disc include: "'The Making of No Country for Old Men' (24:28) serves as a general overview of production. Cast and crew members discuss the movie's origins, genres, story and characters, before going into specific topics like the period setting, costuming, and practical special effects. 'Working with the Coens' (8:07) gives us a deeper look at the brothers. The directors' methods are discussed, mostly by crew members who have long collaborated with them. 'Diary of a Country Sheriff' (6:44) further considers the lead characters and the subtext they form. 'Behind the Scenes of No Country for Old Men' (9:18): Brolin (who produced, directed, and edited this featurette), Javier Bardem, and Woody Harrelson give some tongue-in-cheek sound bites on performing for the Coen brothers. 'EW.com Just a Minute' (12:54) has Entertainment Weekly writer Dave Karger interview Javier Bardem about Anton Chigurh and the movie, with several clips sprinkled throughout. 'ABC Popcorn with Peter Travers' (14:50): [Interviews with] Macdonald, Brolin, and Bardem about their characters, the Coens, and challenging scenes. Travers can't help trying to be funny and complimenting Bardem's eyes. 'In-Store Appearance' (40:28): It plays more movie clips and we hear several of the same questions and stories ... One subject first tackled here is the state-of-the-art casting video Brolin submitted with help from Robert Rodriguez and Quentin Tarantino. An installment of 'Charlie Rose' (22:30), serves up the kind of lofty dialogue the minimalist PBS talk show is known for. Rose is joined by both Coens, Bardem, and Brolin. Much of the episode centers on the filmmakers' processes. 'Spike Jonze Q & A' (1:00:43), in which the Being John Malkovich director emcees a discussion with an assortment of 'No Country' filmmakers. Taking turns to join the Coens are cinematographer Roger Deakins, the sound team, and production designer Jess Gonchor. Each lineup naturally goes into detail about the aspect they worked on before answering audience questions."[154]
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Reception
"This is frighteningly intelligent and imaginative." Critic Geoff Andrew of Time Out London
[86]
"For formalists those moviegoers sent into raptures by tight editing, nimble camera work and faultless sound design it's pure heaven." Critic A. O. Scott of The New York Times
[82]
As of July, 2012, the review aggregator Rotten Tomatoes reflected that 214 out of 226 critics (95%) gave the film a positive review.[155][156] Upon release, the film was widely discussed as a possible candidate for several Oscars,[157][158] before going on to receive eight nominations, and eventually winning four Academy Awards in 2008. Javier Bardem, in particular, has received considerable praise for his performance in the film. James Berardinelli gave it three-and-a-half stars, saying: Expecting normalcy from a Coen Brothers production is a pointless endeavor, but anticipating brilliance isn't outlandish.... The story is full of unexpected twists and switchbacks, and opportunities for the audience to gear down and take a breath are few and far between. Like Alfred Hitchcock with Psycho, the filmmakers dont want viewers to become too comfortable with any of the characters.... [Chigurh is] probably the most compelling screen villain since Anthony Hopkins brought Hannibal Lecter to life in The Silence of the Lambs.... And, while the ending may be a sore point for some, it will have others chuckling and nodding their heads appreciatively (albeit perhaps after a brief "WTF?" when the end credits begin to roll). That's what good cinema is expected to do.[94] Roger Ebert went even further, giving it four stars. He said: Consider another scene in which the dialogue is as good as any you will hear this year. Chigurh enters a rundown gas station in the middle of wilderness and begins to play a word game with the old man (Gene Jones) behind the cash register, who becomes very nervous. It is clear they are talking about whether Chigurh will kill him. Chigurh has by no means made up his mind. Without explaining why, he asks the man to call the flip of a coin. Listen to what they say, how they say it, how they imply the stakes. Listen to their timing. You want to applaud the writing, which comes from the Coen brothers, out of McCarthy.... This movie is a masterful evocation of time, place, character, moral choices, immoral certainties, human nature and fate.[159] Peter Bradshaw of The Guardian said of the film: It's the best of the [Coens'] career so far. The Coens are back with a vengeance, showing their various imitators and detractors what great American film-making looks like. The result is a dark, violent and deeply disquieting drama, leavened with brilliant noirish wisecracks, and boasting three leading male performances with all the spectacular virility of Texan steers. And all of it hard and sharp as a diamond.[85] Rob Mackie of The Guardian also said: What makes this such a stand-out is hard to put your finger on it just feels like an absorbing and tense two hours where everyone is absolutely on top of their job and a comfortable fit in their roles.[94] Geoff Andrew of Time Out London expressed that: The film exerts a grip from start to end. A masterly tale of the good, the deranged and the doomed that inflects the raw violence of the west with a wry acknowledgement of the demise of codes of honour, this is frighteningly intelligent and imaginative.[86] Richard Corliss of Time magazine chose the film as the best of the year, and said: After two decades of being brilliant on the movie margins, the Coens are ready for their closeup, and maybe their Oscar.[160] By any standards, it's a super-violent thriller, as scary as the black hole where a
2007 No Country for Old Men madman's heart should be. Sure to be the brothers' most honored movie since Fargo, it's a great showcase for Joel and Ethan's storytelling finesse and filmmaking power. Just in their 50s now, the Coen brothers should be entertaining and challenging us for decades to come.[92] Paul Arendt of the BBC gave the film a full mark and said: [It] doesn't require a defense: it is a magnificent return to form ... [It] is both a searing thriller and an elegy for a collapsing society ... The Coen brothers have once again placed themselves at the very forefront of American cinema.[93] A. O. Scott of The New York Times stated that: For formalists those moviegoers sent into raptures by tight editing, nimble camera work and faultless sound design it's pure heaven ... [it] leaves behind the jangled, stunned sensation of having witnessed a ruthless application of craft.[82]
699
Reviews
Allmovie Empire Filmcritic.com Roger Ebert Rolling Stone Premiere
[161] [162] [163] [164] [165] [166]
Top ten lists

The film appeared on more critics' top ten lists (354) than any other film of 2007, and was more critics' #1 film (90) than any other.[167] Some of the notable critics' placement of No Country for Old Men are:[168]
1st Corben Carpenter, CRBN BLOG 1st Richard Corliss, TIME magazine [168] [168] 2nd Richard Schickel, TIME magazine 2nd Lisa Schwarzbaum, Entertainment Weekly 2nd Desson Thomson, The Washington Post 3rd Shawn Levy, The Oregonian [168] [168]
[168] [169]
1st David Germain, Associated Press 1st Peter Hartlaub, San Francisco [168] Chronicle 1st Adam Kempenaar, Filmspotting
[168]
3rd Lou Lumenick, New York Post
[168]
1st Liam Lacey and Rick Groen, The Globe and [168] Mail 1st Christy Lemire, Associated Press [169] [168]
3rd Philip Martin, Arkansas Democrat-Gazette
3rd Mike Russell, The Oregonian
[168] [168] [168]
1st Jack Mathews, New York Daily News 1st Wesley Morris, The Boston Globe 1st Noel Murray, The A.V. Club [168]
3rd Frank Scheck, The Hollywood Reporter
[168]
4th Marjorie Baumgarten, The Austin Chronicle [168] 4th Kevin Crust, Los Angeles Times 4th Mick LaSalle, San Francisco Chronicle 4th Nathan Rabin, The A.V. Club 5th David Ansen, Newsweek [168]
[168] 1st Tasha Robinson, The A.V. Club 1st Rene Rodriguez, The Miami Herald 1st Scott Tobias, The A.V. Club [168] [168] [168]
[168]
[168]
1st Peter Travers, Rolling Stone
6th Scott Foundas, LA Weekly (tied with The Assassination of Jesse James by the [168] Coward Robert Ford) [168] 6th Stephen Holden, The New York Times [168] 7th Peter Rainer, The Christian Science Monitor 7th Kyle Smith, New York Post [168]
2nd James Berardinelli, ReelViews 2nd Ty Burr, The Boston Globe
[168]
[168] [170]
2nd Roger Ebert, Chicago Sun-Times

[168] [168] [168]
700
2nd Glen Kenny, Premiere
[168]
8th Kenneth Turan, Los Angeles Times
2nd Matty Robinson, Filmspotting 2nd Keith Phipps, The A.V. Club [168]
9th Steven Rea, The Philadelphia Inquirer 9th Michael Sragow, The Baltimore Sun
[168]
2nd Richard Roeper, Chicago Sun-Times 2nd Marc Savlov, The Austin Chronicle
Accolades
"We're very thankful to all of you out there for continuing to let us play in our corner of the sandbox." Co-director Joel Coen while accepting the award for Best Director at the 80th Academy Awards
[171]
No Country for Old Men was nominated for eight Academy Awards and won four, including Best Picture. Additionally, Javier Bardem won Best Performance by an Actor in a Supporting Role; the Coen brothers won Achievement in Directing (Best Director) and Best Adapted Screenplay. Other nominations included Best Film Editing (the Coen brothers as Roderick Jaynes), Best Cinematography (Roger Deakins), Best Sound Editing and Best Sound Mixing.[172] Javier Bardem became the first Spanish actor to win an Oscar. "Thank you to the Coens for being crazy enough to think I could do that and put one of the most horrible hair cuts in history on my head," Bardem said in his acceptance speech at the 80th Academy Awards. He dedicated the award to Spain and to his mother, the Spanish movie and television actress Pilar Bardem, who accompanied him to the ceremony. "Mama, this is for you. This is for your grandparents and your parents, Rafael and Matilde, this is for the comedians of Spain who like you have brought dignity and pride to our profession. This is for Spain and this is for all of you," said Bardem, speaking in rapid Spanish.[173] While accepting the award for Best Director at the 80th Academy Awards, Joel Coen said that "Ethan and I have been making stories with movie cameras since we were kids", recalling a Super 8 film they made titled "Henry Kissinger: Man on the Go". "Honestly," he said, "what we do now doesn't feel that much different from what we were doing then. We're very thankful to all of you out there for continuing to let us play in our corner of the sandbox."[171] It was only the second time in Oscar history that two individuals shared the directing honor (Robert Wise and Jerome Robbins were the first, winning for 1961's West Side Story).[174] The film was nominated for four Golden Globe Awards, winning two at the 65th Golden Globe Awards.[175] Javier Bardem won Best Performance by an Actor in a Supporting Role in a Motion Picture and the Coen brothers won Best Screenplay Motion Picture. The film was also nominated for Best Motion Picture Drama, and Best Director (Ethan Coen and Joel Coen). Earlier in 2007 it was nominated for the Palme d'Or at the Cannes Film Festival.[176] The Screen Actors Guild gave a nomination nod to the cast for its "Outstanding Performance".[177] The film won top honors at the Directors Guild of America Awards for Joel and Ethan Coen. The film was nominated for nine BAFTAs in 2008 and won in three categories; Joel and Ethan Coen winning the award for Best Director, Roger Deakins winning for Best Cinematography and Javier Bardem winning for Best Supporting Actor.[178] It has also been awarded the David di Donatello for Best Foreign Film. Consonant with the positive critical response, No Country for Old Men received widespread formal recognition from numerous North American critics' associations (New York Film Critics Circle, Toronto Film Critics Association, Washington D.C. Area Film Critics Association, National Board of Review, New York Film Critics Online, Chicago Film Critics Association, Boston Society of Film Critics, Austin Film Critics Association, and San Diego Film Critics Society).[179][180][181][182][183] The American Film Institute listed it as an AFI Movie of the Year for 2007, and the Australian Film Critics Association and Houston Film Critics Society both voted it best film of 2007.[8]
701
Criticism
The film's technique and emotional essence met with occasional disapproval, where some critics note the absence of a "central character" and "climactic scene", its "disappointing finish" and "dependen[ce] on an arbitrarily manipulated plot", and a general lack of "soul" and sense of "hopelessness". They also stated: The Coens certainly honor the novelist's abiding preference for the mythical over the modern.... So what do we end up with? Well, as a thriller, No Country for Old Men is tight, pointed, and immune to the temptations of speed. I found myself in the same predicament with the film as with the bookapproaching both in a state of rare excitement, yet willing myself, all too soon, to be more engaged than I actually was.... We gradually realize that No Country for Old Men is not telling a talethe plot remains open-endedbut reinforcing the legend of a place, like a poem adding to an oral tradition. Texas is presented as a state of being, where good and evil circle doggedly around each other, and it just doesn't occur to Moss that he could take his black bag, catch a flight, and seek a world elsewhere. I was awed by the control of the movie, which seems as pressurized as Chigurh's murder machine, but after an hour and a quarter I felt that it had made its point and done all the damage it could. In the event, it crawls past the two-hour mark, and you sense that the Coens, like their unkillable villain, are prepared to go on forever. Critic Anthony Lane of The New Yorker[184] You can't say it cuts to the chase. There was never anything to cut from to the chase. It's all chase, which means that it offers almost zero in character development. Each of the figures is given, a la standard thriller operating procedure, a single moral or psychological attribute and then acts in accordance to that principle and nothing else, without doubts, contradictions or ambivalence ... It's meant to be "ironic," with that big capital I. Instead it's unsatisfying, with a capital U. Nobody goes to the movies for the irony. They go for the satisfaction. Critic Stephen Hunter of The Washington Post[185] As for the nihilism on display in No Country for Old Men, the collaboration between the Coen brothers and Cormac McCarthy was a marriage made in heaven or, more likely, hell ... I will not describe the narrative in any great detail both because I would be perceived as spoiling the "fun" of discovering the many surprises for yourself, and because I cannot look at it and write about it in any other way than as an exercise in cosmic futility. Yet, I'm not sorry I saw it over a running time of 122 minutes, just about the length of time I'd like to spend on a quick in-and-out visit to hell. Critic Andrew Sarris of The Observer[186] The movie's despair is unearnedit's far too dependent on an arbitrarily manipulated plot and some very old-fashioned junk mechanics ... There are absences in it that hollow out the movie's attempt at greatness. Critic David Denby of The New Yorker[61] The Coen brothers bring their trademark daffiness to a tale of mayhem on the Texas border, but despite this, No Country for Old Men remains an emotional desert ... The film is full of pursuits, wanderings, endless journeying (I lost track of the number of close-ups of boots; the Coens seem more passionate about footwear than the people in them) ... It's the same soulless shaggy-dog caper decked out with pseudo profundities in which [the Coens] have always specialized ... Is it a masterpiece? Not even close. Critic Sukhdev Sandhu of The Daily Telegraph[187] Despite [cinematographer Roger] Deakins' work and three smashing performances, murder for its own sake wears quickly on me and I found myself wanting to flee the theater, and the sooner the better ... There is no fascinating psychology here, no enlightenment, no reason to recommend it to viewers put off by gore. But if blood spurting, gushing, dripping, and oozing is your thing, you'll love it. Jean Lowerison of the San Diego Metropolitan Magazine[188]
2007 No Country for Old Men The characters who populate the screen are not recognizable or particularly empathetic. While No Country for Old Men is compelling from beginning to end, the film lacks soul. Marcy Dermansky of Worldfilm.About.com[189] On its way to becoming the decade's most overrated movie, No Country for Old Men has already been compared to everything from Greek tragedy to the Old Testament ... All theme and no life, the movie is like a skeleton without flesh, and it rattles around in the big canvas of ponderous Meaning it sets up for itself ... A masterpiece? If this really were the highest form of cinema possible, I sincerely wouldn't have loved the medium the way I have all these years. Fernando F. Croce of Cinepassion.org[190] Under the influence of the later Tarantino school of visual splatter -- does blood really run so copiously across wood floors? -- it never achieves the earlier works' depth of droll relationships and character. Donald Levit of ReelTalkReviews.com[191] There's pretty good build, excellent tension in spots, an engaging story, the arc heads up towards -towards -- towards? And then resolution. Where did my climactic scene go? It's as if the Coens made a bet that they could do it, that they were brave enough to release a film without a climax. Or perhaps, stubbornly wanted to make a point. Apparently other critics are impressed with that point. Me? I'm not, I like my climax sandwiched strongly between my build and resolution. Review by Ross Anthony[192] Most critics loved the movie, so mine is a minority report, a counterpoint to the flood of applause you'll hear from practically everyone else ... The quiet, the solitude, the tension, the photography, and the wit are all up against what I view as the story's uncertain intent; largely stereotyped caricatures; lack of a central character; muddled themes; melodramatic, pulp-fiction action; and disappointing finish ... Perhaps the movie is suggesting that we currently live in a hopeless, narcissistic, egotistical, self-consumed society? But is America any worse off in these regards than it ever was? Probably not ... I can accept happy endings, sad endings, surprise endings, twist endings, or dangling endings. But at the same time, I do expect some kind of ending to leave the theater with something upon which to reflect. John J. Puccio of Movie Metropolis-MovieMet.com[193] My problem is simply with [Anton] Chigurh. I have no idea what to make of him ... [He] is so damned insubstantial that he can't carry the weight of myth on his cartoon shoulders ... I was on the fence about him (and the movie) until his encounter with the gas station clerk. There's just something about the way [Javier] Bardem says "Friend-o" that makes me want to laugh rather than cringe. Christopher Long of Movie Metropolis-MovieMet.com[194]
702
Disputes
In September 2008, Tommy Lee Jones announced that he was going to sue Paramount Pictures for $10 million, which he claims he is owed for his work on the film. Jones claimed he was not paid the correct bonuses and had expenses wrongly deducted.[195] In April 2010, Paramount, which distributed the 2007 best picture Oscar winner via its Paramount Vantage label, was forced to pay Jones a $15.0 million box office bonus when an arbitrator found the studio's lawyers had made an error in drafting Jones' deal to star in the movie.[196] In December 2011, Paramount tentatively prevailed in a legal dispute with a Morgan Stanley-backed film finance entity that claims it was cheated out of profits due to the hefty payment made to Jones. Morgan Stanley's Marathon Funding, which had a multipicture financing deal with Paramount, later cried foul, claiming its arrangement entitled it to 25% of "net distribution revenue" from the movie. The case went to trial in front of L.A. Superior Court Judge Mark Mooney, who on Dec. 22 issued a tentative ruling siding with the studio. Mooney has found that because
2007 No Country for Old Men Paramount's relationship with Marathon was not a joint venture, the studio did not owe Marathon a fiduciary duty and thus the charge was not inappropriate.[197]
703
In popular culture
In October 2010, armed robbers in northeast Dallas tossed a coin in order to decide whether or not to kill a victim. As reported in the British tabloid Daily Mail and The Dallas Morning News, "an armed robbery victim has told how he was spared from being killed after his attackers re-enacted a murder scene from the film No Country for Old Men. Victor Nowzari was cowering on the floor after being kicked and beaten by two men who had forced their way into his home in Texas, where the film was set. As they prepared to leave, one of the robbers said he would flip a coin to decide if he should shoot the 22-year-old. Having won the toss, he was locked in a cupboard and told not to come out while the robbers fled. He said they stole a cell phone, $12, a guitar, computer speakers, glasses and an Adidas bag, into which they stuffed the rest of the loot."[198][199] In February 2008, the New York Observer published a political cartoon by cartoonist R.J. Matson "that borrows heavily from the film's official poster. The left half of the image features the Republican heavy-weights George Bush senior, John McCain, and John Warnerthe three of them grouped together above the film title. The right half of the image is filled by one of the film's taglines: 'You Can't Stop What's Coming.' The immediate message of the cartoon is clear: McCain is being told by Bush and Warner that he is too old for the job of president. The cartoon could also be read more broadly, however, as a critique of the policies of George Bush junior, who was president when this cartoon as well as McCarthy's novel and the Coen brothers' film first appeared. Indeed, any of the film's other taglines'There Are No Clean Getaways,' 'There Are No Laws Left,' and 'Nothing You Fear ... Can Prepare You For Him'could serve just as well to sum up the ways in which the Bush government responded to the September 11 terror attacks."[87][200] The character of Anton Chigurh was featured in episode 19 of season 20 of the American animated sitcom The Simpsons, titled "Waverly Hills 9-0-2-1-D'oh", which aired on Fox in the United States on May 3, 2009. Chigurh, voiced by Javier Bardem's soundalike Maurice LaMarche, played a city inspector and used his air gun to either validate Homer Simpson's parking ticket or to blow a lock cylinder that eventually hits Homer in the head.[201][202][203] A parody titled "There Will Be Milkshakes for Old Men" was featured in episode 5 of season 33 of NBC's Saturday Night Live, which aired on February 23, 2008. Fred Armisen makes an appearance as Anton Chigurh, complete with deadly air tank and Javier Bardem pageboy, mimicking his famous "gas stop 'Call-It'" scene. In addition, Bill Hader does an impression of the Oscar-winning Daniel Day-Lewis (from the film There Will Be Blood) envisioning the classic line "I drink your milkshake" as the basis for a Food Network show that finds Daniel Plainview criss-crossing the country in search of the perfect milkshake.[204][205] The same Saturday Night Live episode also featured a skit of No Country for Old Men titled "Grandkids in the Movies".[206] Journalist William Russo commented on the old age of NBA's Boston Celtics players. In an article in March 2011, Russo stated that "Kevin Garnett compared himself and fellow Boston Celtics to characters in the classic caper film Ocean's 11, [where Garnett] immediately identified himself as the old expert (played by Carl Reiner)." He added, "in fact, there are many old movies [Garnett] might find himself emulating [including] No Country for Old Men: In rural Boston, welder and hunter Llewelyn Moss (Kevin Garnett) discovers the remains of playoff teams who have all killed each other in an exchange gone violently wrong. This puts the psychopathic killer, Anton Chigurh (LeBron James, [of the Miami Heat]), on his trail. Meanwhile, the laconic Sheriff Ed Tom Bell (Ray Allen) and his deputy (Paul Pierce) blithely oversee the investigation even as they struggle to face the sheer enormity of winning a second championship while the clock winds down."[207] Chris Bernucca adds that "in a league that quickly is becoming no country for old men, they are too something determined, proud, stubborn, entitled to simply move aside and let the young whippersnappers blow past them. Instead, they are trying to get everyone else to slow the heck down so they can keep up. You know that old adage about enjoying the journey?
2007 No Country for Old Men That's not the Celtics, who are just trying to survive the trek in one piece and get to their destination. They don't give a rat's asterisk whom they inconvenience, annoy or aggravate along the way."[208] The character of Anton Chigurh was played by actor Ike Barinholtz in the 2008 film Disaster Movie.[209] Spanish actor Carlos Areces spoofed the Anton Chigurh character in the 2009 film Spanish Movie.[210] Spanish television New Year's special Es Bello Vivir (It's a wonderful life), which premiered on December 31, 2008, contained a sketch mimicking the "gas stop scene" between Anton Chigurh and the proprietor.[211] The scene where Anton Chigurh stops at a Texaco gas station, flips a coin and asks the proprietor to 'call it' was mimicked in a number of online sketches, including an independently-produced parody titled No Football for Old Men, starring Michael Cornacchia, Kirk Zipfel, and Luiggi Debiasse as Referee Anton Chigurh.[212]
704
References
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Alvarez-Lpez, Esther (2007), En/clave De Frontera, Homenaje Al Profesor, Urbano Vinuela Angulo (http:// books.google.com/books?id=2X4nCScxpjIC&pg=PA75), Oviedo, Spain: Publicaciones de la Universidad De Oviedo, ISBN978-84-8317-681-8 Boule', Jean-Pierre; McCaffrey, Enda (2009), Existentialism and Contemporary Cinema: A Sartrean Perspective (http://books.google.com/books?id=Qk7LRRIygTEC&printsec=frontcover), Berghahn Books, ISBN978-0-85745-320-4 Chapman King, Lynnea; Wallach, Rick; Welsh, Jim (2009), No Country for Old Men: From Novel to Film (http:/ /books.google.com/books?id=l4L-YABUSm8C&printsec=frontcover), Lanham: The Scarecrow Press, ISBN978-0-8108-6729-1 Conard, Mark T. (2009), The Philosophy of The Coen Brothers (http://books.google.com/ books?id=ohcjSN7pt4wC&printsec=frontcover), Lexington, Kentucky: The University Press of Kentucky, ISBN978-0-8131-2526-8 Doom, Ryan P. (2009), The Brothers Coen: Unique Characters of Violence (http://books.google.ca/ books?id=7Ou8-IpAHBUC&printsec=frontcover), Santa Barbara, California: ABC-CLIO, LLC, ISBN978-0-313-35598-1 Durand, Kevin K.; Leigh, Mary K. (2011), Riddle me this. Batman!: essays on the universe of the Dark Knight (http://books.google.jo/books?id=5hrOKmZv_AkC&pg=PA201&dq=no+country+for+old+men+coin+ toss&hl=en&sa=X&ei=vM_eT5zAArT04QTs6ei1Cg&redir_esc=y#v=onepage&q=coin&f=true), Jefferson, North Carolina: McFarland & Company, Inc., ISBN978-0-7861-4629-2 Graham, Don (2011), State of Minds: Texas Culture & Its Discontents (http://books.google.com/ books?id=NDamlVpGm2gC&pg=PA109), Austin, TX: University of Texas Press, ISBN978-0-292-72361-0 Hurbis-Cherrier, Mick (2012), Voice & Vision: A Creative Approach to Narrative Film & DV Production, Second Edition (http://books.google.com/books?id=ZpndFcpq93sC&pg=PA257), Burlington, MA: Focal Press/Elsevier, ISBN978-0-240-81158-1 Luhr, William (2012), Film Noir (http://books.google.com/books?id=rqCGZ1hzDTIC&printsec=frontcover), West Sussex, UK: John Wiley and Sons, ISBN978-1-4051-4594-7 McMahon, Jennifer L.; Csaki, Steve (2010), The Philosophy of the Western (http://books.google.com/ books?id=opMgLvOCBw8C&pg=PT372), Lexington, Kentucky: The University Press of Kentucky, ISBN978-0-8131-2591-6 Monaco, Paul (2010), A History of American Movies: A Film-by-Film Look at the Art, Craft, and Business of Cinema (http://books.google.com/books?id=tgnKY6k5tHYC&pg=PA329), Lanham, Maryland: Scarecrow Press, ISBN978-0-8108-7433-6 Olson, Danel (2011), 21st Century Gothic: Great Gothic Novels Since 2000 (http://books.google.com/ books?id=fOyVgu1qElAC&printsec=frontcover), Lanham, MD: Scarecrow Press, Inc., ISBN978-0-8108-7728-3 Piazza, Roberta; Bednarek, Monika; Rossi, Fabio (2011), Telecinematic Discourse: Approaches to the Language of Films and Television Series (http://books.google.jo/books?id=53KlhptL-3wC&pg=PA5&dq=no+country+ for+old+men+coin+toss&hl=en&sa=X&ei=vM_eT5zAArT04QTs6ei1Cg&redir_esc=y#v=onepage& q=coin&f=false), Philadelphia, PA: John Benjamins Publishing Co., ISBN978-90-272-8515-7 Roman, James (2009), Bigger than Blockbusters: Movies that Defined America (http://books.google.com/ books?id=JBHRxrM9u-oC&pg=PA380), Westport, CT: Greenwood Press, ISBN978-0-313-33995-0 Spurgeon, Sara L. (2011), Cormac McCarthy: All the Pretty Horses/No Country for Old Men/The Road (http:// books.google.com/books?id=1BboK-cpk5YC&pg=PA100), London: Continuum International Publishing
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Further reading
Script of No Country for Old Men by Joel Coen and Ethan Coen, based on the Novel by Cormac McCarthy (Draft), (http://www.raindance.org/site/picture/upload/image/scripts/No_Country _(Shooting).pdf) raindance.org Dialogue transcript of No Country for Old Men. Screenplay by Joel Coen and Ethan Coen, based on the Novel by Cormac McCarthy, (http://www.script-o-rama.com/movie_scripts/n/no-country-for-old-men-script.html) script-o-rama.com "At the Border: the Limits of Knowledge in The Three Burials of Melquiades Estrada and No Country for Old Men," (http://www2.warwick.ac.uk/fac/arts/film/movie/contents/at_the_border.pdf) Movie: A Journal of Film Criticism, No. 1, 2010 "No Country for Old Men: Out in all that dark", by Jim Emerson, November 27, 2007, (http://blogs.suntimes. com/scanners/2007/11/no_country_for_old_men_out_in.html#more) suntimes.com "Blood and time: Cormac McCarthy and the twilight of the West", by Roger D. Hodge, Feb 2006, (http://www. harpers.org/archive/2006/02/0080935) harpers.org "'No Country' hits home" (a letter to Critic Roger Ebert), (http://rogerebert.suntimes.com/apps/pbcs.dll/ article?AID=/20080225/LETTERS/607994909) rogerebert.suntimes.com Killing Joke: The Coen brothers twists and turns, by David Denby, February 25, 2008, (http://www.newyorker. com/arts/critics/atlarge/2008/02/25/080225crat_atlarge_denby?currentPage=all) The New Yorker The Politics of Retirement: Joel and Ethan Coen's No Country for Old Men after September 11, by Arne De Boever, June, 2009, (http://www.imageandnarrative.be/inarchive/l_auteur_et_son_imaginaire/DeBoever. htm) Image & Narrative: Online Magazine of the Visual Narrative Rescripting the Western in 'No Country for Old Men', by Sergio Rizzo, January 14, 2011, (http://www. popmatters.com/pm/tools/full/135413) PopMatters.comPopMatters Media Politics and Film: Spiraling Downward: America in 'Days of Heaven,' 'In the Valley of Elah,' and 'No Country for Old Men', by Joan Mellen, November 16, 2005, (http://www.joanmellen.net/Spiraling_Downward.html) joanmellen.net-appeared in a slightly different version in FILM QUARTERLY, Vol. 61, No. 3, Spring 2008, University of California Press 'No Country for Old Men' Study of Coen's Masterpiece, July 18, 2010, (http://sachinwalia.net/2010/07/18/ no-country-for-old-men-study-of-coens-masterpiece/) sachinwalia.net The art of murdering: a multimodal-stylistic analysis of Anton Chigurhs speech in No Country for Old Men, by Elisabetta Zurru, 2009, (http://www.pala.ac.uk/resources/proceedings/2009/zurru2009.pdf) Online Proceedings of the Annual Conference of the Poetics and Linguistics Association (PALA) Chigurhs Coin: Karma and Chance in No Country For Old Men, by William Ferraioloa, June, 2009, (http:// deltacollege.academia.edu/WilliamFerraiolo/Papers/87619/ Chigurhs_Coin_Karma_and_Chance_in_No_Country_For_Old_Men) Deltacollege.Academia.edu
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External links
Official movie website (http://www.nocountryforoldmen.co.uk/intl/uk/), "ParamountPictures.co.uk" No Country for Old Men (http://www.imdb.com/title/tt0477348/) at the Internet Movie Database No Country for Old Men (http://tcmdb.com/title/title.jsp?stid=643517) at the TCM Movie Database No Country for Old Men (http://www.allrovi.com/movies/movie/v348834) at AllRovi No Country for Old Men (http://www.rottentomatoes.com/m/no_country_for_old_men/) at Rotten Tomatoes No Country for Old Men (http://www.metacritic.com/movie/nocountryforoldmen) at Metacritic No Country for Old Men (http://www.boxofficemojo.com/movies/?id=nocountryforoldmen.htm) at Box Office Mojo
2008 Slumdog Millionaire

Slumdog Millionaire
Directed by Produced by Screenplay by Based on Starring Danny Boyle Christian Colson Simon Beaufoy Q & Aby Vikas Swarup Dev Patel Freida Pinto Anil Kapoor Irrfan Khan Mahesh Manjrekar Madhur Mittal Ayush Mahesh Khedekar Tanay Chheda Rubina Ali Tanvi Ganesh Lonkar Azharuddin Mohammed Ismail Ashutosh Lobo Gajiwala A. R. Rahman
Music by
Cinematography Anthony Dod Mantle Editing by Studio Distributed by Chris Dickens Celador Films Film4 Productions Path (UK) Fox Searchlight Pictures Warner Bros. Pictures (US)

Release date(s) Running time Country
12 November 2008 (United States) 9 January 2009 (United Kingdom)
120 minutes United Kingdom
714
Language Budget Box office English Hindi $15 million
[1] [1]
$377,910,544
Slumdog Millionaire is a 2008 British drama film directed by Danny Boyle, written by Simon Beaufoy, and co-directed in India by Loveleen Tandan.[2] It is an adaptation of the novel Q & A (2005) by Indian author and diplomat Vikas Swarup. Set and filmed in India, the film tells the story of Jamal Malik, a young man from the Juhu slums of Mumbai who appears on the Indian version of Who Wants to Be a Millionaire? (Kaun Banega Crorepati in the Hindi version) and exceeds people's expectations, thereby arousing the suspicions of the game show host and of law enforcement officials. The movie combines elements of crime and adventure. After its world premiere at Telluride Film Festival and later screenings at the Toronto International Film Festival and the London Film Festival,[3] Slumdog Millionaire had a nationwide grand release in the United Kingdom on 9January 2009 and in the United States on 12November 2008.[4] It premiered in Mumbai on 22January 2009.[5] A sleeper hit, Slumdog Millionaire was nominated for 10 Academy Awards in 2009 and won eight, the most for any film of 2008, including Best Picture, Best Director, and Best Adapted Screenplay. It also won seven BAFTA Awards (including Best Film), five Critics' Choice Awards, and four Golden Globes. The film was dubbed in Hindi for Indian release as Slumdog Crorepati and also in Tamil as Naanum Kodieswaran.
Plot
In Mumbai in 2006, eighteen-year-old Jamal Malik (Dev Patel), a former street child (child Ayush Mahesh Khedekar, adolescent Tanay Chheda) from the Juhu slum, is a contestant on the Indian version of Who Wants to Be a Millionaire?, and is one question away from the grand prize. However, before the Rs. 20 million question, he is detained and interrogated by the police, who suspect him of cheating because of the impossibility of a simple "slumdog" with very little education knowing all the answers. Jamal recounts, through flashbacks, the incidents in his life which provided him with each answer. These flashbacks tell the story of Jamal, his brother Salim (adult Madhur Mittal, adolescent Ashutosh Lobo Gajiwala, child Azharuddin Mohammed Ismail), and Latika (adult Freida Pinto, adolescent Tanvi Ganesh Lonkar, child Rubina Ali). The story of Jamal's life includes his managing, at age five, to obtain the autograph of Bollywood star Amitabh Bachchan, which his brother then sells, followed immediately by the death of his mother during the Bombay Riots. As they flee the riot, Salim and Jamal meet Latika, another child from their slum. Salim is reluctant to take her in, but Jamal suggests that she could be the third musketeer, a character from the Alexandre Dumas novel (which they had been studyingalbeit not very diligentlyin school), whose name they do not know. The three are found by Maman (Ankur Vikal), a gangster who tricks and then trains street children into becoming beggars. When Jamal, Salim, and Latika learn Maman is blinding children in order to make them more effective as singing beggars, they flee by jumping onto a departing train. Latika catches up and takes Salim's hand, but Salim purposely lets go, and she is recaptured by the gangsters. Over the next few years, Salim and Jamal make a living travelling on top of trains, selling goods, picking pockets, working as dish washers, and pretending to be tour guides at the Taj Mahal, where they steal people's shoes. At Jamal's insistence, they return to Mumbai to find Latika, discovering from one of the singing beggars that she has been raised by Maman to become a prostitute and that her virginity is expected to fetch a high price. The brothers rescue her, and Salim draws a gun and kills Maman. Salim then manages to get a job with Javed (Mahesh Manjrekar), Maman's rival crime lord. Arriving at their hotel room, Salim orders Jamal to leave him and Latika alone. When Jamal refuses, Salim draws a gun on him, and Jamal leaves after Latika persuades him to go away (presumably so he wouldn't get hurt by Salim).
2008 Slumdog Millionaire Years later, while working as a tea server at an Indian call centre, Jamal searches the centre's database for Salim and Latika. He fails in finding Latika but succeeds in finding Salim, who is now a high-ranking lieutenant in Javed's organisation, and they reunite. Salim is regretful for his past actions and only pleads for forgiveness when Jamal physically attacks him. Jamal then bluffs his way into Javed's residence and reunites with Latika. While Jamal professes his love for her, Latika asks him to forget about her. Jamal promises to wait for her every day at 5o'clock at the VT station. Latika attempts to rendezvous with him, but she is recaptured by Javed's men, led by Salim. Jamal loses contact with Latika when Javed moves to another house, outside of Mumbai. Knowing that Latika watches it regularly, Jamal attempts to make contact with her again by becoming a contestant on the show Who Wants to Be a Millionaire? He makes it to the final question, despite the hostile attitude of the show's host, Prem Kumar (Anil Kapoor), and becomes a wonder across India. Kumar feeds Jamal the incorrect response to the penultimate question, and when Jamal still gets it right, turns him into the police on suspicion of cheating. The story is now where the movie began. Back in the interrogation room, the police inspector (Irrfan Khan) calls Jamal's explanation "bizarrely plausible", but thinks he is not a liar and allows him to return to the show. At Javed's safehouse, Latika watches the news coverage of Jamal's miraculous run on the show. Salim, in an effort to make amends for his past behaviour, quietly gives Latika his mobile phone and car keys, and asks her to forgive him and to go to Jamal. Latika, though initially reluctant out of fear of Javed, agrees and escapes. Salim fills a bathtub with cash and sits in it, waiting for the death he knows will come when Javed discovers what he has done. Jamal's final question is, by coincidence, the name of the third musketeer in The Three Musketeers, a fact he never learned. Jamal uses his Phone-A-Friend lifeline to call Salim's cell, as it is the only phone number he knows. Latika succeeds in answering the phone just in the nick of time, and, while she does not know the answer, tells Jamal that she is safe. Relieved, Jamal randomly picks Aramis, the right answer, and wins the grand prize. Simultaneously, Javed discovers that Salim has helped Latika escape after he hears Latika on the show. He and his men break down the bathroom door, and Salim kills Javed, before being gunned down himself at the hands of Javed's men. With his dying breath, Salim gasps that God is great. Later that night, Jamal and Latika meet at the railway station and kiss. The movie ends with a dance scene on the platform to "Jai Ho".
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Cast
Dev Patel as Jamal Malik, the protagonist, a Muslim boy born and raised in the poverty of Bombay/Mumbai.[6] Boyle considered hundreds of young male actors, and he found that Bollywood leads were generally "strong, handsome hero-types." Boyle's daughter pointed Dev Patel out from his role in the British television ensemble drama Skins.[7][8] Ayush Mahesh Khedekar as Youngest Jamal Tanay Chheda as Teenage Jamal Freida Pinto as Latika, Jamal's love interest. Pinto was an Indian model who had not starred in a feature film before.[7] Regarding the "one of a kind" scarf she wears, designer Suttirat Anne Larlarb says, "I wanted to bookend the journeyto tie her childhood yellow dress to her final look."[9] Rubina Ali as Youngest Latika. Tanvi Ganesh Lonkar as Teenage Latika Madhur Mittal as Salim Malik, Jamal's elder brother. Azharuddin Mohammed Ismail as Youngest Salim. Ashutosh Lobo Gajiwala as Teenage Salim Anil Kapoor as Prem Kumar, the game show host. Boyle initially wanted Indian actor Shahrukh Khan to play the role,[10] but things did not work out. Khan had hosted the 2007 series of Kaun Banega Crorepati, the Indian version of Who Wants to Be a Millionaire? Kapoor has also starred as a guest on the show with Amitabh Bachchan and won Rs 5,000,000.
2008 Slumdog Millionaire Irrfan Khan as the Police Inspector Saurabh Shukla as Head Constable Srinivas Mahesh Manjrekar as Javed, the crime boss and the main antagonist. Ankur Vikal as Maman Rajendranath Zutshi as the Millionaire show producer Sanchita Choudhary as Jamal's mother Mia Drake Inderbitzin as Adele, American tourist Shanjei Ramanathan as Arvind, blind beggar boy Arfi Lamba as Bardi
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Production
Screenwriter Simon Beaufoy wrote Slumdog Millionaire based on the Boeke Prize-winning and Commonwealth Writers' Prize-nominated novel Q & A by Vikas Swarup.[11] To hone the script, Beaufoy made three research trips to India and interviewed street children, finding himself impressed with their attitudes. The screenwriter said of his goal for the script: "I wanted to get (across) the sense of this huge amount of fun, laughter, chat, and sense of community that is in these slums. What you pick up on is this mass of energy."
Slumdog Millionaire screening at Ryerson Theatre, Toronto, Ontario
By the summer of 2006, British production companies Celador Films and Film4 Productions invited director Danny Boyle to read the script of Slumdog Millionaire. Boyle hesitated, since he was not interested in making a film about Who Wants to Be a Millionaire?, which was produced by Celador.[7] Then Boyle learned that the screenwriter was Beaufoy, who had written The Full Monty (1997), one of the director's favourite British films, and decided to revisit the script.[12] Boyle was impressed by how Beaufoy wove the multiple storylines from Swarup's book into one narrative, and the director decided to commit to the project. The film was projected to cost US$15million, so Celador sought a U.S. distributor to share costs. Fox Searchlight Pictures made an initial offer that was reportedly in the $2million range, but Warner Independent Pictures made a $5million offer to win rights to the picture.[7] Gail Stevens came on board to oversee casting globally. Stevens had worked with Boyle throughout his career and was well known for discovering new talent. Meredith Tucker was appointed to cast out of the US. The film-makers then travelled to Mumbai in September 2007 with a partial crew and began hiring local cast and crew for production in Karjat. Originally appointed as one of the five casting directors in India, Loveleen Tandan has stated, "I suggested to Danny and Simon Beaufoy, the writer of Slumdog, that it was important to do some of it in Hindi to bring the film alive [...] They asked me to pen the Hindi dialogues which I, of course, instantly agreed to do. And as we drew closer to the shoot date, Danny asked me to step in as the co-director."[13] Boyle then decided to translate nearly a third of the film's English dialogue into Hindi. The director fibbed to Warner Independent's president that he wanted 10% of the dialogue in Hindi, and she approved of the change. Filming locations included shooting in Mumbai's megaslum and in shantytown parts of Juhu, so film-makers controlled the crowds by befriending onlookers.[7] Filming began on 5November 2007.[8]
2008 Slumdog Millionaire In addition to Swarup's original novel Q & A, the film was also inspired by Indian cinema.[14] Tandan has referred to Slumdog Millionaire as a homage to Hindi commercial cinema, noting that "Simon Beaufoy studied Salim-Javed's kind of cinema minutely."[15] Boyle has cited the influence of several Bollywood films set in Mumbai.[i] Satya (1998) (screenplay co-written by Saurabh Shukla, who plays Constable Srinivas in Slumdog Millionaire) and Company (2002) (based on the D-Company) both offered "slick, often mesmerising portrayals of the Mumbai underworld" and displayed realistic "brutality and urban violence." Boyle has also stated that the chase in one of the opening scenes of Slumdog Millionaire was based on a "12-minute police chase through the crowded Dharavi slum" in Black Friday (2004) (adapted from S. Hussein Zaidi's book of the same name about the 1993 Bombay bombings).[14][16][17][18] Deewaar (1975), which Boyle described as being "absolutely key to Indian cinema", is a crime film based on the Bombay gangster Haji Mastan, portrayed by Bollywood star Amitabh Bachchan, whose autograph Jamal seeks at the beginning of Slumdog Millionaire.[14] Anil Kapoor noted that some scenes of the film "are like Deewaar, the story of two brothers of whom one is completely after money while the younger one is honest and not interested in money."[19] Boyle has cited other Indian films as influences in later interviews.[ii][20] The rags-to-riches, underdog theme was also a recurring theme in classic Bollywood movies from the 1950s through to the 1980s, when "India worked to lift itself from hunger and poverty."[21] Other classic Bollywood tropes in the film include "the fantasy sequences" and the montage sequence where "the brothers jump off a train and suddenly they are seven years older".[20] Bollywood star Shahrukh Khan, was initially offered the role of the show's host in the film. Khan was the natural choice, as not only was he Bollywood's reigning superstar, whose global recognition could be matched by no other, he was also the host of the 2007 series of Kaun Banega Crorepati (the Indian version of Who Wants to Be a Millionaire?) which aired before filming had begun on Slumdog Millionaire. Khan worked extensively on the film and script as an uncredited advisor, however had to turn the role down due to the negative character of the host. As Khan was the real-life host of KBC, he did not want to give his audiences the impression that the real show was also fraud, by playing a fraud host in the movie. Khan later stated, after the release and success of Slumdog Millionaire, that he did not regret turning the role down as he had a very good reason for doing so. The role is played by another Bollywood star, Anil Kapoor.[22] Paul Smith, the executive producer of Slumdog Millionaire and the chairman of Celador Films, previously owned the international rights to Who Wants to Be a Millionaire?[23]
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Release and box office performance

In August 2007, Warner Independent Pictures acquired the North American rights and Path the international rights to distribute Slumdog Millionaire theatrically.[8] However, in May 2008, Warner Independent Pictures was shut down, with all of its projects being transferred to Warner Bros., its parent studio. Warner Bros. doubted the commercial prospects of Slumdog Millionaire and suggested that it would go straight to DVD without a U.S. theatrical release.[24] In August 2008, the studio began searching for buyers for various productions, to relieve its overload of end-of-the-year films.[25] Halfway through the month, Warner Bros. entered into a pact with Fox Searchlight Pictures to share distribution of the film, with Fox Searchlight buying 50% of Warner Bros.'s interest in the movie and handling U.S. distribution.[26] Following the film's success at the 81st Academy Awards, the film topped the worldwide box office (barring North America), grossing $16million from 34 markets in the week following the Academy Awards.[27] Worldwide, the film has currently grossed over $377million,[1] becoming Fox Searchlight Pictures's highest-grossing film ever (surpassing Juno).
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Australia
The Australian 2008 release of Slumdog Millionaire was produced by Icon Film Distribution.
North America
Slumdog Millionaire was first shown at the Telluride Film Festival on 30August 2008, where it was positively received by audiences, generating "strong buzz".[28] The film also screened at the Toronto International Film Festival on 7September 2008, where it was "the first widely acknowledged popular success" of the festival,[29] winning the People's Choice Award.[30] Slumdog Millionaire debuted with a limited North American release on 12 November 2008, followed by a nationwide release in the United States on 23January 2009.[31] After debuting on a Wednesday, the film grossed $360,018 in 10 theatres in its first weekend, a strong average of $36,002 per theatre.[32][33] In its second weekend, it expanded to 32theatres and made $947,795, or an average of $29,619 per theatre, representing a drop of only 18%.[32] In the 10 original theatres that it was released in, viewership went up 16%, and this is attributed to strong word-of-mouth.[34] The film expanded into wide release on 25 December 2008 at 614 theatres and earned $5,647,007 over the extended Christmas weekend.[31] Following its success at the 81st Academy Awards, the film's takings increased by 43%,[35] the most for any film since Titanic.[36] In the weekend of 27February to 1March, the film reached its widest release at 2,943 theatres.[37] The film has grossed over $140million at the North American box office.[1]
Stars Dev Patel and Freida Pinto at the 2008 Toronto International Film Festival
The film was released on DVD and Blu-ray in the United States on 31 March 2009. The film opened at No. 2 in the DVD sales chart, making $14.16m off 842,000 DVD units.[38] As of 12 November 2009, an estimated 1,964,962 DVD units have been sold, translating to $31.32m in revenue. This figure does not include Blu-ray sales/DVD rentals.[38] It had previously been announced that 20th Century Fox Home Entertainment would be starting a new marketing program with two versions of each release: a stripped-down minimal version for the rental market, and a traditional full version with "bonus extra" features, such as commentary and "making of" material for the retail market. The release production was mixed up; some full versions were shipped in rental cases, and some retail versions were missing the extras despite their being listed on the outside of the box. Public apologies were issued by Fox and Amazon.[39]
Europe
The film was released in the United Kingdom on 9 January 2009, and opened at No. 2 at the UK box office.[40] The film reached No. 1 in its second weekend and set a UK box office record, as the film's takings increased by 47%. This is the "biggest ever increase for a UK saturation release," breaking "the record previously held by Billy Elliot's 13%." This record-breaking "ticket surge" in the second weekend came after Slumdog Millionaire won four Golden Globes and received eleven BAFTA nominations. The film grossed 6.1million in its first eleven days of release in the UK.[41] The takings increased by another 7% the following weekend, bringing the film's gross up to 10.24million for its first seventeen days in the UK,[42][43] and up to 14.2million in its third week.[44] As of 20 February 2009, the film's UK box office gross was 22,973,110,[45] making it "the eighth biggest hit at UK cinemas of the past 12months."[46] In the week ending 1March 2009, following its success at the 81st Academy
2008 Slumdog Millionaire Awards where it won eight Oscars, the film returned to No. 1 at the UK box office,[47] grossing 26million as of 2March 2009.[48] As of 17 May 2009, the total UK gross was over 31.6million.[49] The film was released on DVD and Blu-ray on 1 June 2009. The film's success at the Academy Awards led to it seeing large increases in takings elsewhere in Europe the following week. Its biggest single country increase was in Italy, where it was up 556% from the previous week. The takings in France and Spain also increased by 61% and 73% respectively. During the same week, the film debuted in other European countries with successful openings: in Croatia it grossed $170,419 from 10screens, making it the biggest opening there in the last four months; and in Poland it opened in second place with a gross of $715,677. The film was released in Sweden on 6 March 2009 and in Germany on 19March 2009.[27]
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India
In India, the premiere of Slumdog Millionaire took place in Mumbai on 22January 2009 and was attended by major personalities of the Indian film industry, with more than a hundred attending this event.[50] A dubbed Hindi version, Slumdog Crorepati ( ), was also released in India in addition to the original version of the film.[51] Originally titled Slumdog Millionaire: Kaun Banega Crorepati, the name was shortened for legal reasons. Loveleen Tandan, who supervised the dubbing, stated, "All the actors from the original English including Anil Kapoor, Irrfan Khan and Ankur Vikal dubbed the film. We got a boy from Chembur, Pradeep Motwani to dub for the male lead Dev Patel. I didn't want any exaggerated dubbing. I wanted a young unspoilt voice."[52] Fox Searchlight released 351 prints of the film across India for its full release there on 23January 2009.[53] It earned Rs. 23,545,665 in its first week at the Indian box office,[54] or $2.2million according to Fox Searchlight. Though not as successful as major Bollywood releases in India during its first week, this was the highest weekend gross for any Fox film and the third highest for any Western release in the country, trailing only Spider-Man 3 and Casino Royale.[53] In its second week, the film's gross rose to Rs.30,470,752 at the Indian box office.[54]
A. R. Rahman at his residence in Chennai after receiving two Academy Awards for his work in Slumdog Millionaire
A few analysts have offered their opinions about the film's performance at the Indian box office. Trade analyst Komal Nahta commented, "There was a problem with the title itself. Slumdog is not a familiar word for majority Indians." In addition, trade analyst Amod Mehr has stated that with the exception of Anil Kapoor, the film lacks recognisable stars and that "the film... is not ideally suited for Indian sentiment." A cinema owner commented that "to hear slum boys speaking perfect English doesn't seem right but when they are speaking in Hindi, the film seems much more believable." The dubbed Hindi version, Slumdog Crorepati, did better at the box office, and additional copies of that version were released.[55] Following the film's success at the 81st Academy Awards, the film's takings in India increased by 470% the following week, bringing its total up to $6.3million that week.[27] As of 15March 2009, Slumdog Crorepati has grossed Rs.158,613,802 at the Indian box office.[56]
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Asia-Pacific
The film's success at the Academy Awards led to it seeing large increases in takings in the Asia-Pacific region. In Australia, the takings increased by 53%, bringing the film up to second place there.[27] In Hong Kong, the film debuted taking $1million in its opening weekend, making it the second biggest opening of the year there.[27] The film was released in Japan on 18April 2009, South Korea on 19March 2009, China on 26March 2009, Vietnam on 10April 2009,[27] and 11April 2009 in the Philippines. In particular, the film was a major success in East Asia. In the People's Republic of China, the film grossed $2.2million in its opening weekend (2729 March). In Japan, the film grossed $12million, the most the film has grossed in any Asian country.[57]
Critical reception
Academy Awards record 1. Best Picture 2. Best Director, Danny Boyle 3. Best Adapted Screenplay, Simon Beaufoy 4. Best Cinematography, Anthony Dod Mantle 5. Best Original Score, A. R. Rahman, 6. Best Original Song "Jai Ho", A. R. Rahman and Gulzar (lyricist) 7. Best Film Editing, Chris Dickens 8. Best Sound Mixing, Resul Pookutty, Richard Pryke, and Ian Tapp BAFTA Awards record 1. Best Film, Christian Colson 2. Best Director, Danny Boyle 3. Best Adapted Screenplay, Simon Beaufoy 4. Best Cinematography, Anthony Dod Mantle 5. Best Film Music, A. R. Rahman 6. Best Editing, Chris Dickens 7. Best Sound, Glenn Freemantle, Resul Pookutty, Richard Pyke, Tom Sayers, Ian Tapp Golden Globe Awards record 1. Best Picture Drama 2. Best Director, Danny Boyle 3. Best Screenplay, Simon Beaufoy 4. Best Original Score, A. R. Rahman Goya Awards (Spain) 1. Best European Film
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Awards and honours

Slumdog Millionaire was critically acclaimed, named in the top ten lists of various newspapers.[58] On 22February 2009, the film won eight out of ten Academy Awards for which it was nominated, including the Best Picture and Best Director.[59] It is the eighth film ever to win eight Academy Awards[60] and the eleventh Best Picture Oscar winner without a single acting nomination.[61] At the same time, Taare Zameen Par (Like Stars on Earth), India's submission for the Academy Award for Best Foreign Film, failed to make the short list of nominations and was frequently compared with Slumdog Millionaire in the Indian media.[62][63][64][65] The film also won seven of the eleven BAFTA Awards for which it was nominated, including Best Film; all four of the Golden Globe Awards for which it was nominated, including Best Drama Film; and five of the six Critics' Choice Awards for which it was nominated. The much acclaimed title sequence has been honoured by a nomination at the prestigious 2009 Rushes Soho Shorts Film Festival in the 'Broadcast Design Award' category in competition with the likes of the Match of the Day Euro 2008 titles by Aardman and two projects by Agenda Collective
Reactions from outside India

Slumdog Millionaire was met with near universal critical acclaim. As of 5 July 2012, Rotten Tomatoes has given the film a 94%rating with 210fresh and 14 rotten reviews. The average score is 8.2/10.[66] At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the film has received an average score of 86, based on 36reviews.[67] Movie City News shows that the film appeared in 123different top ten lists, out of 286 different critics lists surveyed, the 3rd most mentions on a top ten list of any film released in 2008.[68] Roger Ebert of the Chicago Sun Times gave the film 4 out of 4 stars, stating that it is, "a [69] breathless, exciting story, heartbreaking and exhilarating." Wall Street Journal critic Joe Morgenstern refers to Slumdog Millionaire as, "the film world's first globalised masterpiece."[70] Ann Hornaday of The Washington Post argues that, "this modern-day "rags-to-rajah" fable won the audience award at the Toronto International Film Festival earlier this year, and it's easy to see why. With its timely setting of a swiftly globalising India and, more specifically, the country's own version of the "Who Wants to Be a Millionaire" TV show, combined with timeless melodrama and a hardworking orphan who withstands all manner of setbacks, "Slumdog Millionaire" plays like Charles Dickens for the 21stcentury."[71] Kenneth Turan of the Los Angeles Times describes the film as "a Hollywood-style romantic melodrama that delivers major studio satisfactions in an ultra-modern way" and "a story of star-crossed romance that the original Warner brothers would have embraced, shamelessly pulling out stops that you wouldn't think anyone would have the nerve to attempt any more."[72] Anthony Lane of the New Yorker stated, "There is a mismatch here. Boyle and his team, headed by the director of photography, Anthony Dod Mantle, clearly believe that a city like Mumbai, with its shifting skyline and a population of more than fifteen million, is as ripe for storytelling as Dickens's London [...] At the same time, the story they chose is sheer fantasy, not in its glancing
Slumdog Millionaire team at the 81st Academy Awards in the US
2008 Slumdog Millionaire details but in its emotional momentum. How else could Boyle get away with assembling his cast for a Bollywood dance number, at a railroad station, over the closing credits? You can either chide the film, at this point, for relinquishing any claim to realism or you can go with the flowsurely the wiser choice. "[73] Colm Andrew of the Manx Independent was also full of praise, saying the film "successfully mixes hard-hitting drama with uplifting action and the Who Wants To Be a Millionaire show is an ideal device to revolve events around".[74] Several other reviewers have described Slumdog Millionaire as a Bollywood-style "masala" movie,[75] due to the way the film combines "familiar raw ingredients into a feverish masala"[76] and culminates in "the romantic leads finding each other."[77] Other critics offered more mixed reviews. For example, Peter Bradshaw of The Guardian gave the film three out of five stars, stating that "despite the extravagant drama and some demonstrations of the savagery meted out to India's street children, this is a cheerfully undemanding and unreflective film with a vision of India that, if not touristy exactly, is certainly an outsider's view; it depends for its full enjoyment on not being taken too seriously." He also pointed out that the film is co-produced by Celador, who own the rights to the original Who Wants to Be a Millionaire? and claimed that "it functions as a feature-length product placement for the programme."[78] A few critics outright panned it. Mick LaSalle of the San Francisco Chronicle states that, "Slumdog Millionaire has a problem in its storytelling. The movie unfolds in a start-and-stop way that kills suspense, leans heavily on flashbacks and robs the movie of most of its velocity.... [T]he whole construction is tied to a gimmicky narrative strategy that keeps Slumdog Millionaire from really hitting its stride until the last 30minutes. By then, it's just a little too late."[79] Eric Hynes of IndieWIRE called it "bombastic", "a noisy, sub-Dickens update on the romantic tramp's tale" and "a goofy picaresque to rival Forrest Gump" in its morality and romanticism.[80] Film Master Adam from www.webofcinema.com lambasted the film, the praise it received, and the Academy Awards for giving it the most attention over other movies he personally favoured that year (particarily The Dark Knight), criticising various coincidences in the storytelling and using the theme on destiny as an excuse for the plot structure to be all over the place, underdeveloped characters, generic cinematography, inaccuracies to the requirmemnts necessary to participate in Who Wants to be a Millionaire? in real life, compared Danny Boyle's directing style to that of Michael Bay (a filmmaker that he has a strong hatred for), and the fact that it was advertised as a fell-good movie despite the subject matter it portrayed.[81]
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Reactions from India and the Indian diaspora

Slumdog Millionaire has been a subject of discussion among a variety of people in India and the Indian diaspora. Some film critics have responded positively to the film. At the same time, others objected to issues such as Jamal's use of British English or the fact that similar films by Indian filmmakers have not received equal recognition. A few notable filmmakers such as Aamir Khan and Priyadarshan have been critical of the film. Author and critic Salman Rushdie argues that it has "a patently ridiculous conceit."[82]
Academic criticism
The film has been subject to serious academic criticism. Sengupta (2009 and 2010) raises substantial doubts about both the realism of the film's portrayal of urban poverty in India and whether the film will assist those arguing for the poor. Rather, Sengupta argues the film's "reductive view" of such slums is likely to reinforce negative attitudes to those who live there. The film is therefore likely to support policies that have tended to further dispossess the slum dwellers in terms of material goods, power and dignity. The film, it is also suggested, celebrates characters and places that might be seen as symbolic of Western culture and models of development.[83][84] However, there are others who point to the changing urban aspirations and prospects for mobility that can be seen in Indian cities such as Mumbai in which the film is set. The film is seen by Parthasarathy (1999) as reflecting a larger context of global cultural flows, which implicates issues of labour, status, ascription-achievement, and poverty in urban India. Parthasarathy (1999) argues for a better understanding of issues of dignity of labour and that the film should be
2008 Slumdog Millionaire interpreted in a more nuanced way as reflecting the role of market forces and Indias new service economy in transforming the caste and status determined opportunity structure in urban India.[85]
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Controversies
Slumdog Millionaire has stirred controversy on a few issues including the welfare and illegal housing of its child actors and its portrayals of Indians and Hinduism. Amitabh Bachchan One of the first celebrities thought to have discussed the film was Bollywood superstar[86] Amitabh Bachchan,[87] from whom young Jamal eagerly seeks an autograph shortly after the beginning of the film and who was the original presenter for Kaun Banega Crorepati, the Indian version of Who Wants to Be a Millionaire? On 13 January 2009[88] Bachchan wrote in his blog that in another part of his blog there were "comments for the film SlumDog Millionaire" which, as he noted, indicated "anger by some on its contents." He further wrote that "if SM projects India as Third World dirty under belly developing nation and causes pain and disgust among nationalists and patriots, let it be known that a murky under belly exists and thrives even in the most developed nations." Bachchan also wrote: "It's just that the SM idea authored by an Indian and conceived and cinematically put together by a Westerner, gets creative Globe recognition. The other would perhaps not."[88] These remarks were widely reported on by the press in India and abroad as a criticism of the film.[86][89][90] In a later blog entry,[91] Bachchan stated that his remarks had been misconstrued. He wrote: "Fact is some one mentioned the film on my blog...I merely put both of them up and invited debate [...] Media, in India has taken the pros and cons of OTHERS, as MINE, built their headlines and put it safely out, thereby, causing the consternation."[91][92] In another entry,[93] Bachchan also wrote that Anil Kapoor invited him by phone to the premiere of the film. During the same phone call, Bachchan spoke with Danny Boyle, whom he described as "gracious and complimentary to me and my work." Bachchan stated that he offered his "apologies" to Boyle for the critical comments "created by media" but attributed to him, and he noted that Boyle "understands and acknowledges my calling him."[94] Following the film's release in India on 23 January 2009, Bachchan called the movie "wonderful" and praised the fact that A.R. Rahman had received three Oscar nominations.[95] Bachchan wrote: "I feel this win by Rahman and Rasool is most deserving and feel extremely proud to be an Indian."[96] Gopal Singh Nepali The author of the song "Darshan Do Ghanshyam" is said in the film to be the blind poet Surdas. However, the song is originally from the movie Narsi Bhagat (1957) written by Gopal Singh Nepali. His children have filed a complaint about the incorrect portrayal.[97][98][99] Loveleen Tandan On 11 December 2008, the day Golden Globe nominations were announced, Chicago film critic Jan Lisa Huttner launched an online campaign questioning why Loveleen Tandan, the film's credited co-director, was not nominated along with Danny Boyle for Best Director. "Knowing that Loveleen Tandan was a critical part of Slumdogs filmmaking and marketing phases," she wrote, "how can we all sit by and watch while shes totally ignored in the awards phase?" Huttner also provided statistics showing "how rare it is for female directors to be in the awards race." After learning of this campaign, Tandan sought to end it, stating, "I can't tell you how embarrassed I am by this [...] The suggestion is highly inappropriate, and I am writing to you to stress that I would not wish it to be considered."[100] Slumdog Millionaire's producer Christian Colson stated that Tandan's role as co-director was being misconstrued to place her on an equal creative footing with Boyle. Colson noted that the title of "co-director (India)" given to Tandan was "strange but deserved" and was developed over "a Coca Cola and a cup of tea" in order to identify her as "one of
2008 Slumdog Millionaire our key cultural bridges."[100] Colson's remarks triggered negative feedback from multiple organisations including WomenArts, the Women Film Critics Circle, and the Women's Media Center. Eventually, even though she was not present at any prior ceremonies (including Golden Globes, BAFTA, or DGA), Tandan was a member of the team which went up on stage to accept the Oscar for Best Picture of 2009. On 15 May 2010, Huttner received a "Silver Feather" award from the Illinois Woman's Press Association commending her for her work on the 2009 Oscar controversy. Protests and lawsuits Following its release in India, the film faced criticism from various members of the public alleging that the film fuels Western stereotypes about poverty in India and that it peddles "poverty porn".[53][87] Tapeshwar Vishwakarma, a representative of a slum-dwellers' welfare group, filed a defamation lawsuit against the film's music composer A.R. Rahman and actor Anil Kapoor, alleging that grim depiction of slum dwellers violated their human rights.[101] Vishwakarma's filing argued that the very title of the movie is derogatory, and he was particularly displeased that Indians associated with the film did not object to the use of word "slumdog."[101] Nicholas Almeida, a social activist working in Mumbai, organised a protest against the film on the grounds that it intentionally exploited the poor for the purposes of profit, also arguing that the title Slumdog Millionaire is offensive, demeaning, and insulting to their dignity. The protesters were Mumbai slum dwellers who objected to the film's title[102] and held up signs reading: "I am not a dog."[103] Slum dwellers in Patna, the capital of the Indian state of Bihar, also protested against the movie, with the campaign reaching a climax on 26 January 2009, when "protesters tore down posters and ransacked a cinema" screening the film. The following day, the police in Bihar tightened security "outside theatres in the state to thwart any further attacks."[104] Activists stated that slum dwellers would continue to protest until the film's director deleted the word "dog" from the title.[105] Newsweek magazine asked the film's director, Danny Boyle: "Some activists have claimed that the title is demeaning. What did you mean by 'slumdog'?" Boyle answered: "This is one of the saddest things for me.... Basically [the title] is a hybrid of the word "underdog"and everything that means in terms of rooting for the underdog and validating his triumphand the fact that he obviously comes from the slums. That's what we intended."[106] The Hindu organisations Hindu Janjagruti Samiti (HJS) and Shiv Sena protested against the film for its portrayal of the Hindu God Rama, who appears in the midst of an anti-Muslim riot. An HJS spokesman stated that the film's portrayal of Rama is derogatory and "hurts the sentiments of Hindus."[107] Writing for the conservative Daily Pioneer, Kanchan Gupta reiterated the objections of the activist groups that the film provides a one-sided portrayal of the complexities of religious conflict in India, and that the film depicts Hindus as "rapacious monsters".[108] Vamsee Juluri, author and Professor of Media Studies at the University of San Francisco, identifies Indophobic and postcolonial/neocolonial discourse used in the film to attack and demonise Indians as "barbarians" and "savages", and that the only Indian portrayed positively in the film has a British accent.[109] Child actors still living in slums According to the London newspaper The Daily Telegraph, Azharuddin Mohammed Ismail (who played Salim as a child) was paid 1,700 during filming, whilst according to The Economic Times of India, he was paid 700[110] and Rubina Ali (who played Latika as a child) received 500 for a months work on the film. The children received considerably less than the Afghan child stars of The Kite Runner, who embarrassed their Hollywood producers when they disclosed that they had been paid 9,000, even though The Kite Runner was far less of a box office hit. At the end of the movie, both of the child actors continued to live in makeshift shacks in the illegal slums of Bandra, a suburb of Mumbai, according to The Daily Telegraph[111] and ABC News.[112]
724
2008 Slumdog Millionaire On 26 January 2009, Danny Boyle (director) and Christian Colson (producer) released a written statement saying that they had "paid painstaking and considered attention to how Azhar and Rubinas involvement in the film could be of lasting benefit to them over and above the payment they received for their work." Boyle and Colson stated that they had "set up trust funds for Rubina and Azharuddin and paid for their education." The filmmakers noted that they had also hired transportation to get the children to a nonprofit English-language school for the next eight years,[103] and that both children would receive 20 a month for books and food.[113] The exact amount of the trust funds was not disclosed by the filmmakers. As Boyle explained, "We don't want to reveal exact figures about what's in the trust fund, what's in the bank account for them for when they leave school because it will make them vulnerable and a target really, but it is substantial, and they will hopefully gain benefit from the film long after the film has disappeared and long after the media who are chasing them at the moment sadly have lost interest in the film, and that's been our approach throughout and I think it's the right approach."[114] According to The Economic Times, 17,500 had been placed into a trust fund for Azharuddin Mohammed Ismail which he will receive, plus interest, when he turns 18.[110] Azharuddin Mohammed Ismails father, Mohammed Ismail, demanded more money for his son in light of the film's success. He stated, "My son has taken on the world and won. I am so proud of him but I want more money. They promised me a new house but it hasn't happened. I'm still in the slum. I want the money now, it is of no use later. Mr. Boyle should take care of my son."[110] He also claimed, "There is none of the money left. It was all spent on medicines to help me fight TB."[113] Defenders of the filmmakers noted that there was no assurance that any money given directly to Azharuddin Mohammed Ismail would not be used by his father for his own purposes, as had happened with previous Indian child actors from slums.[103] Both Azharuddin Mohammed Ismail and Rubina Ali attended the 81st Academy Awards on 22 February 2009, along with all the other actors who had played Salim, Jamal, and Latika. Azharuddin Mohammed Ismail was accompanied by his mother, Shameem Ismail, while Rubina Ali was accompanied by her uncle.[115] On 25 February 2009, the Maharashtra Housing and Development Authority announced that both Azharuddin and Rubina would be given "free houses" so that they would no longer have to live in the Mumbai slum of Garib Nagar.[116] The filmmakers stated that they had hired local social workers to facilitate this move for the children's families.[117] In the wake of Azharuddin Mohammed Ismail and Rubina Ali's newfound relative affluence, the pressures upon them from the adults in their lives increased.[117] Rubina Ali's custody became an issue, as her biological mother tried to gain custody from the stepmother who had raised her, apparently to get access to Rubina Ali's funds and improved lifestyle.[103] The British tabloids reported that Rubina was also recently "offered up for sale by her father, demanding 200,000 ($300,000 USD) for the 'Oscar child'".[118] The allegation has been denied by the father, who alleges that the British media has misrepresented his position and libelled him.[119] He made a public statement decrying these accusations shortly thereafter, saying: "My children are with me, and I could give my life for them," ... "I will never sell them to anybody, no matter how much money they offer me."[120] Authorities in India have conducted an investigation and have found no evidence to support the charges made by the British tabloids.[121] More than 2 years after the movie was released in London, Rubina Ali continues to live in an illegal slum in Gharib Nagar.[122] On 14 May 2009, the Mumbai Municipal Corporation demolished the illegal slums where Azharuddin Mohammed Ismail was living.[123] On 7 July 2009 The Guardian reported that Azharuddin Mohammed Ismail and his mother had been given a new home. "I was shocked when I saw this house," Azhar is reported to have said, adding "I want to thank Danny Boyle for giving us this flat."[124]
725
726
Soundtrack
The Slumdog Millionaire soundtrack was composed by A. R. Rahman, who planned the score for over two months and completed it in two weeks.[125] Danny Boyle has said that he chose Rahman because "not only does he draw on Indian classical music, but he's got R&B and hip hop coming in from America, house music coming in from Europe and this incredible fusion is created."[20] Rahman won the 2009 Golden Globe Award for Best Original Score and won two out of three nominations for the Academy Awards, including one for Best Original Score and one for Best Original Song for Jai Ho. The song "O... Saya" got a nomination shared with M.I.A., and the song "Jai Ho" won the Oscar, which Rahman shared with lyricist Gulzar. The soundtrack was released on M.I.A.'s record label N.E.E.T.. On Radio Sargam, film critic Goher Iqbal Punn termed the soundtrack Rahman's "magnum opus" which will acquaint "the entire world" with his artistry.[126]
Notes

i
Specifically, in the Kumar article, Boyle referred to Deewaar (1975) by Yash Chopra and Salim-Javed, Satya (1998) and Company (2002) by Ram Gopal Verma, and Black Friday (2004) by Anurag Kashyap.
ii
Some of the other Indian films cited by Boyle as reference points for the film include Satyajit Ray's Pather Panchali (1955), Mira Nair films such as Salaam Bombay! (1988), Ashutosh Gowarikar's Lagaan (2001), and Aamir Khan's Taare Zameen Par (2007).
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Chicago Sun Times. . Retrieved 13 January 2009. [70] Morgenstern, Joe (14 November 2008). "'Slumdog' Finds Rare Riches in Poor Boy's Tale" (http:/ / online. wsj. com/ article/ SB122661670370126131. html). Wall Street Journal. . Retrieved 16 January 2009. [71] Hornaday, Ann (12 November 2008). "From 'Slumdog' to Riches In a Crowd-Pleasing Fable" (http:/ / www. washingtonpost. com/ wp-dyn/ content/ article/ 2008/ 11/ 11/ AR2008111102775. html). The Washington Post. . Retrieved 13 January 2009. [72] Turan, Kenneth (12 November 2008). "Life is the Answer" (http:/ / articles. latimes. com/ 2008/ nov/ 12/ entertainment/ et-slumdog12). Los Angeles Times. . Retrieved 17 January 2012. [73] Lane, Anthony (24 November 2008). "The Current Cinema: Hard Times" (http:/ / www. newyorker. com/ arts/ critics/ cinema/ 2008/ 11/ 24/ 081124crci_cinema_lane). The New Yorker 84 (38): 130131. . Retrieved 16 April 2009. [74] Review by Colm Andrew (http:/ / www. iomtoday. co. im/ reviews/ FILM-Slumdog-Millionaire-. 5020366. jp), IOM Today [75] Sudhish Kamath (17 January 2009). "The great Indian dream: Why "Slumdog Millionaire", a film made in India, draws crowds in New York" (http:/ / www. hindu. com/ mp/ 2009/ 01/ 17/ stories/ 2009011751051300. htm). The Hindu. . Retrieved 22 January 2009.
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[76] Scott Foundas (12 November 2008). "Fall Film: Slumdog Millionaire: Game Show Masala" (http:/ / www. laweekly. com/ 2008-11-13/ film-tv/ game-show-masala-in-slumdog-millionaire). LA Weekly. . Retrieved 22 January 2009. [77] Greg Quill (21 January 2009). "Slumdog wins hearts here" (http:/ / www. thestar. com/ Entertainment/ article/ 574394). Toronto Star. . Retrieved 22 January 2009. [78] Peter Bradshaw (9 January 2009). "Slumdog Millionaire" (http:/ / www. guardian. co. uk/ film/ 2009/ jan/ 09/ slumdog-millionaire-review-danny-boyle). The Guardian (London). . Retrieved 9 January 2009. [79] LaSalle, Mick (12 November 2008). "'Slumdog Millionaire' ultimately pays off" (http:/ / www. sfgate. com/ cgi-bin/ article. cgi?file=/ c/ a/ 2008/ 11/ 12/ DDU9142B25. DTL). San Francisco Chronicle. . Retrieved 13 January 2009. [80] Hynes, Eric (11 November 2008). "Trivial Pursuit: Danny Boyle's "Slumdog Millionaire"" (http:/ / www. indiewire. com/ article/ review_trivial_pursuit_danny_boyles_slumdog_millionaire/ ). IndieWIRE. . Retrieved 12 November 2008. [81] "Request Of The Week #6: Slumdog Millionaire" (http:/ / www. webofcinema. com/ apps/ videos/ videos/ show/ 13426875-request-of-the-week-6-slumdog-millionaire). Web Of Cinema. . Retrieved 2012-08-04. [82] Rushdie, Salman (28 February 2009). "A Fine Pickle". The Guardian (London). [83] Sengupta, Mitu (2010) A Million Dollar Exit from the Anarchic Slum-world: Slumdog Millionaire's hollow idioms of social justice, Third World Quarterly Vol. 31, Iss. 4 [84] Sengupta, Mitu (2009) Slumdog Millionaire, Hollow message, Frontline, 26(6) pp 1427 [85] Parthasarathy, D (2009) Of Slumdogs, Doxosophers, and the (In)dignity of Labour(ers), http:/ / papers. ssrn. com/ sol3/ papers. cfm?abstract_id=2096954 [86] Jamkhandikar, Shilpa (15 January 2009). ""Slumdog" hot because director from West: Bollywood icon" (http:/ / uk. reuters. com/ article/ lifestyleMolt/ idUKTRE50E58L20090115?sp=true). Reuters. . Retrieved 15 January 2009. [87] What do real slumdogs think of Slumdog Millionaire? (http:/ / women. timesonline. co. uk/ tol/ life_and_style/ women/ the_way_we_live/ article5688073. ece). The Times. 9 February 2009. [88] Bachchan, Amitabh (13 January 2009). "Official Blog of Amitabh Bachchan: Day 265" (http:/ / bigb. bigadda. com/ 2009/ 01/ 13/ day-265/ ). bigb.bigadda.com. . Retrieved 14 January 2009. [89] "Bollywood star criticises Slumdog" (http:/ / news. bbc. co. uk/ 2/ hi/ south_asia/ 7829985. stm). BBC. 15 January 2009. . Retrieved 15 January 2009. [90] PTI (14 January 2009). "Amitabh Bachchan slams Slumdog Millionaire" (http:/ / www. dnaindia. com/ report. asp?newsid=1221514). Daily News and Analysis (India). . Retrieved 14 January 2009. [91] Bachchan, Amitabh (16 January 2009). "Official Blog of Amitabh Bachan: Day 267" (http:/ / bigb. bigadda. com/ 2009/ 01/ 16/ day-267/ ). bigb.bigadda.com. . Retrieved 16 January 2009. [92] "Bachchan Denies Slumdog Criticism" (http:/ / news. bbc. co. uk/ 2/ hi/ south_asia/ 7832705. stm). BBC. 16 January 2009. . Retrieved 16 January 2009. [93] Bachchan, Amitabh (16 January 2009). "Official Blog of Amitabh Bachchan: Day 272" (http:/ / bigb. bigadda. com/ 2009/ 01/ 21/ day-271-2/ ). bigb.bigadda.com. . Retrieved 16 January 2009. [94] "Bachchan clears air over 'Slumdog' with Danny Boyle" (http:/ / www. ptinews. com/ pti\ptisite. nsf/ 0/ 8F5BF02130E11FAE652575460042DED9?OpenDocument). Press Trust of India. 22 January 2009. . Retrieved 22 January 2009. [95] "Big B takes a u-turn on Slumdog Millionaire" (http:/ / movies. ndtv. com/ newstory. asp?slug=Big+ B+ takes+ a+ u-turn+ on+ Slumdog& id=ENTEN20090081150& keywords=bollywood). Indo-Asian News Service. 23 January 2009. . Retrieved 8 February 2009. [96] Slumdog makes India proud with 8 Oscars (http:/ / timesofindia. indiatimes. com/ Entertainment/ Bollywood/ Slumdog-makes-India-proud-with-8-Oscars/ articleshow/ 4177242. cms). The Times of India. 24 Feb 2009. [97] "Danny Boyle sued" (http:/ / timesofindia. indiatimes. com/ articleshow/ 4910513. cms). The Times Of India. 20 August 2009. . [98] Sapna Agarwal (18 August 2009). "Slumdog Millionaire producers sued for Rs 5 cr, HC issues notice" (http:/ / www. business-standard. com/ india/ news/ slumdog-millionaire-producers-sued-for-rs-5-cr-hc-issues-notice/ 367317/ ). Business Standard (business-standard.com). . Retrieved 17 January 2012. [99] "Slumdog makers in a spot over quiz answer" (http:/ / www. dnaindia. com/ mumbai/ report_slumdog-makers-in-a-spot-over-quiz-answer_1283171). Daily News & Analysis (DNAindia.com). 18 August 2009. . Retrieved 17 January 2012. [100] John Jurgensen (9 January 2009). "The Co-Pilot of 'Slumdog'" (http:/ / online. wsj. com/ article/ SB123146019434866263. html?mod=googlenews_wsj). The Wall Street Journal. . Retrieved 17 January 2012. [101] "'Slumdog' stars sued for 'defaming' India's slum-dwellers" (http:/ / www. theage. com. au/ news/ entertainment/ film/ slumdog-stars-sued/ 2009/ 01/ 22/ 1232471487844. html). The Age. Australia. 23 January 2009. . Retrieved 17 January 2012. [102] Kinetz, Erica (22 January 2009). "Mumbai residents object to 'Slumdog' title" (http:/ / www. usatoday. com/ life/ movies/ news/ 2009-01-22-slugdog-mumbai-protest_N. htm). USA Today. . Retrieved 26 January 2009. [103] Madhur Singh (26 January 2009). "Slumdog Millionaire, an Oscar Favorite, Is No Hit in India" (http:/ / www. time. com/ time/ arts/ article/ 0,8599,1873926,00. html?imw=Y). Time. . Retrieved 17 January 2012. [104] "Bihar deploys police after "Slumdog" protests" (http:/ / in. reuters. com/ article/ topNews/ idINIndia-37676720090127). Reuters. 27 January 2009. . Retrieved 27 January 2009. [105] "Slumdog Millionaire faces protests in India" (http:/ / movies. ndtv. com/ newstory. asp?section=Movies& Slug=Slumdog+ faces+ protests+ in+ India& Id=ENTEN20090081504& keywords=bollywood). Indo-Asian News Service. NDTV. 27 January 2009. . Retrieved 27
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January 2009. [106] Fareed Zakaria (30 January 2009). "Slum Voyeurism?" (http:/ / www. newsweek. com/ id/ 182341). Newsweek (The Daily Beast). . Retrieved 17 January 2012. [107] "Hindu group demands ban on 'Slumdog Millionaire'" (http:/ / timesofindia. indiatimes. com/ Cities/ Goa_group_demands_ban_on_Slumdog/ articleshow/ 4016085. cms). Times of India (Bennett Coleman & Co. Ltd). 22 January 2009. . Retrieved 27 January 2009. [108] Gupta, Kanchan (25 January 2009). "Slumdog is about defaming Hindus" (http:/ / dailypioneer. com/ 152164/ Slumdog-is-about-defaming-Hindus. html). Daily Pioneer. . Retrieved 28 January 2009. [109] Vamsee Juluri (8 January 2010). "Indophobia: The Real Elephant in the Living Room" (http:/ / www. huffingtonpost. com/ vamsee-juluri/ indophobia-the-real-eleph_b_415237. html). Huffington Post. . Retrieved 17 January 2012. [110] "News By Industry" (http:/ / economictimes. indiatimes. com/ ET-Cetera/ Slumdog-Millionaire-stars-father-asks-for-more/ articleshow/ 4207776. cms). The Times Of India. 1 March 2009. . [111] Dean Nelson and Barney Henderson (26 January 2009). "Slumdog child stars miss out on the movie millions" (http:/ / www. telegraph. co. uk/ news/ worldnews/ asia/ 4347472/ Poor-parents-of-Slumdog-millionaire-stars-say-children-were-exploited. html). The Daily Telegraph (London). . Retrieved 27 January 2009. [112] Vijay Bhaskar and Huma Khan. "Slum Life Continues for Two 'Slumdog Millionaire' Stars" (http:/ / abcnews. go. com/ Entertainment/ International/ story?id=6764201& page=1). ABC. . Retrieved 30 January 2009. [113] Nelson, Dean; Henderson, Barney (26 January 2009). "Slumdog child stars miss out on the movie millions" (http:/ / www. telegraph. co. uk/ news/ worldnews/ asia/ 4347472/ Poor-parents-of-Slumdog-millionaire-stars-say-children-were-exploited. html). The Daily Telegraph (London). . Retrieved 30 April 2010. [114] Jake Tapper (26 January 2009). "Slumdog Symphony: A Chat with Danny Boyle" (http:/ / blogs. abcnews. com/ politicalpunch/ 2009/ 01/ slumdog-symphon. html). ABC. . Retrieved 29 January 2009. [115] "Kids go from slums of Mumbai to the Oscars" (http:/ / today. msnbc. msn. com/ id/ 29338626/ ns/ today-entertainment/ t/ kids-go-slums-mumbai-oscars/ ). Today (MSNBC). 22 February 2009. . Retrieved 17 January 2012. [116] Gina Serpe, "Slumdog Kids No Longer Slumming It" (http:/ / www. eonline. com/ uberblog/ b101571_slumdog_kids_no_longer_slumming_it. html), E! Online, 25 February 2009. [117] Oliver Harvey (7 March 2009). "Slumdog stars return to reality" (http:/ / www. thesun. co. uk/ sol/ homepage/ features/ article2302756. ece). The Sun. . Retrieved 17 January 2012. [118] Megan Masters and Gina Serpe (20 April 2009). "Slumdog Millionaire Kid Star Put Up for Sale by Father?" (http:/ / www. eonline. com/ news/ slumdog_millionaire_kid_star_put_up/ 119528). E! Online. . Retrieved 17 January 2012. [119] Zubair Ahmed (20 April 2009). "Father denies Slumdog child sale" (http:/ / news. bbc. co. uk/ 2/ hi/ south_asia/ 8008359. stm). BBC. . Retrieved 17 January 2012. [120] "Slumdog Millionaire Star Rubina Ali up for sale?" (http:/ / www. paltelegraph. com/ index. php?option=com_content& view=article& id=637:slumdog-millionaire-star-rubina-ali-up-for-sale& catid=71:movies& Itemid=167). Palestine Telegraph (paltelegraph.com). 24 April 2009. . Retrieved 17 January 2012. [121] Christine Spines. "Police drop investigation into alleged 'Slumdog' child-trafficking case" (http:/ / news-briefs. ew. com/ 2009/ 04/ slumdog-controv. html). Entertainment Weekly (ew.com). . Retrieved 17 January 2012. [122] "Slumdog star says home lost in fire" (http:/ / www. theaustralian. com. au/ news/ breaking-news/ slumdog-star-says-home-lost-in-fire/ story-fn3dxity-1226016417169). The Australian. Associated Press (Sydney). 5 March 2011. . Retrieved 17 January 2012. [123] "Slumdog star's home is demolished" (http:/ / news. bbc. co. uk/ 2/ hi/ south_asia/ 8049735. stm). BBC News. 14 May 2009. . Retrieved 17 January 2012. [124] "Slumdog actor given new home" (http:/ / www. guardian. co. uk/ world/ 2009/ jul/ 07/ slumdog-millionaire-mumbai-danny-boyle). The Guardian.co.uk (Manchester). 7 July 2009. . Retrieved 17 January 2012. [125] Hill, Logan (12 November 2008). "Composer A.R. Rahman on the Sounds of 'Slumdog Millionaire' and Being M.I.A.'s Idol" (http:/ / nymag. com/ daily/ entertainment/ 2008/ 11/ ar_rahman_on_slumdogs_sound. html). New York. . Retrieved 14 November 2008. [126] Goher Iqbal Punn (25 January 2009). "Review: Slumdog Millionaire" (http:/ / www. radiosargam. com/ films/ archives/ 31928/ movie-review-slumdog-millionaire. html). Radio Sargam. . Retrieved 24 May 2009.
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External links
Official website (http://www.slumdogmillionairemovie.co.uk) UK (Path) Slumdog Millionaire (http://www.imdb.com/title/tt1010048/) at the Internet Movie Database Slumdog Millionaire (http://www.allrovi.com/movies/movie/v415379) at AllRovi Slumdog Millionaire (http://www.boxofficemojo.com/movies/?id=slumdogmillionaire.htm) at Box Office Mojo Slumdog Millionaire (http://www.metacritic.com/movie/slumdog-millionaire) at Metacritic Slumdog Millionaire (http://www.rottentomatoes.com/m/slumdog_millionaire/) at Rotten Tomatoes
2009 The Hurt Locker
732

The Hurt Locker
Directed by Produced by Kathryn Bigelow Kathryn Bigelow Mark Boal Nicolas Chartier Greg Shapiro Mark Boal Jeremy Renner Anthony Mackie Brian Geraghty Christian Camargo Evangeline Lilly Ralph Fiennes David Morse Guy Pearce Marco Beltrami Buck Sanders
Written by Starring
Music by
Cinematography Barry Ackroyd Editing by Studio Chris Innis Bob Murawski Voltage Pictures Grosvenor Park Media Film Capital Europe Funds First Light Production Kingsgate Films Summit Entertainment Warner Bros. (Italy) Summit Entertainment/ Universal Studios (USA) Optimum Releasing/ Lionsgate (UK)

Distributed by
September 4, 2008 (Venice) June 26, 2009 (United States)

[1] [1]
$49,230,772
The Hurt Locker is a 2008 American war film about a three-man Explosive Ordnance Disposal (bomb disposal) team during the Iraq War. The film was directed by Kathryn Bigelow and the screenplay was written by Mark Boal, a freelance writer who was embedded as a journalist in 2004 with a United States Army EOD team in Iraq. It stars Jeremy Renner, Anthony Mackie, and Brian Geraghty.
2009 The Hurt Locker The Hurt Locker premiered at the Venice Film Festival in Italy during 2008. After being shown at the Toronto International Film Festival, it was picked up for distribution in the United States by Summit Entertainment. The film was released in the United States on June 26, 2009 but received a more widespread theatrical release on July 24, 2009. Because the film was not originally released in the United States until 2009, it was eligible to be judged for the 82nd Academy Awards where it was nominated for nine Academy Awards. It won six Oscars including Best Director for Bigelow, the first woman to win this award. It also won Best Picture and Best Original Screenplay for Boal. The Hurt Locker also earned numerous awards and honors from critics' organizations, festivals and groups, including six BAFTA Awards.
733
Plot
The Hurt Locker opens with a quotation from War Is a Force That Gives Us Meaning, a best-selling 2002 book by New York Times war correspondent and journalist Chris Hedges: "The rush of battle is a potent and often lethal addiction, for war is a drug."[2][3][4] Sergeant First Class William James (Jeremy Renner), a battle-tested veteran, arrives as a new team leader of a US Army Explosive Ordnance Disposal (EOD) unit during the early stages of the post-invasion period in Iraq in 2004,[5][6] replacing Staff Sergeant Matthew Thompson (Guy Pearce), who is killed by a radio-controlled 155mm improvised explosive device (IED) in Baghdad. The rest of his team consists of Sergeant J.T. Sanborn (Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty). James's maverick methods and attitude lead Sanborn and Eldridge to consider him reckless, and tensions mount. When they are assigned to destroy some of the explosives in a remote desert area, James returns to the detonation site to pick up his gloves. Sanborn openly contemplates killing James by "accidentally" triggering the explosion, making Eldridge very uncomfortable, but he does nothing. Driving back to the Camp Victory in their Humvee, the team encounter a Ford Excursion with a flat tire and five armed men in Arab garb. After a tense encounter, the men reveal themselves to be Private Military Contractors, British mercenaries. They have captured two prisoners featured on the most-wanted Iraqi playing cards. The entire group suddenly comes under fire. When the prisoners attempt to escape in the confusion, the leader of the mercenaries (Ralph Fiennes) suddenly remembers the bounty for them is "dead or alive", so he shoots them. Three mercenaries are killed by enemy snipers, including the leader. Sanborn and James borrow a Barrett .50 cal to dispatch three attackers, while Eldridge kills a fourth. During a raid on a warehouse, James discovers the body of a young boy which has been surgically implanted with an unexploded bomb. James believes it to be "Beckham" (Christopher Sayegh), a young Iraqi counterfeit DVD seller he had previously befriended. During evacuation, Lieutenant Colonel John Cambridge (Christian Camargo), the camp's psychiatrist and a friend of Eldridge, is killed in an explosion. Eldridge blames himself for the Colonel's death. Later, James leaves the military compound seeking revenge for Beckham and breaks into the house of an Iraqi professor, but his search leads to nothing and he leaves. Called to a petrol tanker detonation, James decides on his own to hunt for the insurgents responsible, guessing they are still in the immediate area. Sanborn protests, but when James heads out, he and Eldridge reluctantly follow. After they split up, Eldridge is captured by insurgents. James and Sanborn rescue him but accidentally shoot him in the leg. The following morning, James is approached by Beckham, who was believed to be dead. The young boy tries to play soccer with James and sell more DVDs to him, but the soldier walks by without saying a word. Before being airlifted for surgery, Eldridge angrily blames James for his injury. James and Sanborn's unit is called to another mission in their last 2 days of their rotation, where an innocent Iraqi civilian has had a bomb vest strapped to his chest. James attempts to cut off the locks to remove the vest, but there
2009 The Hurt Locker are too many, forcing him to abandon the man, who is killed when the bomb detonates. Sanborn becomes emotional and confesses to James that he can no longer cope with the pressure, and wants to return home and have a son. After Bravo Company's rotation ends, James returns home to his wife, Connie (Evangeline Lilly), and their infant son. However, the boredom of routine civilian life agitates him. One night, James confesses to his son that there is only one thing that he knows he loves. Shortly thereafter, he is starting another tour of duty serving with another EOD unit as they are just starting their 365 day rotation.
734
Cast
Jeremy Renner as Sergeant First Class William James Anthony Mackie as Sergeant J. T. Sanborn Brian Geraghty as Specialist Owen Eldridge Guy Pearce as Staff Sergeant Matthew Thompson Christian Camargo as Lieutenant Colonel John Cambridge David Morse as Colonel Reed Ralph Fiennes as the leader of a Private Military Company unit Evangeline Lilly as Connie James Christopher Sayegh as Beckham
Production
Writing
The Hurt Locker is based on accounts of Mark Boal, a freelance journalist who was embedded with an American bomb squad in the war in Iraq for two weeks in 2004.[7] Director Kathryn Bigelow was familiar with Boal's work before his experiences, having turned one of his Playboy articles into the short-lived television series The Inside in 2002. When Boal was embedded with the squad, he went with the members 10 to 15 times a day to watch their tasks, keeping in touch with Bigelow via email about his experiences.[8] Boal combined his experiences into a fictional retelling of real events. He said of the film's goal, "The idea is that it's the first movie about the Iraq War that purports to show the experience of the soldiers. We wanted to show the kinds of things that soldiers go through that you can't see on CNN, and I don't mean that in a censorship-conspiracy way. I just mean the news doesn't actually put photographers in with units that are this elite."[9] Bigelow was fascinated with exploring "the psychology behind the type of soldier who volunteers for this particular conflict and then, because of his or her aptitude, is chosen and given the opportunity to go into bomb disarmament and goes toward what everybody else is running from."[10] While working on the script, originally titled "The Something Jacket", with Boal in 2005, Bigelow began to do some preliminary, rough storyboards to get an idea of the specific geography she would be working with because bomb disarmament protocol requires a containment area. She wanted to make the film as authentic as possible and "put the audience into the Humvee, into a boots-on-the-ground experience."[10]
Casting
Jeremy Renner
Anthony Mackie
Brian Geraghty
2009 The Hurt Locker For the main characters, Bigelow made a point of casting relatively unknown actors because "it underscored the tension because with the lack of familiarity also comes a sense of unpredictability."[10] Renner's character, Sergeant First Class William James, is a composite character with qualities based on individuals whom screenwriter Boal knew when embedded with the bomb squad.[8] Bigelow cast Renner based on his work in Dahmer, a film about notorious serial killer Jeffrey Dahmer.[11] To prepare for the film, Renner spent a week living and training at Fort Irwin, a U.S. military reservation in the Mojave Desert in California. He was taught to use C4 explosives, learned how to render safe improvised explosive devices, and how to wear a bomb suit.[11] Mackie plays Sergeant J.T. Sanborn and describes his experience filming in Jordan in the summer, "It was so desperately hot, and we were so easily agitated. But that movie was like doing a play. We really looked out for each other, and it was a great experience. It made me believe in film."[12] In Jordan, Bigelow found several hundred thousand refugees of Iraq. She cast refugees who had theatrical backgrounds, such as Suhail Aldabbach, who plays a forced suicide bomber at the film's end.[8]
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Filming
The film was shot in Jordan within miles of the Iraqi border, because Bigelow wanted to bring greater authenticity to the film. This benefited filming by supplying many Iraqi refugees for extras and the unmistakable heat of the Middle East. The filmmakers had scouted for locations in Morocco, but director Kathryn Bigelow felt that Morocco did not look like Baghdad and wanted to get as close to the war zone as possible. Some of the locations were less than three miles from the Iraq border.[13] She wanted to shoot in Iraq but their security team could not guarantee their safety from snipers.[10] Principal photography began in July 2007 in Jordan and Kuwait. Temperatures averaged 120 F (unknown operator: u'strong'C) over the 44 days of shooting.[9][10][11] Producer Greg Shapiro spoke about security concerns of filming in Jordan, "It was interesting telling people we were going to make the movie in Jordan because the first question everybody asked was about the security situation here." Often four or more camera crews filmed simultaneously, which resulted in nearly 200 hours of footage.[13][14] Filming in the Kingdom was a choice hard for some in production to take at first. To initially convince people to come to Jordan, Bigelow admitted that stereotypes of the region permeate American culture. Sadly people in America and Los Angeles have these perceptions, she said. But once you get off the plane you realise its like Manhattan without the trees, she mused. As Iraq dominates discourse in America and across the world, she believes filmmakers will continue to explore the conflict, making Jordan the natural place to film.[15] According to producer Tony Mark, the blood, sweat and heat captured on-camera in the production was mirrored behind the scenes. "It's a tough, tough movie about a tough, tough subject", Mark said in an interview, "There was a palpable tension throughout on the set. It was just like the onscreen story of three guys who fight with each other, but when the time comes to do the work, they come together to get the job done."[16] Renner remembered, "I got food bugs. Then I got food poisoning: lost 15 lbs in three days".[11] In addition to the burden of the heat, the bomb suit he had to wear all day weighed between 80 and 100 pounds.[17] In a scene in which his character carries an Iraqi boy he befriended, Renner fell down some stairs and twisted his ankle, which delayed filming because he could not walk. At that point, "people wanted to quit. All the departments were struggling to get their job done, none of them were communicating".[11] A week later, filming resumed.[11] Producer Tony Mark recalled armorer David Fencl's finishing a 12-hour day and staying up all night to create proper ammunition for a sniper rifle when the supplies did not clear Jordanian customs in time for the scheduled shoot.[16] Due to import restrictions on military props, the film's special effects artist Richard Stutsman used Chinese fireworks for gunpowder. One day, he was assembling a prop, and the heat and friction caused the fireworks to blow up in his face. Two days later, he returned to work.[11] The film shoot had few of the normal Hollywood perks; nobody on the set got an air-conditioned trailer or a private bathroom.[16] Renner said that great care was taken to ensure the film's authenticity.[18] According to Renner, shooting the film in the Middle East contributed to this. "There were
2009 The Hurt Locker two-by-fours with nails being dropped from two-story buildings that hit me in the helmet, and they were throwing rocks.... We got shot at a few times while we were filming", Renner said. "When you see it, you're gonna feel like you've been in war."[19] "You can't fake that amount of heat", Mackie says, adding, "When you are on set and all of the extras are Iraqi refugees, it really informs the movie that you're making. When you start hearing the stories from a true perspective... of people who were actually there, it gives you a clear viewpoint of where you are as an artist and the story you would like to tell. It was a great experience to be there."[20]
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Cinematography
For the film, Bigelow sought to immerse audiences "into something that was raw, immediate and visceral". The director was impressed with cinematographer Barry Ackroyd's work on United 93 and The Wind That Shakes the Barley and invited him to do the camera work for The Hurt Locker. While the film was independently produced and filmed on a low budget, Bigelow used four Super 16mm cameras to capture multiple perspectives, saying, "That's how we experience reality, by looking at the microcosm and the macrocosm simultaneously. The eye sees differently than the lens, but with multiple focal lengths and a muscular editorial style, the lens can give you that microcosm/macrocosm perspective, and that contributes to the feeling of total immersion."[21] In staging the film's action sequences, Bigelow did not want to lose a sense of geography and used multiple cameras to allow her to "look at any particular set piece from every possible perspective."[10]
Editing
The Hurt Locker was edited by Chris Innis and Bob Murawski.[22][23] The two editors worked with almost 200 hours of footage from the multiple hand-held cameras in use during the shoot.[23] Adding to the challenge, Boal's screenplay had a non-traditional, asymmetrical, episodic structure. There was no traditional "villain", and tension was derived from the characters' internal conflicts and the suspense from the explosives and snipers.[23] "This movie is kind of like a horror film where you're unable to see the killer," says Innis. "You know a bomb could go off at any minute, but you never know just when it's going to happen, so the ideas of (Alfred) Hitchcockabout making your audience anxiouswere influential for us when we did the editing."[24] The raw footage was described as a "hodge-podge of disconnected, nausea-inducing motion that was constantly crossing the 180-degree line".[23] Innis spent the first eight weeks editing the film on location in Jordan, before returning to Los Angeles where she was joined by Murawski. The process took over eight months to complete.[22][25] The goal was to edit a brutally realistic portrayal of the realities of war, using minimal special effects or technical enhancement.[22][23] Innis stated that they "really wanted the film to retain that newsreel documentary quality... Too many stage-y effects would have been distracting. The editing in this film was all about restraint".[22] Editing on location led to additional complications in post-production. The production was unwilling to risk sending undeveloped film through high-security airports where the cans could be opened, X-rayed, or damaged. Accordingly, film was hand-carried on a flight by a production assistant from Amman to London. The Super 16mm film was then transferred to DVcam at a lab in London and the video dailies were then transported by plane back to the Middle East to be imported into the editing system. The whole journey would take anywhere from three days to a week and was described by Innis as the "modern-day equivalent of shipping via donkey cart".[23] The low production budget and the lack of a developed film infrastructure in the area hampered the process, according to Innis. "We were working with grainy Super 16mm film, editing in standard definition. We tried doing FTP downloads, but at the time the facilities in Jordan simply couldnt handle it."[22][23] Producer Tony Mark later negotiated the use of a local radio station late at night to receive low-grade Quicktime clips over the Internet so the crew wouldn't be shooting blindly.[23] Innis also stresses the importance of sound to the editing process. "So much of the rhythms of our editing were based on sonic elements - the breathing of the soldiers, the sounds of explosions, or even the emptiness of sound just prior
2009 The Hurt Locker to a bomb going off." The two editors worked with production tracks recorded by production sound mixer Ray Beckett. Innis credits Beckett's high-quality location sound as the reason they did not need to do much in the way of soundscaping in post-production.[22]
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Reception
Critical response
The Hurt Locker received near universal critical acclaim. Rotten Tomatoes gives the film a score of 97% based on a sample of 209 reviews, with a weighted mean score of 8.4 out of 10.[26] It was the second highest-rated film in 2009 at Rotten Tomatoes, behind Pixar's Up with 98%. Rotten Tomatoes wrote of the critics' consensus, "A well-acted, intensely shot, action filled war epic, Kathryn Bigelow's The Hurt Locker is thus far the best reviewed of the recent dramatizations of the Iraq War."[26] Metacritic, which assigns a rating normalized to 100 to reviews from mainstream critics, reported that the film has received an average score of 94/100 based on 35 reviews.[27] Roger Ebert of The Chicago Sun Times rated the film as one of the best films of 2009 and one of the best of the decade,[28] writing, "The Hurt Locker is a great film, an intelligent film, a film shot clearly so that we know exactly who everybody is and where they are and what they're doing and why." He applauded how the suspense was built, calling the film "spellbinding". Ebert considered Renner "a leading contender for Academy Awards", writing, "His performance is not built on complex speeches but on a visceral projection of who this man is and what he feels. He is not a hero in a conventional sense."[29] He eventually ranked it the second-best film of the decade, behind only Synecdoche, New York.[30] Richard Corliss of Time magazine also spoke highly of Renner's performance, calling it a highlight of the film. Corliss wrote, "He's ordinary, pudgy-faced, quiet, and at first seems to lack the screen charisma to carry a film. That supposition vanishes in a few minutes, as Renner slowly reveals the strength, confidence and unpredictability of a young Russell Crowe. The merging of actor and character is one of the big things to love about this movie... It's a creepy marvel to watch James in action. He has the cool aplomb, analytical acumen and attention to detail of a great athlete, or a master psychopath, maybe both." Corliss praised the film's "steely calm" tone, reflective of its main character. Corliss summarized, "The Hurt Locker is a near-perfect movie about men in war, men at work. Through sturdy imagery and violent action, it says that even Hell needs heroes."[31] A. O. Scott of The New York Times called The Hurt Locker the best American feature film yet made about the war in Iraq: "You may emerge from The Hurt Locker shaken, exhilarated and drained, but you will also be thinking ... The movie is a viscerally exciting, adrenaline-soaked tour de force of suspense and surprise, full of explosions and hectic scenes of combat, but it blows a hole in the condescending assumption that such effects are just empty spectacle or mindless noise." Scott noticed that the film reserved criticism of the war but wrote of how the director handled the film's limits, "Ms. Bigelow, practicing a kind of hyperbolic realism, distills the psychological essence and moral complications of modern warfare into a series of brilliant, agonizing set pieces." He also applauded the convergence of the characters in the film, "[It] focuses on three men whose contrasting temperaments knit this episodic exploration of peril and bravery into a coherent and satisfying story."[32] Kenneth Turan of the Los Angeles Times wrote that the performances of Renner, Mackie, and Geraghty would raise their profiles considerably and said their characters reveal their "unlooked-for aspects", such as Renner's character being playful with an Iraqi boy. Turan applauded Boal's "lean and compelling" script and reviewed Bigelow's direction, "Bigelow and her team bring an awesome ferocity to re-creating the unhinged mania of bomb removal in an alien, culturally unfathomable atmosphere."[33] Guy Westwell of Sight & Sound wrote that cinematographer Barry Ackroyd provided "sharp handheld coverage" and that Paul N.J. Ottosson's sound design "uses the barely perceptible ringing of tinnitus to amp up the tension".[34] Westwell praised the director's skill: "The careful mapping of the subtle differences between each bomb, the play with point of view ... and the attenuation of key action sequences ... lends the film a distinctive quality that can only be attributed to Bigelow's clever, confident direction."[34] The critic noted its different take on the Iraq War, writing
2009 The Hurt Locker that "it confronts the fact that men often take great pleasure in war".[34] He concluded, "This unapologetic celebration of a testosterone-fuelled lust for war may gall. Yet there is something original and distinctive about the film's willingness to admit that for some men (and many moviegoers) war carries an intrinsic dramatic charge."[34] Amy Taubin of Film Comment described The Hurt Locker as "a structuralist war movie" and "a totally immersive, off-the-charts high-anxiety experience from beginning to end". Taubin praised Ackroyd's "brilliant" cinematography with multiple viewpoints and also said of the film's editing, "Bob Murawski and Chris Innis's editing is similarly quick and nervous; the rapid changes in POV as they cut from one camera's coverage to another's makes you feel as if you, like the characters, are under threat from all sides."[35] Joe Morgenstern of The Wall Street Journal called it "A first-rate action thriller, a vivid evocation of urban warfare in Iraq, a penetrating study of heroism and a showcase for austere technique, terse writing and a trio of brilliant performances."[36] Toronto Star critic Peter Howell said, "Just when you think the battle of Iraq war dramas has been fought and lost, along comes one that demands to be seen... If you can sit through The Hurt Locker without your heart nearly pounding through your chest, you must be made of granite."[37] Entertainment Weekly's film critic Lisa Schwarzbaum gave the film the rare "A" rating, calling it, "an intense, action-driven war pic, a muscular, efficient standout that simultaneously conveys the feeling of combat from within as well as what it looks like on the ground. This ain't no war videogame."[38] Derek Elley of Variety found The Hurt Locker to be "gripping" as a thriller but felt that the film was weakened by, "its fuzzy (and hardly original) psychology". Elley wrote that it was unclear to know where the drama lay: "These guys get by on old-fashioned guts and instinct rather than sissy hardware but it's not a pure men-under-stress drama either." The critic also felt that the script showed, "signs of artificially straining for character depth".[39] Anne Thompson, also writing for Variety, believed The Hurt Locker to be a contender for Best Picture, particularly based on the unique subject matter pursued by a female director and on being an exception to other films about the Iraq War that had performed poorly.[40] Tara McKelvey from The American Prospect wrote that the film is pro-U.S. Army propaganda, although it sets itself up as anti-war when its message in the beginning is "War is a drug". She continues, "you feel empathy for the soldiers when they shoot. And in this way, the full impact of the Iraq war at least as it was fought in 2004 becomes clear: American soldiers shot at Iraqi civilians even when, for example, they just happened to be holding a cell phone and standing near an IED". She concludes, "For all the graphic violence, bloody explosions and, literally, human butchery that is shown in the film, The Hurt Locker is one of the most effective recruiting vehicles for the U.S. Army that I have seen."[41] John Pilger, journalist and documentarian, criticized the film in The New Statesman, writing that it "offers a vicarious thrill via yet another standard-issue psychopath high on violence in somebody else's country where the deaths of a million people are consigned to cinematic oblivion." He compared the praise given to The Hurt Locker to the accolades given to 1978's The Deer Hunter.[42]
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Response among veterans

The film was criticized by some Iraq veterans and embedded reporters for inaccurately portraying wartime conditions.[43] Writing for The Huffington Post, Iraq veteran Kate Hoit said that The Hurt Locker is "Hollywood's version of the Iraq war and of the soldiers who fight it, and their version is inaccurate". She described the film as being more accurate than other recently released war films, but expressed concerns that a number of errorsamong them wrong uniforms, lack of radio communication or misbehavior of the soldierswould prevent service members from enjoying the film.[44] Author Brandon Friedman, also a combat veteran of Iraq and Afghanistan, shared a similar view at VetVoice: "The Hurt Locker is a high-tension, well-made, action movie that will certainly keep most viewers on the edges of their seats. But if you know anything about the Army, or about operations or life in Iraq, you'll be so distracted by the nonsensical sequences and plot twists that it will ruin the movie for you. It certainly did for me." Friedman criticized
2009 The Hurt Locker the accuracy of the film's representation of combat, saying "in real life, EOD techs don't conduct dangerous missions as autonomous three-man teams without communications gear ... Another thing you'll rarely hear in combat is an EOD E-7 suggesting to two or three of his guys that they leave the scene of an explosion in an Iraqi city by saying: 'C'mon, let's split up. We can cover more ground that way.'"[45] At the blog Army of Dude, infantryman and Iraq veteran Alex Horton noted that "the way the team goes about their missions is completely absurd." He still generally enjoyed it and called it "the best Iraq movie to date."[46] Troy Steward, another combat veteran, wrote on the blog Bouhammer that while the film accurately depicted the scale of bomb violence and the relations between Iraqis and troops, "just about everything else wasnt realistic". Steward went on to say: "I was amazed that a movie so bad could get any kind of accolades from anyone."[47] A review published March 8, 2010 in the Air Force Times[48] cited overall negative reviews from bomb experts in Iraq attached to the 4th Brigade, 1st Armored Division, quoting a bomb disposal team leader who called the films portrayal of a bomb expert "grossly exaggerated and not appropriate", and describing the lead character as "more of a run and gun cowboy typeexactly the kind of person that we're not looking for". Another bomb disposal team member said that the lead character's "swagger would put a whole team at risk. Our team leaders don't have that kind of invincibility complex, and if they do, they aren't allowed to operate. A team leader's first priority is getting his team home in one piece." On the embedded side, former correspondent for The Politico and Military Times Christian Lowe (who embedded with U.S. military units each year from 2002 to 2005) explained at DefenseTech: "Some of the scenes are so disconnected with reality to be almost parody."[49] On the other hand, Henry Engelhardt, an adjutant with the National Explosive Ordnance Disposal Association having 20 years' experience in bomb defusal, complimented the film's atmosphere and depiction of the difficulties of the job, saying, "Of course, no film is realistic in all its details, but the important things were done very well."[50] Screenwriter Mark Boal noted that The Hurt Locker was produced independently, without US Army extras.[51]
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Lawsuits
Sarver lawsuit
In early March 2010, US Army bomb disposal expert Master Sergeant Jeffrey Sarver filed a multi-million dollar lawsuit against The Hurt Locker. Sarver's lawsuit claimed he used the term "hurt locker" and the phrase "war is a drug" around Boal, that his likeness was used to create the character William James, and that the portrayal of William James defames Sarver.[52] Sarver said he felt "just a little bit hurt, a little bit felt left out" and cheated out of "financial participation" in the film.[53] Sarver claimed he originated the title of the film; however, the title is a decades-old colloquialism for being injured, as in "they sent him to the hurt locker".[54] It dates back to the Vietnam War where it was one of several phrases meaning "in trouble or at a disadvantage; in bad shape".[55] Boal defended himself to the press, saying "the film is a work of fiction inspired by many people's stories";[53] he said he talked to more than 100 soldiers during his research.[56] Jody Simon, a Los Angeles-based entertainment lawyer, noted that "soldiers don't have privacy", and that when the military embedded Boal they gave him full permission to use his observations as he saw fit. Summit Entertainment, the producers of the film, said in early March that they hoped for a quick resolution to the suit.[53] In the December 8, 2011 issue of The Hollywood Reporter, it was announced that Master Sergeant Sarver's lawsuit was thrown out by the court, and a federal judge ordered him to pay more than $180,000 in attorney fees.[57]
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Copyright infringement lawsuit

On May 12, 2010, Voltage Pictures, the production company behind The Hurt Locker, announced that it would attempt to sue "potentially tens of thousands" of online computer users who downloaded pirated copies of the film using the BitTorrent and P2P networks. It would be the largest lawsuit of its kind.[58][59] On May 28, 2010, it filed a complaint against 5,000 unidentified BitTorrent users in the United States District Court for the District of Columbia; Voltage will demand $1,500 from each defendant to release them from the suit.[60] Several people, however, have refused to settle with the studio.[61] The U.S. Copyright Group (USCG) has since dropped all cases against the alleged Hurt Locker pirates.[62] This suit has also spurred other film production companies such as Nu Images, the producers of The Expendables to attempt similar litigation in what is being called shot-gun style litigation or "a fishing expedition". On August 29, 2011, the Federal Court of Canada ordered the three Canadian ISPs - Bell Canada, Cogeco, and Videotron - to disclose the names and addresses of the subscribers whose IP addresses were suspected to have downloaded a copy of the movie. The ISPs were given two weeks to comply with the order.[63]
Release
Festival screenings
The Hurt Locker had its world premiere at the Venice Film Festival on September 4, 2008, and the film received a 10-minute standing ovation at the end of its screening.[64] At the festival, the film won the SIGNIS award,[65] the Arca Cinemagiovani Award (Arca Young Cinema Award) for "Best Film Venezia 65" (chosen by an international youth jury); the Human Rights Film Network Award; and the "Navicella" Venezia Cinema Award.[66] The film also screened at the 33rd Annual Toronto International Film Festival on September 8,[64] where it generated "keen interest", though distributors were reluctant to buy it since previous films about the Iraq War performed poorly at the box office.[67] Summit Entertainment purchased the film for distribution in the United States in what was perceived as "a skittish climate for pic sales".[68] In the rest of 2008, The Hurt Locker screened at the 3rd Zurich Film Festival,[69] the 37th Festival du Nouveau Cinma, the 21st Mar del Plata Film Festival,[70] the 5th Dubai International Film Festival, and the 12th Tallinn Black Nights Film Festival.[71] In 2009, The Hurt Locker screened at the Gteborg International Film Festival,[72] the 10th Film Comment Selects festival,[73] and the South by Southwest Film Festival.[74] It was the closing night film at Maryland Film Festival 2009, with Bigelow presenting. It had a centerpiece screening at the 3rd AFI Dallas International Film Festival, where director Kathryn Bigelow received the Dallas Star Award.[75] Other 2009 festivals included the Human Rights Nights International Film Festival,[76] the Seattle International Film Festival,[77] and the Philadelphia Film Festival.[78]
Theatrical run
The Hurt Locker was first publicly released in Italy by Warner Bros. on October 10, 2008.[64] Summit Entertainment picked the film up for distribution in the United States after it was shown at the Toronto International Film Festival for $1.5million.[79] The Hurt Locker was released in the United States on June 26, 2009, with a limited release at four theaters in Los Angeles and New York City.[80] Over its first weekend the film grossed $145,352, averaging $36,338 per theater. The following weekend, beginning July 3, the film grossed $131,202 at nine theaters, averaging $14,578 per theater.[81] It held the highest per-screen average of any film playing theatrically in the United States for the first two weeks of its release,[1] gradually moving into the top 20 chart with much wider-released, bigger budget studio films.[82] It held around number 13 or number 14 on box office charts for an additional four weeks. Summit Entertainment took The Hurt Locker wider to more than 200 screens on July 24, 2009 and more than 500 screens on July 31, 2009. As of March 21, 2010, the film grossed $40,016,144 against its $15million production budget, and the domestic total of $16,400,000 places it at number 117 of all films released in the U.S. in 2009.[1]
2009 The Hurt Locker According to the Los Angeles Times, The Hurt Locker performed better than most recent dramas about Middle East conflict. The film outperformed all other Iraq-war-themed films such as In the Valley of Elah (2007), Stop-Loss (2008) and Afghanistan-themed Lions for Lambs (2007).[79] In the United States, The Hurt Locker is one of only four Best Picture winners (The English Patient, Amadeus, and The Artist being the other three) to never enter the weekend box office top 5 since top 10 rankings were first recorded in 1982. It is also one of the only two Best Picture winners on record never to have entered the weekend box office top 10 (The Artist being the other). The Hurt Locker opened in the top ten in the United Kingdom in 103 theaters, scoring the fourth highest per screen average of $3,607, ranking between G-Force and G.I. Joe in overall grosses. The film garnered a half a million dollars in its opening weekend in the United Kingdom of August 28 through August 30, 2009,[83] and has grossed over a million dollars in the UK, Japan, Spain, and France through March.[84]
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Distribution: Independent film print shortage

According to an article in the Springfield, Illinois, State Journal-Register, as of August 2009 there was a shortage of film prints of The Hurt Locker, as well as other hit independent films such as Food Inc.[85] Distributors told theater owners that they will have to wait weeks or months past the initial U.S. release date, to get the few available prints that are already in distribution. "Sometimes the distributors goof up", said a film buyer for one theater, "they misjudge how wide they should go".[85] One theory is that the independent films have a hard time competing for screen space during the summer against blockbuster tent-pole films that take up as much as half the screens in any given city, flooding the United States market with thousands of prints. Theater owners have also complained about distributors "bunching too many movies too close together".[85][86] It is also thought that independent film distributors are trying to cut their losses on prints by recycling them. Given the popularity of some of the films that are "hard to come by", this strategy may be leaving box office money on the table.[85][86]
Home media
The Hurt Locker was released on DVD and Blu-ray in North America on January 12, 2010. This disc includes an added audio commentary featuring director Kathryn Bigelow, writer Mark Boal, and other members of the production crew, an image gallery of photos from shooting, and a 15-minute EPK featurette highlighting the filming experience in Jordan and the film's production. The UK DVD and Blu-ray has no commentary. U.S. sales of the DVD topped $30 million by mid August 2010.[87]
Awards and accolades

Starting with its initial screening at the 2008 Venice International Film Festival, The Hurt Locker has earned many awards and honors. It has also earned its place on more Top 10 lists than any other film of 2009. It was nominated in nine categories at the 82nd Academy Awards and won in six: Best Picture, Best Director, Best Original Screenplay, Best Sound Editing, Best Sound Mixing, and Best Film Editing. It lost the award for Best Actor to Crazy Heart, Best Original Score to Up, and Best Cinematography to Avatar.[88] This makes The Hurt Locker the lowest-grossing film to win Best Picture and Bigelow the first woman to win an Oscar for best director.[89][90] The Hurt Locker was also nominated for three Golden Globe awards.[91] Kathryn Bigelow was awarded the 2009 Directors Guild of America Award for Outstanding Achievement in Feature Film for the film, the first time a female director has ever won.[92] The film won six awards at the BAFTAs held on February 21, 2010, including Best Film and Best Director for Bigelow. The film swept most critics groups awards for best director and best picture including Los Angeles, New York, Chicago, Boston, and Las Vegas film critics associations. The Hurt Locker also became only the fourth film to win all three major U.S. critics group prizes (NY, LA and NSFC) joining Goodfellas, Schindler's List and L.A. Confidential.
2009 The Hurt Locker The Washington DC Area Film Critics award for Best Director was given to Kathryn Bigelow, the first time the honor has gone to a woman. The five awards from the Boston Society of Film Critics was the most given out by that organization to a single film in the group's entire 30-year history.[93] In February 2010, the film's producer Nicolas Chartier emailed a group of Academy Award voters in an attempt to sway them to vote for The Hurt Locker instead of "a $500M film" (referring to Avatar) for the Best Picture award. He later issued a public apology, saying that it was "out of line and not in the spirit of the celebration of cinema that this acknowledgment is".[94] The Academy later banned him from attending the award ceremony, the first time the Academy has ever banned an individual nominee.[95]
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References
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[29] Ebert, Roger (July 8, 2009). "The best films of the decade" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20090708/ REVIEWS/ 907089997). The Chicago Sun-Times. . Retrieved 2009-08-28. [30] Ebert, Roger (December 9, 2009). "The Hurt Locker" (http:/ / blogs. suntimes. com/ ebert/ 2009/ 12/ the_best_films_of_the_decade. html). Roger Ebert's Journal. . Retrieved 2009-12-09. [31] Corliss, Richard (September 4, 2008). "The Hurt Locker: A Near-Perfect War Film" (http:/ / www. time. com/ time/ arts/ article/ 0,8599,1838615,00. html). Time. . Retrieved 2009-08-28. [32] Scott, A. O. (June 26, 2009). "Soldiers on a Live Wire Between Peril and Protocol" (http:/ / movies. nytimes. com/ 2009/ 06/ 26/ movies/ 26hurt. html). The New York Times. . Retrieved 2009-08-28. [33] Turan, Kenneth (June 26, 2009). "The Hurt Locker" (http:/ / www. latimes. com/ entertainment/ news/ la-et-hurtlocker26-2009jun26,0,4546320. story). Los Angeles Times. . Retrieved 2010-09-03. [34] Westwell, Guy (September 2009). "The Hurt Locker" (http:/ / www. bfi. org. uk/ sightandsound/ review/ 5082). Sight & Sound 19 (9): 6768. . [35] Taubin, Amy (2009). "Hard Wired". Film Comment 45 (3): 3035. [36] Morgenstern, Joe (June 29, 2009). "Locker: Shock, Awe, Brilliance" (http:/ / online. wsj. com/ article/ SB10001424052970204621904574249972655817950. html). The Wall Street Journal. . [37] Howell, Peter (August 31, 2008). "Fest Bet: The Iraq war, brought down to the pavement" (http:/ / www. thestar. com/ entertainment/ FilmFest/ article/ 487954). The Star.com (Toronto). . [38] Schwarzbaum, Lisa (June 16, 2009). "The Hurt Locker (2009)" (http:/ / www. ew. com/ ew/ article/ 0,,20285519,00. html). Entertainment Weekly. Time Inc.. . [39] Elley, Derek (September 4, 2008). "The Hurt Locker" (http:/ / www. variety. com/ review/ VE1117938188. html). Variety. . Retrieved 2009-08-28. [40] Thompson, Anne (June 28, 2009). "Hurt Locker, Other Award Pics Directed by Women" (http:/ / weblogs. variety. com/ thompsononhollywood/ 2009/ 06/ hurt-locker-other-award-pics-directed-by-women. html). Variety. . Retrieved 2009-08-29. [41] McKelvey, Tara (July 17, 2009). "The Hurt Locker as Propaganda" (http:/ / www. prospect. org/ cs/ articles?article=the_hurt_locker_as_propaganda). . [42] Pilger, John (February 11, 2010). "Why the Oscars are a con" (http:/ / www. newstatesman. com/ film/ 2010/ 02/ pilger-iraq-oscar-american-war). . Retrieved 2011-08-08. [43] Paul Rieckhoff (February 24, 2010). "When Cinma Vrit Isnt" (http:/ / www. newsweek. com/ id/ 234064). Newsweek. . Retrieved 2010-02-24. [44] Hoit, Kate (February 4, 2010). "The Hurt Locker Doesn't Get this Vet's Vote" (http:/ / www. huffingtonpost. com/ kate-hoit/ the-hurt-locker-doesnt-ge_b_449043. html). The Huffington Post. . Retrieved 2010-02-14. [45] Friedman, Brandon (July 21, 2009). "Movie Review: The Hurt Locker" (http:/ / www. vetvoice. com/ showDiary. do?diaryId=2975). VetVoice. . Retrieved 2010-02-14. [46] Horton, Alex (July 22, 2009). "Review: The Hurt Locker" (http:/ / armyofdude. blogspot. com/ 2009/ 07/ review-hurt-locker. html). Army of Dude. . Retrieved 2010-02-14. [47] Steward, Troy (January 16, 2010). "Bouhammer Review of The Hurt Locker" (http:/ / www. bouhammer. com/ 2010/ 01/ bouhammer-review-of-the-hurt-locker/ ). bouhammer.com. . Retrieved 2010-02-14. [48] Ford, Matt (March 8, 2010). "Real Hurt Lockers in Iraq: Life is no movie" (http:/ / www. airforcetimes. com/ news/ 2010/ 03/ ap_hurtlocker_reallife_030810/ ). Air Force Times. . Retrieved 2010-03-10. [49] Christian (July 10, 2010). "Hurt Locker is a Blast Without a Spark" (http:/ / defensetech. org/ 2009/ 07/ 10/ hurt-locker-is-a-blast-without-the-spark/ ). DefenseTech. . Retrieved 2010-02-14. [50] Engelhardt, Henry (January 8, 2010). "Experts on Oscar contenders' accuracy" (http:/ / www. variety. com/ article/ VR1118013551. html). Variety. . Retrieved 2010-02-25. [51] Ebert, Roger (July 10, 2009). "Open the hurt locker and learn how rough men come hunting for souls" (http:/ / blogs. suntimes. com/ ebert/ 2009/ 07/ not_how_the_army_would_fight_aliens. html). Sun-Times. . [52] Lang, Brent & Waxman, Sharon (March 3, 2010). "'Hurt Locker' Sued Over Stolen Identity" (http:/ / www. thewrap. com/ ind-column/ hurt-locker-sued-over-stolen-identity-do-not-publish-14850). The Wrap. . Retrieved 2010-04-09. [53] Hinds, Julie (March 3, 2010). "Army bomb expert claims 'Hurt Locker' based on him" (http:/ / www. usatoday. com/ life/ movies/ news/ 2010-03-03-hurt-locker-lawsuit_N. htm). USA Today. . Retrieved 2010-04-09. [54] "Movie Review: The Hurt Locker" (http:/ / www. themajlis. org/ 2009/ 08/ 10/ movie-review-the-hurt-locker). . Retrieved 2010-02-14. "The name of the movie, according to the official Web site, is G.I. slang for being injured in an explosion, i.e., "put in the hurt locker"" [55] Zimmer, Ben (March 5, 2010). "At the Movies: Plumbing the Depths of 'The Hurt Locker'" (http:/ / www. visualthesaurus. com/ cm/ wordroutes/ 2195/ ). Visual Thesaurus. . Retrieved 2010-03-08. [56] Woodall, Bernie (March 4, 2010). "U.S. Bomb Expert Says "Hurt Locker" Stole His Story" (http:/ / www. reuters. com/ article/ idUSTRE6220HO20100304). Reuters. . Retrieved 2010-10-09. [57] Belloni, Matthew (December 8, 2011) "Iraq War Vet Ordered to Pay $187,000 in Failed Lawsuit Against 'Hurt Locker' Producers" (http:/ / www. hollywoodreporter. com/ thr-esq/ hurt-locker-lawsuit-jeremy-renner-jeffrey-sarver-271605), The Hollywood Reporter [58] McEntegart, Jane (May 13, 2010). "Hurt Locker Producers Suing Torrent Downloaders" (http:/ / www. tomshardware. com/ news/ BitTorrent-Pirate-Bay-Comcast-Time-Warner-Verizon,10415. html). Tom's Hardware US. . Retrieved 2010-05-21.
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[59] Sandoval, Greg (May 12, 2010). "'Hurt Locker' producers follow RIAA footsteps" (http:/ / news. cnet. com/ 8301-31001_3-20004860-261. html). Cnet News. . Retrieved 2010-05-21. [60] Gardner, Eriq (May 28, 2010). "'Hurt Locker' producer files massive antipiracy lawsuit" (http:/ / thresq. hollywoodreporter. com/ 2010/ 05/ hurt-locker-pirates-lawsuit. html). The Hollywood Reporter (e5 Global Media). . Retrieved 2010-05-29. [61] Sandoval, Greg. "Accused pirates to indie filmmakers: Sue us" (http:/ / news. cnet. com/ 8301-31001_3-20020260-261. html) Cnet News. [62] "US Copyright Group Drops Cases Against Alleged Hurt Locker Pirates" (http:/ / torrentfreak. com/ us-copyright-group-drops-cases-against-alleged-hurt-locker-pirates-110118/ ). TorrentFreak. March 18, 2011. . Retrieved 2011-03-25. [63] "Hurt Locker File Sharing Suits Come North: Federal Court Orders ISPs to Disclose Subscriber Info" (http:/ / www. michaelgeist. ca/ content/ view/ 5999/ ). Michael Geist. September 9, 2011. . Retrieved 2011-09-19. [64] Vivarelli, Nick (September 4, 2008). "'Hurt Locker' gives Venice a jolt" (http:/ / www. variety. com/ index. asp?layout=festivals& jump=story& id=1061& articleid=VR1117991591& cs=1). Variety. . Retrieved 2009-08-12. [65] "The Hurt Locker" (http:/ / www. signis. net/ article. php3?id_article=3389). signis.net. SIGNIS. . Retrieved August 16, 2009. [66] "Collateral Awards 65th Venezia Film Festival 2008" (http:/ / www. mostradelcinemadivenezia. tv/ 2008/ en/ articolo. php?a=23). VeniceWord International Media Services. September 6, 2008. . Retrieved 2010-04-06. [67] McClintock, Pamela; Thompson, Anne (September 9, 2008). "Bigelow's 'Locker' sparks interest" (http:/ / www. variety. com/ article/ VR1117991965. html). Variety. . Retrieved 2009-08-12. [68] Swart, Sharon (September 10, 2008). "Summit takes 'Hurt Locker' in U.S." (http:/ / www. variety. com/ article/ VR1117991968. html). Variety. . Retrieved 2009-08-12. [69] Meza, Ed (September 11, 2008). "Peter Fonda rides to Zurich" (http:/ / www. variety. com/ index. asp?layout=festivals& jump=story& id=1061& articleid=VR1117992031& cs=1). Variety. . Retrieved 2009-08-16. [70] Newbery, Charles (October 30, 2008). "'Hurt Locker' to open Mar Festival" (http:/ / www. variety. com/ article/ VR1117994960. html?categoryid=1061& cs=1). Variety. . Retrieved 2009-08-16. [71] "The Hurt Locker" (http:/ / 2008. poff. ee/ ?lang=2& id=1915& module=1& todo=film). poff.ee. Tallinn Black Nights Film Festival. . Retrieved 2009-08-16. [72] "Gteborg International Film Festival 2009" (http:/ / www. goteborgfilmfestival. se/ filmfestival/ info/ en/ festivalprogram/ chart/ ?date=2009-01-30). goteborgfilmfestival.se. Gteborg International Film Festival. . Retrieved 2009-08-16. [73] Scott, A. O. (February 19, 2009). "Recovering Treasures From Below the Radar" (http:/ / www. nytimes. com/ 2009/ 02/ 20/ movies/ 20comm. html). The New York Times. Retrieved 2009-08-29. [74] Siegel, Tatiana (February 1, 2009). "SXSW unveils lineup" (http:/ / www. variety. com/ index. asp?layout=festivals& jump=story& id=1061& articleid=VR1117999404& cs=1). Variety. . Retrieved 2009-08-29. [75] "AFI DALLAS Galas and Star Awards" (http:/ / www. afidallas. com/ daily/ index. php/ 2009/ 03/ afi-dallas-galas-and-star-awards/ ). afidallas.com (American Film Institute). March 5, 2009. . Retrieved 2009-08-16. [76] "The Hurt Locker" (http:/ / www. humanrightsnights. org/ html/ schedule_item. php?lang=ENG& id=455& url=/ html/ schedule. php?lang=ENG& cat_id=0). humanrightsnights.org. Cineteca di Bologna. . Retrieved 2009-08-16. [77] "The Hurt Locker" (http:/ / www. siff. net/ festival/ film/ detail. aspx?id=28805& FID=123). siff.net. Seattle International Film Festival. . Retrieved 2009-08-16. [78] "The Hurt Locker" (http:/ / www. phillycinefest. com/ film-details. cfm?id=8566). phillycinefest.com. Philadelphia Film Festival. . Retrieved 2009-08-16. [79] Horn, John (August 5, 2009). "The Hurt Locker defies the odds" (http:/ / www. latimes. com/ entertainment/ news/ la-et-word6-2009aug06,0,2706666. story). The Los Angeles Times. . [80] McClintock, Pamela (June 23, 2009). "'Transformers' expected to crash B.O." (http:/ / www. variety. com/ article/ VR1118005300. html). Variety. . Retrieved 2009-08-17. [81] "The Hurt Locker (2009) Weekend Box Office Results" (http:/ / www. boxofficemojo. com/ movies/ ?page=weekend& id=hurtlocker. htm). Box Office Mojo. Amazon.com. . Retrieved 2009-08-17. [82] "'Harry Potter' franchise shows no sign of slowing" (http:/ / www. accesshollywood. com/ 500-days-of-summer/ harry-potter-franchise-shows-no-sign-of-slowing_article_20799). Associated Press. July 20, 2009. . Retrieved 2010-04-06. [83] "United Kingdom Box Office, August 2830, 2009" (http:/ / boxofficemojo. com/ intl/ uk/ ?yr=2009& wk=35& p=. htm). Box Office Mojo. . Retrieved 2010-04-07. [84] "The Hurt Locker (2009) International Box Office Results" (http:/ / www. boxofficemojo. com/ movies/ ?page=intl& id=hurtlocker. htm). Box Office Mojo. . Retrieved 2009-10-10. [85] Mackey, Brian (August 27, 2009.). "Brian Mackey: Declare your love for indie films." (http:/ / www. sj-r. com/ entertainment/ x772322502/ Brian-Mackey-Declare-your-love-for-indie-films). The State Journal-Register. . [86] McClintock, Pamela (March 27, 2009). "Theaters deal with glut of new films: Sequels, Tentpoles Crowd Release Schedule" (http:/ / www. variety. com/ article/ VR1118001812. html). Variety. . [87] "The Hurt Locker DVD Sales" (http:/ / www. the-numbers. com/ movies/ 2009/ HURTL-DVD. php). The Numbers. Nash Information Services. May 30, 2010. . Retrieved 2010-05-30. [88] "The 82nd Academy Awards (2010) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 82nd-winners. html). oscars.org. . Retrieved 2011-11-22.
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[89] Carter, Nicole (March 8, 2010). "'The Hurt Locker' is lowest-grossing movie to ever win Best Picture, but it may get post-Oscar bump" (http:/ / www. nydailynews. com/ entertainment/ movies/ 2010/ 03/ 08/ 2010-03-08_the_hurt_locker_is_lowestgrossing_movie_to_ever_win_best_picture_may_get_postosc. html). NY Daily News. . Retrieved 2010-04-06. [90] Venutolo, Anthony (March 7, 2010). "Academy Awards: Kathryn Bigelow is the first woman to win an Oscar for best director" (http:/ / www. nj. com/ oscar-awards/ index. ssf/ 2010/ 03/ academy_awards_kathryn_bigelow_is_the_first_woman_to_win_an_oscar_for_best_director. html). nj.com. . Retrieved 2010-04-06. [91] "Complete List of 2010 Golden Globe Nominations" (http:/ / ca. eonline. com/ uberblog/ b158059_complete_list_of_2010_golden_globe. html). Eonline. December 15, 2009. . [92] Bowles, Scott (February 1, 2010). "Kathryn Bigelow tops directors with 'Hurt Locker'" (http:/ / www. usatoday. com/ life/ movies/ movieawards/ 2010-01-31-bigelow-hurt-locker-directors-guild_N. htm?csp=34). USA Today. . [93] Kimmel, Daniel (December 13, 2009). "'Hurt Locker' tops with Boston critics: Pic takes four other kudos as journos hand out honors" (http:/ / www. variety. com/ article/ VR1118012678. html?categoryid=13& cs=1). Variety. . [94] Hammond, Pete (2010-02-25). "'Hurt Letter' plot thickens after producer offers mea culpa" (http:/ / latimesblogs. latimes. com/ season/ 2010/ 02/ hurt-letter-plot-thickens-as-producer-offers-mea-culpa-by-pete-hammond. html). Los Angeles Times. . Retrieved 2010-02-25. [95] Zeitchik, Steven (March 3, 2010). "'Hurt Locker' producer banned from Oscars" (http:/ / articles. latimes. com/ 2010/ mar/ 03/ entertainment/ la-et-chartier3-2010mar03). Los Angeles Times. Retrieved 2010-04-06.
745
Bibliography
Thomson, Patricia (July 2009). "Risk and Valor". American Cinematographer 90 (7): 4450.
Further reading
Barker, Martin (2011). A 'Toxic Genre': The Iraq War Films. Pluto Press. ISBN978-0745331294.
External links
Official website (http://www.thehurtlocker-movie.com) The Hurt Locker (http://www.imdb.com/title/tt0887912/) at the Internet Movie Database
2010 The King's Speech
746

The King's Speech
Cinematic release poster
Directed by Produced by Tom Hooper

Iain Canning Emile Sherman Gareth Unwin
Screenplay by Starring
David Seidler

Colin Firth Geoffrey Rush Helena Bonham Carter Guy Pearce Timothy Spall Derek Jacobi Jennifer Ehle Michael Gambon
Music by
Alexandre Desplat
Cinematography Danny Cohen, BSC Editing by Studio Tariq Anwar

UK Film Council See-Saw Films Bedlam Productions
The Weinstein Company

6 September 2010 (Telluride Film Festival) 7 January 2011 (United Kingdom)

[1] [2]
118 minutes
United Kingdom English
8 million ($15 million)
[3] [4]
250 million ($414,211,549)
The King's Speech is a 2010 British historical drama film directed by Tom Hooper and written by David Seidler. Colin Firth plays King George VI who, to cope with a stammer, sees Lionel Logue, an Australian speech therapist played by Geoffrey Rush. The men become friends as they work together, and after his brother abdicates the throne, the new King relies on Logue to help him make his first wartime radio broadcast on Britain's declaration of war on Germany in 1939. Seidler read about George VI's life after overcoming a stuttering condition he endured during his youth. He started writing about the relationship between the monarch and his therapist as early as the 1980s, but at the request of the King's widow, Queen Elizabeth The Queen Mother, postponed work until her death in 2002. He later rewrote his screenplay for the stage to focus on the essential relationship between the two protagonists. Nine weeks before filming began, Logue's notebooks were discovered and quotations from them were incorporated into the script. Principal photography took place in London and around Britain from November 2009 to January 2010. The opening scenes were filmed at Elland Road in Leeds, which stood in for the old Wembley Stadium. For indoor scenes,
2010 The King's Speech Lancaster House substituted for Buckingham Palace, and Ely Cathedral stood in for Westminster Abbey. The cinematography differs from other historical dramas: hard light was used to give the story a greater resonance and wider than normal lenses were used to recreate the King's feelings of constriction. A third technique Hooper employed was the off-centre framing of characters: in his first consultation with Logue, George VI is captured hunched on the side of a couch at the edge of the frame. Released in the United Kingdom on 7 January 2011, The King's Speech was a major box office and critical success. Censors initially gave it adult ratings due to profanity, though these were later revised downwards after criticism by the makers and distributors in the UK and some instances of swearing were muted in the US. On a budget of 8million, it earned over $400million internationally (250 million).[5] It was widely praised by film critics for its visual style, art direction, and acting. Other commentators discussed the film's representation of historical detail, especially the reversal of Winston Churchill's opposition to abdication. The film received many awards and nominations, particularly for Colin Firth's performance; his Golden Globe Award for Best Actor was the sole win at that ceremony from seven nominations. The King's Speech won seven British Academy Film Awards, including Best Picture, and Best Actor (Firth), Best Supporting Actor (Rush), and Best Supporting Actress (Bonham Carter). The film also won four Academy Awards: Best Picture, Best Director (Hooper), Best Actor (Firth), and Best Original Screenplay (Seidler).
747
Plot
Prince Albert, Duke of York (Colin Firth), the second son of King GeorgeV, stammers through his speech closing the 1925 British Empire Exhibition at Wembley Stadium. The Duke has given up hope of a cure, but his wife Elizabeth (Helena Bonham Carter) persuades him to see Lionel Logue (Geoffrey Rush), an Australian speech therapist in London. During their first session, Logue breaches royal etiquette and insists on calling his patient "Bertie," a name used only within the Duke's family. When Albert decides Logue's methods and manner are unsuitable, the Australian bets a shilling that the Duke can recite Hamlet's "To be, or not to be" soliloquy without trouble while listening to loud music on headphones. Logue records his performance on a gramophone record; convinced he has stammered throughout, Albert leaves in a huff, declaring his condition "hopeless" and dismissing Logue. Logue offers him the recording as a keepsake. After King GeorgeV (Michael Gambon) makes his 1934 Christmas radio address, he explains to Albert the importance of broadcasting to a modern monarchy. He declares that "David" (Edward, Prince of Wales, played by Guy Pearce), Albert's older brother, will bring ruin to himself, the family, and the country when he accedes to the throne, leaving Chancellor Hitler and Premier Stalin to sort out matters in Europe. King George demands that Albert train himself, starting with a reading of his father's speech. He makes an agonising attempt to do so. Later, Albert plays Logue's recording and hears himself unhesitatingly reciting Shakespeare. He returns to Logue, but he and his wife insist that Logue stop delving into his private life and merely work on the physical aspects. Logue teaches his patient muscle relaxation and breath control techniques, but continues to gently probe at the psychological roots of the stutter. The Duke eventually reveals some of the pressures of his childhood: his strict father, the repression of his natural left-handedness, painful childhood metal splints to correct his knock-knees, his first nanny, who secretly mistreated him, and the early death of his epileptic younger brother, John. The two men become friends. In January 1936, GeorgeV dies, and David ascends the throne as King EdwardVIII, but causes a monumental crisis with his determination to marry Mrs Wallis Simpson (Eve Best), an American socialite and twice a divorce. At Christmas in Balmoral Castle, Albert points out that Edward, as head of the Church of England, cannot marry a
1934 photograph of George V delivering the Royal Christmas Message; an image recreated in the film
2010 The King's Speech divorced woman; Edward accuses his brother of wanting to usurp his place, calling his elocution lessons preparation, and resurrects his childhood taunt of "B-B-B-Bertie". At his next session, Albert expresses his frustration that his speech has improved while talking to most peopleexcept his own brother. Albert reveals the extent of Edward VIII's folly with Mrs Simpson. When Logue insists that Albert could be a good king instead of his brother, the latter labels such a suggestion as treason, mocks Logue's failed acting aspirations and humble origins, and dismisses him. When King EdwardVIII abdicates to marry Mrs Simpson, Albert becomes King GeorgeVI. The new King and Queen Firth and Bonham Carter as the Duke and Duchess of York visit Logue at his home to apologise, startling Logue's wife (who had been kept in the dark about the patient's identity). During preparations for his coronation in Westminster Abbey, George VI learns that Logue has no formal qualifications. Logue explains that, as an elocution teacher, he was asked to help shell-shocked Australian soldiers returning from the First World War, and thereby found his calling. When George VI remains convinced of his unfitness to be king, Logue sits in King Edward's Chair and dismisses the underlying Stone of Scone as a trifle. Goaded by Logue's seeming disrespect, the King surprises himself with his own sudden outraged eloquence. Upon the declaration of war with Nazi Germany in September 1939, GeorgeVI summons Logue to Buckingham Palace to prepare for his upcoming radio address to millions of listeners in Britain and the Empire. The King is left alone with Logue in the room with the microphone. He delivers his speech competently, as if to Logue alone, who guides him silently throughout. Afterwards, the King and his family step onto the balcony of the palace to be viewed and applauded by the thousands who have gathered. A title card explains that Logue was always present at King GeorgeVI's speeches during the war, and that they remained friends for the rest of their lives.
748
749
Cast
Colin Firth as King George VI Geoffrey Rush as Lionel Logue Helena Bonham Carter as Queen Elizabeth Guy Pearce as King Edward VIII Michael Gambon as King George V Timothy Spall as Winston Churchill Jennifer Ehle as Myrtle Logue Derek Jacobi as Archbishop Cosmo Lang Anthony Andrews as Stanley Baldwin Eve Best as Wallis Simpson Freya Wilson as Princess Elizabeth Ramona Marquez as Princess Margaret Claire Bloom as Queen Mary Tim Downie as The Duke of Gloucester
Production
[6] Third choice to play the lead, Colin Firth's performance earned him BAFTA and Academy awards, among others.
Development
Not a great deal was written about His Majesty's speech therapist, Lionel Logue, certainly not in the official biographies. Nor was much published about the Royal stutter; it appeared to be a source of profound embarrassment. David Seidler
[7]
As a child, David Seidler developed a stammer, which he believes was caused by the emotional trauma of World War II and the murder of his grandparents during the Holocaust. King George VI's success in overcoming his stammer inspired the young Seidler, "Here was a stutterer who was a king and had to give radio speeches where everyone was listening to every syllable he uttered, and yet did so with passion and intensity." When Seidler became an adult, he resolved to write about King George VI. During the late 1970s and 1980s he voraciously researched the King, but found a dearth of information on Logue. Eventually Seidler contacted Dr. Valentine Logue, who agreed to discuss his father and make his notebooks available if the Queen Mother gave her permission. She asked him not to do so in her lifetime, and Seidler halted the project.[7]
750 The Queen Mother died in 2002. Three years later, Seidler returned to the story during a bout of creative work inspired by a recovery from cancer. His research, including a chance encounter with an uncle whom Logue had treated, indicated he used mechanical breathing exercises combined with psychological counselling to probe the underlying causes of the condition. Thus prepared, Seidler imagined the sessions. He showed the finished screenplay to his wife, who liked it, but pronounced it too "seduced by cinematic technique". She suggested he rewrite it as a stage play to focus on the essential relationship between the King and Logue. After he had completed it, he sent it to a few friends who worked in theatre in London and New York for feedback.[7]
In 2005, Joan Lane of Wilde Thyme, a production company in London, received the script. Lane started talking with Simon Egan and Gareth Unwin of Bedlam Productions, and they invited Seidler to London to rewrite the play again, this time for the screen. Together, Lane and Bedlam Productions organised a reading of the play in Pleasance Theatre, a small house in north London, to a group of Australian expatriates, among whom was Tom Hooper's mother. She called her son and said, "I've found your next project".[9][10]
The film's producers broke etiquette by hand-delivering Geoffrey Rush the script, but he liked it and eventually performed in and [8] produced the film.
Instead of trying to contact his agent, Lane asked an Australian staff member to hand-deliver the script to Geoffrey Rush's house, not far away from hers in Melbourne. Unwin reports that he received a four page e-mail from Rush's manager admonishing them for the breach of etiquette, but ending with an invitation to discuss the project further. Iain Canning from See-Saw Films became involved and, in Gareth Unwin's words: "We worked with ex-chair of Bafta Richard Price, and started turning this story about two grumpy men sitting in a room into something bigger."[10] Hooper liked the story, but thought that the original ending needed to be changed to reflect events more closely: "Originally, it had a Hollywood ending... If you hear the real speech, he's clearly coping with his stammer. But it's not a perfect performance. He's managing it."[9] The production team learnedsome nine weeks prior to the start of filmingof a diary containing Logue's original notes on his treatment of the Duke.[11] They then went back and re-worked the script to reflect what was in the notes. Hooper said some of the film's most memorable lines, such as at the climax, when Logue smiles, "You still stammered on the W" to the King, who replies, "I had to throw in a few so they would know it was me" were direct quotations from Logue's notes.[12] Changes from the script to reflect the historical record included Michael Gambon improvising the ramblings of George V as he signed away authority, and the decision to dress the Duke in an overcoat rather than regal finery in the opening scene.[13] Seidler thought Paul Bettany would be a good choice to play King GeorgeVI, Tom Hooper preferred Hugh Grant, though both actors refused the offer. Once they met with Firth and heard him read for the part, Seidler and Hooper were convinced of his suitability for the role.[6] The UK Film Council awarded the production 1million in June 2009.[14] Filming began in December 2009, and lasted 39 days. Most was shot in the three weeks before Christmas because Rush would be performing in a play in January. The schedule was further complicated by Bonham Carter's availability: she worked on Harry Potter during the week, so her scenes had to be filmed during the weekend.[10]
751
Location and design

The set design presented a challenge for the film-makers: period dramas rely to an extent on the quality of production, but their budget was a relatively limited 8million. The film had to be authenticcombining regal opulence with scruffy, depression-era London.[15] On 25 November 2009, the crew took over the Pullens buildings in Southwark. The entire street was transformed into 1930s London. Large advertisements, for (among other things) Bovril and fascism were placed on the walls; streets were sprayed with grit and buildings with grime. A neighbour of Hooper's had told him the smog The Pullens buildings with a 1930s in London at the time was so thick that cars had to be guided by advertisement. someone walking in front. To create this scene the crew pumped in so much artificial smoke that the fire alarms in a nearby boutique sounded. According to Hooper, the scene was a good opportunity to show Logue's socio-economic background.[13] On 26 November, a week's filming with Firth, Rush, and Jacobi began at Ely Cathedral, the location used for Westminster Abbey. The production had asked for permission to film in the Abbey but were denied due to the demands of tourism.[13] Though Lincoln Cathedral is architecturally a closer match to the Abbey, they preferred Ely, a favoured filming location. Its size allowed them to build sets showing not just the coronation, but the preparations before it.[16][17][18] Lancaster House, an opulent, government-owned period house in London, was used for the interiors of Buckingham Palace that the King walks through prior to making his speech and for the official photograph afterwards; it cost 20,000 a day to rent.[15] The 1936 Accession Council at St. James's Palace, where George VI swore an oath, was filmed in February in the Livery Hall of Drapers' Hall, after principal photography had been completed. The room, ornate and vast, met the occasion: the daunting nature of the new King's responsibilities was shown by surrounding him with rich detail, flags and royal portraiture.[19][20][21] The crew investigated Logue's former consultation rooms, but they were too small to film in. Instead, they found a high, vaulted room not far away in 33 Portland Place. Eve Stewart, the production designer, liked the mottled, peeling wallpaper there so much that she recreated the effect throughout the entire room.[15] In his DVD commentary, Hooper said he liked Portland Place as a set because it felt "lived-in", unlike other period houses in London. The scenes of the Duke of York at home with his family were also filmed here; showing the Prince living in a townhouse "subverted" expectations of a royal drama.[13] The opening scene, set at the closing ceremony of the 1925 British Empire Exhibition at Wembley Stadium, was filmed on location at Elland Road, home of Leeds United, and Odsal Stadium, home of the Bradford Bulls. Elland Road was used for the speech elements of the prince stammering his way through his first public address, and Odsal Stadium was selected because of the resemblance of its curved ends to Wembley Stadium in 1925.[22] The crew had access to the stadium only at 10pm, after a football game. They filled the terraces with inflatable dummies and over 250 extras dressed in period costumes. Live actors were interspersed to give the impression of a crowd. Additional people, as well as more ranks of soldiers on the pitch, were added in post-production with visual effects.[15][23] Other locations include Cumberland Lodge, Harley Street, Knebworth, Hatfield House, the Old Royal Naval College in Greenwich, Queen Street Mill Textile Museum in Burnley, and Battersea Power Station, which doubled as a BBC wireless control room.[24] The final cut of the film was completed on 31 August 2010.[25]
752
Dialogue
In developing his portrayal of George VI's stammer, Firth worked with Neil Swain, the voice coach for the film. His sister, Kate Firth, also a professional voice coach to actors, proposed exercises the King might have done with Logue, and made suggestions on how to imagine Logue's mix of physical and psychological coaching for the film.[27] In addition, Firth watched archive footage of the King speaking. In an interview with Allan Tyrer published by the British Stammering Association, Swain said: "[It] was very interesting while we were working on the film just to think The first meeting between the Duke of York and Lionel Logue was filmed in 33 tonally how far we could go and should go Portland Place, where the Duke's nervousness was captured by framing him against with the strength of George's stammer. I [26] the edge of the sofa. The effect on the wall behind was copied across the entire think a less courageous director than Tom [15] room by the production designer. [Hooper] and indeed a less courageous actor than Colin [Firth] might have felt the need to slightly sanitise the degree and authenticity of that stammer, and I'm really really pleased that neither of them did."[28] In May 2011 Firth said he was finding traces of the stammer difficult to eliminate: "You can probably hear even from this interview, there are moments when its quite infectious," he said."You find yourself doing it and if I start thinking about it the worse it gets. If nothing else its an insight into what it feels like."[29]
Music
The film's original score was composed by Alexandre Desplat. In a film about a man struggling to articulate himself, Desplat was wary of overshadowing the dramaturgy, "This is a film about the sound of the voice. Music has to deal with that. Music has to deal with silence. Music has to deal with time."[30] The score is a sparse arrangement of strings and piano (with the addition of oboe and harp in one cut), intended to convey the sadness of the King's muteness, and then the growing warmth of friendship between him and Logue. The minimalist approach emphasises the protagonist's struggle for control.[31] Desplat used the repetition of a single note to represent the stickiness of the King's speech.[30] As the film progresses, growing banks of warm strings swaddle the deepening friendship between the two leads. The music rises to a climax in the coronation scene. Hooper originally wanted to film the scene without music, but Desplat argued that it was the real climax of the storythe point when the friendship was ratified by their decision to trust each other. "That is really rare", said Desplat, "mostly you have love stories".[30] To create a dated sound, the score was recorded on old microphones extracted from the EMI archives which had been specially made for the royal family.[30] The music played during the broadcast of the 1939 radio speech at the climax of the film is from the 2nd movement (Allegretto) of Beethoven's 7th Symphony; it was added by Tariq Anwar, the editor. When Desplat later joined the team to write the music, he praised and defended Anwar's suggestion. Hooper further remarked that the stature of the piece helps elevate the status of the speech to a public event.[32] The score was nominated for several awards, including Best Original Score at the Oscars, Golden Globes, and BAFTAs, winning the latter award. The score also won a Grammy at the 54th Grammys.
753
Visual style
Hooper employed a number of cinematic techniques to evoke the King's feelings of constriction. He and cinematographer Danny Cohen used wider than normal lenses to photograph the film, typically 14mm, 18mm, 21mm, 25mm and 27mm, where the subtle distortion of the picture helps to convey the King's discomfort.[26][33] For instance, the subjective point of view shot during the Empire exhibition speech used a close up of the microphone with a wider lens, similar to the filming technique used for one of the Duke's early consultations with a physician.[13] In The New York Times, Manohla Dargis wrote that the feeling of entrapment inside the King's head was rendered overly literal with what she believed to be a fisheye lens, though in these scenes the wider lenses were used.[26][34] Hooper also discussed using the 18mm lens, one he likes "because it puts human beings in their context".[13] Roger Ebert noted that the majority of the film was shot indoors, where oblong sets, corridors, and small spaces manifest constriction and tightness, in contrast to the usual emphasis on sweep and majesty in historical dramas.[35] Hooper used wide shots to capture the actors' body language, particularly Geoffrey Rush, who Tom Hooper operating a camera on trained at the L'cole Internationale de Thtre Jacques Lecoq in Paris and "is location at Queen Street Mill Textile Museum, Lancashire consequently brilliant in the way he carries his body". Hooper widened his scope first to capture Rush's gestures, then full body movements and silhouettes. The approach carried over to Firth as well. In the first consultation scene, the Duke is squeezed against the end of a long couch framed against a large wall, "as if to use the arm of the sofa as a kind of friend, as a security blanket?".[26] Martin Filler praised the "low-wattage" cinematography of Danny Cohen, as making everything look like it has been "steeped in strong tea".[36] At other times, the camera was positioned very close to the actors to catch the emotion in their faces: "If you put a lens 6 inches from somebody's face, you get more emotion than if you're on a long lens 20 feet away," Cohen said in an interview.[33] Hooper sought a second subtlety while filming the first consultation room scene between the two men, having placed the camera 18inches from Colin Firth's face: "I wanted the nervousness of the first day to percolate into his performances."[26] Historical dramas traditionally tend to use "soft light", but Hooper wanted to use a harsher glare, which gives a more contemporary feel, and thus a greater emotional resonance. To achieve the effect, the lighting team erected huge blackout tents over the Georgian buildings, and used large lights filtered through Egyptian cotton.[33]
Historical accuracy
Cathy Schultz pointed out that the filmmakers not only tightened the chronology of the events to just a few years but even shifted the actual timeline of treatment: the Duke of York actually began work with Logue in October 1926, ten years before the abdication crisis, and the improvement in his speech was apparent in months rather than years, as is suggested by the film.[37] In a 1952 newspaper interview with John Gordon, Logue said that "Resonantly and without stuttering, he opened the Australian Parliament in Canberra in 1927"; this was just seven months after the Duke began to work with Logue.[38] Hugo Vickers, an adviser on the film, agreed that the alteration of historical details to preserve the essence of the dramatic story was sometimes necessary. The high-ranking officials, for instance, would not have been present when the King made his speech, nor would Churchill have been involved at any level, "but the average viewer knows who Churchill is; he doesn't know who Lord Halifax and Lord Hoare are."[39]
754 Robert Logue, a grandson of Lionel, doubted the film's depiction of the speech therapist, stating "I don't think he ever swore in front of the King and he certainly never called him 'Bertie'".[40] Andrew Roberts, an English historian, states that the severity of the King's stammer was exaggerated and the characters of Edward VIII, Wallis Simpson, and George V made more antagonistic than they really were, to increase the dramatic effect.[41]
Christopher Hitchens and Isaac Chotiner challenged the film's portrayal of Winston Churchill's role in the abdication crisis.[42][43] It is well established that Churchill encouraged Edward Mr. Lionel Logue in London, c. 1930, exact date unknown. VIII to resist pressure to abdicate, whereas he is portrayed in the film as strongly supportive of [44] Prince Albert and not opposed to the abdication. Hitchens attributes this treatment to the "cult" surrounding Churchill's legacy. In a smart, well-made film, "would the true story not have been fractionally more interesting for the audience?" he wondered.[45] They also criticised the film for failing to indict the appeasement of the era. While the film never directly mentions the issue, Hitchens and Chotiner argue that it implies that George VI was against appeasement, especially in the final scene portraying "Churchill and the King at Buckingham Palace and a speech of unity and resistance being readied for delivery".[45] Far from distancing himself from Chamberlain's appeasement policy, King George VI despatched a car to meet Neville Chamberlain when he returned from signing the Munich Agreement with Hitler in September 1938. The King and Chamberlain then stood on the balcony of Buckingham Palace, acclaimed by cheering crowds. This led historian Steven Runciman to write that by acting as he did to endorse Chamberlain's foreign policy, King George VI perpetrated "the biggest constitutional blunder that has been made by any sovereign this century."[36] The Guardian corrected the portrayal of Stanley Baldwin as having resigned due to his refusal to order Britain's re-armament, when he in fact stepped down as "a national hero, exhausted by more than a decade at the top".[46] Martin Filler acknowledged that the film legitimately used artistic licence to make valid dramatic points, such as in the probably-imagined scene when George V lectures his son on the importance of broadcasting. Filler cautions that George VI would never have tolerated Logue addressing him casually, nor swearing, and the King almost certainly would have understood a newsreel of Hitler speaking in German. Filler makes the larger point that both the King and his wife were, in reality, lukewarm towards Churchill because of the latter's support for his brother during the abdication crisis. They only warmed to Churchill later in the war, because of his performance as a wartime leader.[36] Commenting on the film's final scene on the balcony of Buckingham Palace, Andrew Roberts has written, "The scene is fairly absurd from a historical point of view Neville Chamberlain and Winston Churchill were not present and there were no cheering crowds outside Buckingham Palace."[41] Overall, Roberts praises the film as a sympathetic portrayal of the King's "quiet, unassuming heroism", and he states: "The portrayals by Firth and Bonham Carter are sympathetic and acute, and the movies occasional factual btises should not detract from that."[41]
755
Release
Cinema release
The film had its world premiere on 6 September 2010 at the Telluride Film Festival in the United States.[25] It was screened at the 2010 Toronto International Film Festival, on Firth's 50th birthday, where it received a standing ovation and won the People's Choice Award.[47] The cinema release poster was re-designed to show an extreme close-up of Firth's jaw and a microphone after Hooper criticised the first design as a "train smash".[48] Tim Appelo called the original, air-brushed effort, which showed the three leads, "shockingly awful" though the new one "really is worthwhile".[49] The film was distributed by Transmission in Australia and by Momentum Pictures in the United Kingdom. The Weinstein Company distributed it in North America, Germany, Benelux, Scandinavia, China, Hong Kong, and Latin America.[50] The film was released in France on 2 February 2011, under the title Le discours d'un roi. It was distributed by Wild Bunch Distribution.[51]
Ratings controversy
The film was initially given a 15 certificate by the British Board of Film Classification, due to scenes where Logue encourages the King to shout profanities to relieve stress. At the London Film Festival, Hooper criticised the decision, questioning how the board could certify the film "15" for bad language but allow films such as Salt (2010) and Casino Royale (2006) to have "12A" ratings, despite their graphic torture scenes. Following Hooper's criticism, the board lowered the rating to "12A", allowing children under 12 years of age to see the film if they are accompanied by an adult.[52][53] Hooper levelled the same criticism at the Motion Picture Association of America, which gave the film an "R" rating, preventing anyone under the age of 17 from seeing the film without an adult.[54] In his review, Roger Ebert criticised the "R" rating, calling it "utterly inexplicable", and wrote, "This is an excellent film for teenagers".[35] In January 2011 Harvey Weinstein, the executive producer and distributor, said he was considering having the film re-edited to remove some profanity, so that it would receive a lower classification and reach a larger audience.[55] Hooper, however, refused to cut the film, though he considered covering the swear words with bleeps. Helena Bonham Carter also defended the film, saying, "[The film] is not violent. It's full of humanity and wit. [It's] for people not with just a speech impediment, but who have got confidence [doubts]."[56] After receiving his Academy Award, Colin Firth noted that he does not support re-editing the film; while he does not condone the use of profanity, he maintains that its use was not offensive in this context. "The scene serves a purpose", Firth states.[57] An alternate version, with some of the profanities muted out, was classified as "PG-13" in the United States; this version was released to cinemas on 1 April 2011, replacing the R-rated one.[58][59] The PG-13 version of this film is not available on DVD and Blu-ray.
Reception
Box office
In the UK and Ireland, the film was the highest earning film on its opening weekend. It took in 3,510,000 from 395 cinemas. The Guardian said that it was one of the biggest takes in recent memory, and compared it to Slumdog Millionaire (2008), which, two years earlier, earned 1.5million less.[60] The King's Speech continued a "stunning three weeks" atop the UK Box office, and earned over 3million for four consecutive weekends, the first film to do so since Toy Story 3 (2010).[61] After five weeks on UK release, it was hailed as the most successful independent British film ever.[3] In the United States The King's Speech opened with $355,450 (220,000) in four cinemas. It holds the record for the highest per-cinema gross of 2010.[62] It was widened to 700 screens on Christmas Day and 1,543 screens on 14
2010 The King's Speech January 2011. It eventually made $138million in North America overall.[4] In Australia The King's Speech made more than AUD$6,281,686 (4million) in the first two weeks, according to figures collected by the Motion Picture Distributors Association of Australia. The executive director of Palace Cinemas, Benjamin Zeccola, said customer feedback on the film was spectacular. "It's our No.1 for all the period, all throughout the country.... I think this is more successful than Slumdog Millionaire and a more uplifting film. It's a good example of a film that started out in the independent cinemas and then spread to the mainstream cinemas."[63] Of the film's net profit, estimated to amount to $3040million (2025million) from the cinema release alone, roughly 20% will be split between Geoffrey Rush (as executive producer), Tom Hooper, and Colin Firth, who receive their bonuses before the other stakeholders. The remaining profit is to be split equally between the producers and the equity investors.[64] The UK Film Council invested 1million of public funds from the United Kingdom lottery into the film. In March 2011 Variety estimated that the return could be between fifteen and twenty times that. The Council's merger into the British Film Institute means that the profits are to be returned to that body.[65]
756
Critical response
As the actor of the year in the film of the year, I can't think of enough adjectives to praise Firth properly. The King's Speech has left me speechless.
[66]
Rex Reed, New York Observer
The King's Speech has received widespread critical acclaim.[67][68] Rotten Tomatoes gives the film a score of 95% based on reviews from 215 American critics; their average rating was calculated as 8.6/10. It summarised the critical consensus as: "Colin Firth gives a masterful performance in The King's Speech, a predictable but stylishly produced and rousing period drama."[69] Metacritic gave the film a weighted score of 88/100, based on 41 critiques, which it ranks as "universal acclaim".[70] Empire gave the film five stars out of five, commenting, "You'll be lost for words."[71] Lisa Kennedy of the Denver Post gave the film full marks for its humane qualities and craftsmanship: "It is an intelligent, winning drama fit for a king and the rest of us", she said.[72] Roger Ebert of the Chicago Sun-Times awarded the film a full four stars, commenting that "what we have here is a superior historical drama and a powerful personal one."[35] Peter Bradshaw of The Guardian gave four stars out of five, stating, "Tom Hooper's richly enjoyable and handsomely produced movie... is a massively confident crowd-pleaser."[73] Manohla Dargis, whilst generally ambivalent towards the film, called the lead performances one of its principal attractions. "With their volume turned up, the appealing, impeccably professional Mr. Firth and Mr. Rush rise to the acting occasion by twinkling and growling as their characters warily circle each other before settling into the therapeutic swing of things and unknowingly preparing for the big speech that partly gives the film its title," she wrote.[34] The Daily Telegraph called Guy Pearce's performance as Edward VIII "formidable ... with glamour, charisma and utter self-absorption".[74] Empire said he played the role well as "a flash harry flinty enough to shed a nation for a wife."[71] The New York Times thought he was able to create "a thorny tangle of complications in only a few abbreviated scenes".[34] Hooper praised the actor in the DVD commentary, saying he "nailed" the 1930s royal accent.[13] Richard Corliss of Time Magazine named Colin Firth's performance one of the Top 10 Movie Performances of 2010.[75] The British Stammering Association welcomed the release of The King's Speech, congratulating the film makers on their "realistic depiction of the frustration and the fear of speaking faced by people who stammer on a daily basis". It said that "Colin Firth's portrayal of the King's stammer in particular strikes us as very authentic and accurate."[76] The Royal College of Speech and Language Therapists welcomed the film, and launched their "Giving Voice" campaign around the time of its commercial release.[77] Allocin, a French cinema website, gave the film an average of four out of five stars, based on a survey of 21 reviews.[78] Le Monde, which characterised the film as the "latest manifestation of British narcissism" and summarised it as "We are ugly and boring, but, By Jove!, we are right!", nevertheless admired the performances of Firth, Rush, and Bonham Carter. It said that, though the film swept British appeasement under the carpet, it was still
2010 The King's Speech enjoyable.[79] Queen Elizabeth II, the reigning monarch of the Commonwealth realms and the daughter of King George VI, was sent two copies of the film before Christmas 2010. The Sun newspaper reported she had watched the film in a private screening at Sandringham House. A palace source described her reaction as being "touched by a moving portrayal of her father".[80] Seidler called the reports "the highest honour" the film could receive.[81]
757

At the 83rd Academy Awards, The King's Speech won the Academy Award for Best Picture, Best Director (Hooper), Best Actor (Firth), and Best Original Screenplay (Seidler). The film had received 12 Oscar nominations, more than any other film. Besides the four categories it won, the film received nominations for Best Cinematography (Danny Cohen) and two for the supporting actors (Bonham Carter and Rush), as well as two for its mise-en-scne: Art Direction and Costumes.[82] At the 64th British Academy Film Awards, it won seven awards, including Best Film, Outstanding British Film, Best Actor for Firth, Best Supporting Actor for Rush, Best Supporting Actress for Bonham Carter, Best Original Screenplay for Seidler, and Best Music for Alexandre Desplat. The film had been nominated for 14 BAFTAs, more than any other film.[83] At the 68th Golden Globe Awards, Firth won for Best Actor. The film won no other Golden Globes, despite earning seven nominations, more than any other film.[84]
Hooper and Firth in January 2011. Each received multiple award nominations for their work.
At the 17th Screen Actors Guild Awards, Firth won the Best Actor award and the entire cast won Best Ensemble, meaning Firth went home with two acting awards in one evening.[85] Hooper won the Directors Guild of America Awards 2010 for Best Director.[86] The film won the Darryl F. Zanuck Award for Best Theatrical Motion Picture at the Producers Guild of America Awards 2010.[87] The King's Speech won the People's Choice Award at the 2010 Toronto International Film Festival,[88] Best British Independent Film at the 2010 British Independent Film Awards,[89] and the 2011 Goya Award for Best European Film from the Academia de las Artes y las Ciencias Cinematogrficas de Espaa (Spanish Academy of Cinematic Art and Science).[90]
References
[1] "The King's Speech rated 12A by the BBFC" (http:/ / www. bbfc. co. uk/ website/ Classified. nsf/ c2fb077ba3f9b33980256b4f002da32c/ 88b85f8648b224c9802577c300464d89?OpenDocument). British Board of Film Classification. . Retrieved 17 September 2011. [2] Smith, N. (28 February 2011). "Oscars 2011: Film Council basks in King's Speech glory" (http:/ / www. bbc. co. uk/ news/ entertainment-arts-12593892). BBC News. Retrieved 28 February 2011. [3] "Never mind the Baftas ... who will get The King's Speech riches?" (http:/ / www. guardian. co. uk/ film/ 2011/ feb/ 11/ baftas-the-kings-speech-riches). The Guardian. Retrieved 28 February 2011. [4] "The King's Speech" (http:/ / www. boxofficemojo. com/ movies/ ?id=kingsspeech. htm). Box Office Mojo. Retrieved 20 May 2011. [5] As of 21 August 2011 all US Dollar-Sterling currency conversions were made using an exchange rate of $1=0.60 [6] Walker, T. (20 January 2011) "Colin Firth was the third choice to play George VI in The King's Speech" (http:/ / www. telegraph. co. uk/ news/ celebritynews/ 8269816/ Colin-Firth-was-the-third-choice-to-play-George-VI-in-The-Kings-Speech. html). The Daily Telegraph. Retrieved 20 August 2011. [7] Seidler, D. (20 December 2010). "How the 'naughty word' cured the King's stutter (and mine)" (http:/ / www. dailymail. co. uk/ femail/ article-1339509/ The-Kings-Speech-How-naughty-word-cured-King-George-VIs-stutter. html). Daily Mail. Retrieved 3 February 2011. [8] Spencer, Adam (21 January 2011). "The King's Speech: From Geoffrey Rush's letterbox to the big screen" (http:/ / www. abc. net. au/ local/ stories/ 2011/ 01/ 21/ 3118092. htm?site=sydney). 702 ABC Sydney. . Retrieved 2 March 2011. [9] Gritten, D. (23 December 2010). "Tom Hooper Interview for the King's Speech" (http:/ / www. telegraph. co. uk/ culture/ film/ filmmakersonfilm/ 8219733/ Tom-Hooper-interview-for-The-Kings-Speech. html). The Daily Telegraph. Retrieved 2 February 2011.

[10] Unwin, G. (3 January 2011). "Crowning Glory: How The King's Speech got made" (http:/ / www. independent. co. uk/ arts-entertainment/ films/ features/ crowning-glory-how-the-kings-speech-got-made-2174520. html). The Independent. Retrieved 2 February 2011. [11] "Finding the real King's Speech" (http:/ / www. bbc. co. uk/ news/ entertainment-arts-12116320). BBC. 4 January 2011. Retrieved 8 January 2011. [12] Addiego, Walter (4 February 2011). "Q&A with 'King's Speech' director Tom Hooper" (http:/ / articles. sfgate. com/ 2011-02-04/ movies/ 27100846_1_bertie-shakespeare-movie). San Francisco Chronicle. . Retrieved 2 September 2011. [13] Thomas Hooper (Director) (9 May 2011) (PAL). The King's Speech. Momentum Pictures Home Ent. ASIN: B0049MP72G. [14] "Awards database The King's Speech" (http:/ / www. ukfilmcouncil. org. uk/ awards?awardid=15651). UK Film Council. . Retrieved 5 February 2011. [15] Bedell, G. (2 January 2011). "The King's Speech: How clever sets create a compelling picture of 1930s London" (http:/ / www. guardian. co. uk/ film/ 2011/ jan/ 02/ the-kings-speech-period-sets) The Observer. Retrieved 2 February 2011. [16] Sparham, Laurie (10 December 2010). "The King's Speech: set report" (http:/ / www. telegraph. co. uk/ culture/ film/ 8194866/ The-Kings-Speech-set-report. html?image=8). The Daily Telegraph (London). . Retrieved 28 May 2011. [17] Staff (25 November 2009). "Cathedral starring again in blockbuster" (http:/ / www. cambridge-news. co. uk/ Home/ Cathedral-starring-again-in-blockbuster-. htm). Cambridge News. . Retrieved 6 December 2009. [18] Staff (4 December 2009). "The King's Speech: Colin Firth and Bonham Carter in Ely" (http:/ / news. bbc. co. uk/ local/ cambridgeshire/ hi/ people_and_places/ arts_and_culture/ newsid_8395000/ 8395196. stm). BBC Cambridgeshire. . Retrieved 6 December 2009. [19] "The Kings Speech film locations" (http:/ / www. movie-locations. com/ movies/ k/ Kings_Speech. html). www.movielocations.com. Retrieved 4 August 2011. [20] Palmer, Martyn (6 February 2011). "The making of a very British smash hit" (http:/ / www. dailymail. co. uk/ home/ moslive/ article-1352957/ The-Kings-Speech-The-making-British-smash-hit. html). Daily Mail. Retrieved 25 March 2011. [21] Huddleston, Tom. "On the set of 'The King's Speech'" (http:/ / www. timeout. com/ film/ features/ show-feature/ 11072/ On_the_set_of-The_King-s_Speech-. html). Time Out. . Retrieved 25 March 2011. [22] "Firth is lost for words as the monarch whose dilemma gripped the country" (http:/ / www. yorkshirepost. co. uk/ news/ features/ firth_is_lost_for_words_as_the_monarch_whose_dilemma_gripped_the_country_1_3030270). Yorkshire Post. (3 January 2011). . Retrieved 30 January 2011. [23] "Dummies line terraces of Elland Road" (http:/ / www. yorkshireeveningpost. co. uk/ news/ latest-news/ central-leeds/ dummies_line_terraces_of_elland_road_1_3017495). Yorkshire Evening Post. (7 January 2011). . Retrieved 30 January 2011. [24] "The King's Speech" (http:/ / www. ukfilmcouncil. org. uk/ article/ 16669/ The-Kings-Speech). UK Film Council. . Retrieved 6 October 2010. [25] Hoyle, Ben (9 September 2010). "Story of the King who was lost for words is an Oscar favourite". The Times: p.23. [26] Appelo, T. (31 January 2011). "The 5 Secrets of Tom Hoopers Kings Speech Success" (http:/ / www. hollywoodreporter. com/ blogs/ race/ 5-secrets-kings-speech-dga-94729). The Hollywood Reporter. Retrieved 9 February 2011. [27] Dunbar, Polly (23 January 2011). "Revealed: The Little Sister Who Taught Colin Firth to Stammer" (http:/ / www. dailymail. co. uk/ tvshowbiz/ article-1349666/ Colin-Firths-sister-taught-stammer-role-The-Kings-Speech. html). The Daily Mail (London). . 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[32] Hooper, Tom (21 January 2011). "The King's Speech director Tom Hooper answers your questions live!" (http:/ / www. guardian. co. uk/ film/ filmblog/ 2011/ jan/ 21/ kings-speech-tom-hooper-live-blog). The Guardian Film blog Retrieved on 6 July 2011 ( archived (http:/ / www. webcitation. org/ 5zyfTfPsn) by WebCite on 6 July 2011). [33] Oppenheimer, Jean (December 2010). "Production Slate: A Future King Finds His Voice". American Cinematographer (American Society of Cinematographers) 91 (12): pp. 1822. [34] Dargis, M. (25 November 2010). "The Kings English, Albeit With Twisted Tongue" (http:/ / movies. nytimes. com/ 2010/ 11/ 26/ movies/ 26king. html). The New York Times. Retrieved 6 February 2011. [35] Ebert, Roger (15 December 2010). "The King's Speech :Review" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20101215/ REVIEWS/ 101219985/ 1023). Rogerebert.suntimes.com. . Retrieved 30 January 2011. [36] Filler, M. (25 January 2011). 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761
Further reading
Bowen, C. (2002). Lionel Logue: Pioneer speech therapist (http://www.speech-language-therapy.com/index. php?option=com_content&view=article&id=53:lionel&catid=11:admin&Itemid=108) Retrieved 1 January 2011. Hitchens, Christopher (21 February 2011). "The King's Speech Revisited" (http://www.slate.com/id/2285695/ ). Slate. A second article by Hitchens discussing the film's interpretation of history, and some rebuttals to Seidler's response. Logue, Mark and Conradi, Peter. (2010) "The Kings Speech: How One Man Saved the British Monarchy", New York: Sterling Publishing Co., (written by Lionel Logue's grandson and a journalist with the Sunday Times), ISBN 978-1-4027-8676-1 Rhodes James, Robert (1998). A spirit undaunted: the political role of George VI (http://books.google.com/ books?id=QunGQgAACAAJ&dq=ISBN0316647659&cd=1). London: Little, Brown and Co. ISBN0-316-64765-9. Retrieved 6 October 2010. St Claire, M, "An Australian Cures Defect in King's Speech", The Australian Women's Weekly, (Saturday, 2 January 1937), p.12. (http://trove.nla.gov.au/ndp/del/article/52254012)
External links
Official website (http://kingsspeech.com) The King's Speech (http://www.imdb.com/title/tt1504320/) at the Internet Movie Database The King's Speech (http://www.allrovi.com/movies/movie/v513559) at AllRovi Flickr set of photographs from filming in Southwark, London (http://www.flickr.com/photos/greenwood100/ sets/72157622887893230/) The King to His Peoples. H.M. King George VI from Buckingham Palace September3rd 1939 (https://www. youtube.com/watch?v=DAhFW_auT20) on YouTube Footage of King George VI stammering in the 1938 speech (http://www.britishpathe.com/record. php?id=50494) from British Path King George VI Addresses the Nation (http://www.bbc.co.uk/archive/ww2outbreak/7918.shtml) at the BBC Archives The King's Speech: George and Lionel's private thoughts The unseen letters and diaries of King George VIs speech therapist, Lionel Logue (http://www.telegraph.co.uk/culture/film/8246432/ The-Kings-Speech-George-and-Lionels-private-thoughts.html)
Article Sources and Contributors
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http://en.wikipedia.org/w/index.php?oldid=505916525 Contributors: 23skidoo, AdamSmithee, AllTalking, Ameliorate!, Andrzejbanas, BD2412, BRG, Before My Ken, Betty Logan, Betty kerner, Beyond My Ken, Bovineboy2008, Bzuk, Cburnett, Chairman S., Chupon, Cptmurdok, Dellhpapple, Dputig07, Dutchy85, Dutzi, ERJANIK, EchetusXe, Emperor1993, Erik, Estrose, Ezzex, FV2WRLD, FeanorStar7, Flami72, George Ho, Gildir, HarringtonSmith, Harro, Headbomb, Hmains, Hut 8.5, Infrogmation, Jar789, JoanneB, Joey80, Kaisersanders, Koyaanis Qatsi, Lockley, Lugnuts, MachoCarioca, Malaysupriti, MarnetteD, Matlefebvre20, Mohammad Aziz, Mr Hall of England, Mr.Vibrato, NHStormie, Nedergard, Nehrams2020, Pigman, Piniricc65, RBBrittain, Reminiscent, RicJac, Rich Farmbrough, Rodrigogomespaixao, Rossrs, Sam Hocevar, Savidan, Skier Dude, Suruena, Swpb, Syd Henderson, Tassedethe, TheMovieBuff, Theshibboleth, Thismightbezach, Tjmayerinsf, UZiBLASTER7, Ummagumma23, Walloon, Western John, Woohookitty, Wool Mintons, Yworo, Zoe, Zosimus Comes, Zzyzx11, 59 anonymous edits 1930 All Quiet on the Western Front Source: http://en.wikipedia.org/w/index.php?oldid=506123912 Contributors: 2602:306:CE40:5B60:A1CD:F8E6:8845:5F10, Abato piscorum, Ackatsis, Adam Dil, Adrian 1001, Ahoerstemeier, Alansohn, AlbertSM, Ameliorate!, Andrzejbanas, Ashley Pomeroy, AtTheAbyss, Before My Ken, Beyond My Ken, Bovineboy2008, Brandon, Calmypal, DanTD, Dano312, Delldot, Dmontin, Dr. Blofeld, Dru of Id, Drunkenpeter99, DwightKingsbury, ERJANIK, EchetusXe, Edlitz36, Ehistory, Eman2129, Engr105th, Erianna, Ernie Scribner, Estrose, Evalowyn, Feydey, Firsfron, Fosbury, Gilliam, Gillray, Goustien, GregorB, Grieferhate, Grim-Gym, Ground Zero, Grundig, GwydionM, HanzoHattori, Headbomb, Henry Merrivale, HerkusMonte, Hiphats, Hmains, Hoverfish, INaNimAtE, Intgr, Irk, Jatkins, JayJasper, Jbarta, Jedi94, Jetjag97, Joefromrandb, Joey80, John Paul Parks, Jordancelticsfan, Jwy, Jzummak, Kamkek, Kbdank71, Keith Paynter, Kingstowngalway, Kitch, Kollision, Koplimek, Krisdahl, Kumioko (renamed), Ldavid1985, LeaveSleaves, LindsayH, Litalex, Londonclanger, Lugnuts, MachoCarioca, Magnet For Knowledge, Mana Excalibur, Matlefebvre20, Matt schaffer, Mentifisto, Michael Dorosh, MichaelQSchmidt, Mr Hall of England, Mr.Vibrato, Mtjaws, Neddyseagoon, Nice poa, NorthernThunder, Orp20, Oxymoron83, Pegship, Pengune, Peppage, Philip Cross, Pibwl, RBBrittain, RJX74, Rdchambers, Redrose64, Revas, Richard Weil, Rlquall, Rmp1978, RobNS, Ryanmalik01, SECProto, Saturday, Schrodinger's cat is alive, Scooter2536, ScottMHoward, Skier Dude, Smetanahue, Sun Creator, Surfeit of palfreys, Surv1v4l1st, Tassedethe, That Guy, From That Show!, The Singing Badger, Thefourdotelipsis, Thismightbezach, Tim1965, Tjmayerinsf, Toddsschneider, Tollini, TonyTheTiger, Tool2Die4, Tracerbullet11, Treybien, Ummagumma23, Vbvan, VolatileChemical, Volker89, Walloon, WalterWalrus3, Ward3001, WikiMax, Wildhartlivie, Wool Mintons, Wstrwald, Yekrats, Yulia Romero, Zakaria5000, Zero1328, ZombieCow, Zone46, Zosimus Comes, Zzyzx11, ^demon, 191 anonymous edits 1931 Cimarron Source: http://en.wikipedia.org/w/index.php?oldid=506408543 Contributors: Aaron Walden, AaronY, AlbertSM, Ameliorate!, Andrzejbanas, Bdj, Bensin, Beyond My Ken, Bobfrapples8, Bovineboy2008, Bte99, Burglekutt, Bzuk, Cfk41, Clarityfiend, Cliff1911, Contributingfactor, Diannaa, Dr. Blofeld, Dutchy85, Dutzi, ERJANIK, EchetusXe, Edward, Erik9, Estrose, Foxgarrett, GenkiDama, George Ho, GiantSnowman, Gildir, Irishguy, JGKlein, Joey80, John of Reading, JustAGal, Kaldari, Lugnuts, MachoCarioca, Malaysupriti, Matlefebvre20, Mr Hall of England, Nedergard, Nice poa, Noirish, Pegship, Phbasketball6, QaBobAllah, RBBrittain, RicJac, ScottMHoward, Ser Amantio di Nicolao, Skier Dude, Snowmanradio, Starcheerspeaksnewslostwars, Surv1v4l1st, Tassedethe, Tedernst, The JPS, TheMovieBuff, Thismightbezach, Tjmayerinsf, UZiBLASTER7, Ulric1313, Ummagumma23, Unyoyega, Vit Chi, Volatile, Wolfling, Wool Mintons, Zzyzx11, , 29 anonymous edits 1932 Grand Hotel Source: http://en.wikipedia.org/w/index.php?oldid=507147723 Contributors: 15lsoucy, 23skidoo, 2812, ACuningham, Ahoerstemeier, Alandeus, AlbertSM, Ameliorate!, Aspects, BD2412, Betty kerner, Bluejay Young, Bovineboy2008, Boyblackuk, CanisRufus, Cburnett, Cgersten, Chupon, Coder Dan, DaleEastman, Davemcarlson, Debresser, Design, Dr. Blofeld, DrJimothyCatface, Dutchy85, Dutzi, ERJANIK, Ebozek, Eclecticology, Emersoni, Erik, Estrose, Farsidehobbes, Felix Folio Secundus, Fourvin, HarringtonSmith, Ionesco, JGKlein, JackofOz, Jimpoz, Joey80, Johngalt2788, Jojhutton, Joseph A. Spadaro, Kmcdm, Kollision, Kp.murphy, Lady Aleena, LiteraryMaven, Lohengrin1991, Lugnuts, Macarrones, Macduff, MachoCarioca, Mandavi, Matlefebvre20, Mbinebri, Mike Rosoft, Mojosbigstick, MovieBuff74, Mr Hall of England, Notmicro, Olivier, Petersent, PhantomS, Polisher of Cobwebs, RBBrittain, Rich Farmbrough, Ron whisky, Rossrs, Ruyn, Savidan, Scotstout, Sesesq, Shantavira, Shotoffashovel, Skier Dude, StellarStand, Sumitgoheritage, Supernumerary, Suruena, Tassedethe, The Evil IP address, Thefourdotelipsis, Thismightbezach, Throwaway85, TomEatsCake, Treybien, UZiBLASTER7, Ummagumma23, Upsmiler, Ure, Vanjagenije, Vit Chi, Wencer, Western John, Wildhartlivie, Wool Mintons, Zzyzx11, 53 anonymous edits 1933 Cavalcade Source: http://en.wikipedia.org/w/index.php?oldid=505916191 Contributors: AdamSmithee, AlbertSM, Ameliorate!, Andrzejbanas, Auric, Beyond My Ken, Bovineboy2008, BrownHairedGirl, Bzuk, CDN99, Clarityfiend, Crotchety Old Man, DESiegel, DanTD, Dncaustin, Dr. Blofeld, Dutchy85, Dutzi, ERJANIK, EchetusXe, EoGuy, Erik, Estrose, Eyeresist, FeanorStar7, Golden User, Haza-w, Hegria66, Ionesco, Joey80, Joseph A. Spadaro, Kildwyke, LilHelpa, LiteraryMaven, Lord Cornwallis, Lugnuts, MachoCarioca, Malaysupriti, Mallanox,
763

Matlefebvre20, MechBrowman, Mgmax, Mr Hall of England, Oakshade, PaulJones, Pegship, Pfa, Phbasketball6, Pjoef, RBBrittain, Rasmusbyg, Redrose64, Rich Farmbrough, Savidan, Ser Amantio di Nicolao, Skier Dude, Sonlui, Supernumerary, Suruena, Surv1v4l1st, Tassedethe, ThatGuamGuy, Thefourdotelipsis, Thismightbezach, Titodutta, TonyTheTiger, Ttenchantr, UZiBLASTER7, Una Smith, Vit Chi, Wilybadger, Wool Mintons, 15 anonymous edits 1934 It Happened One Night Source: http://en.wikipedia.org/w/index.php?oldid=506389712 Contributors: 10qwerty, AN(Ger), Aaa89, Abato piscorum, Acyslz, Adraeus, Aldie, Alecsdaniel, Allysia, Ameliorate!, Andrzejbanas, Arataman 79, Askedoffer, Avy, Barrympls, Before My Ken, Bovineboy2008, Breckinridge, Brutaldeluxe, Bubba hotep, Bzuk, CJMylentz, CR85747, Candylady71, CapitalR, Catamorphism, Cburnett, Clarityfiend, Csonnich, Cst17, CultureDrone, DRAGON BOOSTER, Dale Arnett, Darwinek, DaveGorman, David Gerard, Derek Ross, Discospinster, Dsreyn, Dutzi, DwightKingsbury, ERJANIK, EchetusXe, Eclecticology, Ellesmithfagan, Emoll, Enviroboy, Erik, Erik9, Esn, Ewin, FMAFan1990, FeanorStar7, Fjykbgv, FlashSheridan, Flyguy33, Freshh, Fuhghettaboutit, Gamaliel, Geoffman13, Giganticgerbil, Gilliam, Grand51paul, Grenavitar, Gujuguy, Hbdragon88, Helloclairesse, Icarus of old, Ida Shaw, Ionesco, ItsTheClimb17, JGKlein, JHMM13, Jagged 85, Jahangir23, Jaystyme, Jedi94, Jesie, Jessepeq, Jm307, Jock, Joey80, Johandav, Joseph A. Spadaro, Jzummak, Karin127, Kbdank71, Kikilorain, Kitsunegami, KnightRider, Kollision, Koyaanis Qatsi, Krakatoa, LaurelESH, Ldavid1985, Levin, LrdDimwit, Lynchkenney, M.A.Dicker, M4, MachoCarioca, Mai M Linh, Mallanox, Manuzel, Marcco09, Mark Sublette, Mathew5000, Matlefebvre20, Mboyd71, McGeddon, Michaelcarraher, Mmarsh, Modemac, Monsieurpiggy, Morgan Wright, Moviefan, Mr Hall of England, Mtkennedy11, Muad, Neddyseagoon, NellieBly, Nikkimaria, NorthernThunder, Nrh15, Ntrsastry, Ohrbe, Olivier, Patchyreynolds, PatialaPeg, Pearle, Pegship, Pengkeu, Pfa, Pfw, Phbasketball6, Philip Cross, Piyal Kundu, QaBobAllah, R'n'B, R. fiend, RBBrittain, RandomP, Rasmusbyg, Rebeccamack, Redrose64, RickK, Rossrs, Rubiaannamaria, SammoHunk, Savidan, Savolya, Scanlan, Schnapps17, Schwenkstar, Shantavira, SimonP, Skier Dude, Smilemean, Snowmanradio, Softlavender, Sonicyouth86, Sreifa, Steve, Storyliner, Supertigerman, Tassedethe, Testu, ThatGuamGuy, The Singing Badger, Thismightbezach, Tianimu, Tiller54, Tmwns, Tomsalinsky, TonyTheTiger, Torstein, Treybien, Trimp, UDScott, UZiBLASTER7, Venividiwplwiki, Ventur, Vivin, Vobor, Wedg, Wildhartlivie, Wool Mintons, WurmWoode, Ygr1, Zoggykrieger, Zzyzx11, 193 anonymous edits 1935 Mutiny on the Bounty Source: http://en.wikipedia.org/w/index.php?oldid=505307847 Contributors: Aardvarkzz, Academic Challenger, AdamSmithee, AlbertSM, Altgeld, Ameliorate!, Andrzejbanas, Arpingstone, Augen Zu, Baseball Bugs, Before My Ken, Betty kerner, Bigturtle, Bovineboy2008, Bzuk, CapitalR, Captain Quirk, Clarityfiend, Crisco 1492, DGG, Darev, Deusfaux, Dr. Blofeld, Edward, Erik, Esrever, Estrose, ExRat, Fasterwhatever, Fbv65edel, FeanorStar7, Flynsail, Gloria Porta, Glubnuts, Good Olfactory, Goustien, Gunbirddriver, Gustav von Humpelschmumpel, Gwguffey, Hankwang, Hillock65, Hmains, Ionesco, JFrawley032759, JGKlein, JackalsIII, Jimknut, Jivecat, Jlpspinto, Joey80, JohnPeterAltgeld, Joseph A. Spadaro, Jsinger123, Jsmitherino, Jzummak, Kbdank71, Kent Witham, Kevinalewis, Kp.murphy, Lady Aleena, Ldavid1985, Lisatwo, Lord Cornwallis, Lugnuts, Luke Teh, MachoCarioca, Mallanox, Mana Excalibur, Manuel Trujillo Berges, Matlefebvre20, MichaelBillington, Midgley, Mm40, Motmit, Mr Hall of England, Nymf, Patchyreynolds, Patrick1982, Patton25, Petecarney, Philip Cross, Pinkadelica, RBBrittain, Rbakker99, Redrose64, Remurmur, Roccobam, Rossrs, RoyBoy, Sam Blacketer, Savidan, Savolya, ScottMHoward, Serpent-A, Skier Dude, Skymasterson, Smilemean, Sreejithk2000, Stefanomione, Swimdb, Tabletop, Tassedethe, TheLastAmigo, TheMadBaron, Thefourdotelipsis, Thismightbezach, TonyTheTiger, Tool2Die4, UDScott, UZiBLASTER7, Ustye, Vit Chi, Voyageoftheargo, Warpozio, Western John, WikiKingOfMishawaka, Wool Mintons, Wran, Xfigpower, Y-take, Zzyzx11, 70 anonymous edits 1936 The Great Ziegfeld Source: http://en.wikipedia.org/w/index.php?oldid=502892910 Contributors: After Midnight, AlbertSM, Ameliorate!, Andrzejbanas, Before My Ken, Beyond My Ken, Bobet, Bobnorwal, Bovineboy2008, Carbonix, Cburnett, Chester Markel, Chupon, Clarityfiend, Cst17, Denisarona, Dr. Blofeld, EchetusXe, Eclecticology, Edward, Gareth E Kegg, Greenfield175, Hedgehogfox, Informationfountain, Infrogmation, Ionesco, JGKlein, Joey80, Kerowyn, Koavf, Koyaanis Qatsi, Lots42, Lugnuts, MachoCarioca, Magioladitis, Malaysupriti, Matlefebvre20, Moviefan, Mr Hall of England, Nedergard, Polisher of Cobwebs, RBBrittain, Rade Nagraisalovic, Rossrs, Savidan, Skier Dude, Storyliner, Tassedethe, Thefourdotelipsis, Thismightbezach, Tjmayerinsf, UZiBLASTER7, Varlaam, Vit Chi, Whiskers, Wool Mintons, Yestyest2000, Zoe, Zzyzx11, 47 anonymous edits 1937 The Life of Emile Zola Source: http://en.wikipedia.org/w/index.php?oldid=502804320 Contributors: *drew, AlbertSM, Ameliorate!, Andrzejbanas, AnnaFrance, Bluejay Young, Bovineboy2008, Butseriouslyfolks, Bzuk, Cburnett, Chupon, Clarityfiend, D Monack, DeWaine, Derek Ross, Dr. Blofeld, Eclecticology, Elvenscout742, Erik9, Estrose, Foofbun, Grenavitar, Hmains, IZAK, Ionesco, JForget, JGKlein, Japanese Searobin, Joey80, Khunglongcon, Koyaanis Qatsi, Lugnuts, Magioladitis, Matlefebvre20, MichaelTinkler, Monkeycheetah, Mr Hall of England, NWill, Nedergard, Nehrams2020, Nice poa, Od Mishehu, PacificBoy, Pearle, Pegship, Phbasketball6, Pumpie, RBBrittain, Rich Farmbrough, RjCan, Rossrs, Savidan, Savolya, Shoeofdeath, Skier Dude, Stefanomione, Tarquin, Thefourdotelipsis, Thismightbezach, Timc, Treybien, UZiBLASTER7, Varlaam, Vit Chi, Will Beback, Zrb, Zzyzx11, 19 anonymous edits 1938 You Can't Take It With You Source: http://en.wikipedia.org/w/index.php?oldid=502826482 Contributors: After Midnight, Al3xil, Before My Ken, Bovineboy2008, BrownHairedGirl, Burglekutt, Chickenmonkey, Clarityfiend, Clcx, Delldot, Dutzi, EchetusXe, Emerson7, Epbr123, Fratrep, Hawke666, IJVin, JackofOz, Jersey124, Jg325, Jim10701, Juan Cruz, Lugnuts, Mmarsh, Mr Hall of England, Neddyseagoon, Nedergard, Oknazevad, Pfa, Plasticspork, RBBrittain, RJFJR, RJHall, Redrose64, Robert K S, Rogerd, Ron whisky, TFunk, Tassedethe, Thismightbezach, Tjmayerinsf, TonyTheTiger, Toyokuni3, Treybien, Trivialist, Tstrobaugh, Vit Chi, Yworo, Zrb, Zzyzx11, 27 anonymous edits 1939 Gone with the Wind Source: http://en.wikipedia.org/w/index.php?oldid=505771960 Contributors: 23skidoo, 2D, A Softer Answer, A Thousand Doors, A.wankier, Aaa89, Aardvarkzz, Aasisvinayak, AbsoluteGleek92, Alansohn, AlbertSM, Alecsdaniel, AlexR, Allhailtoyin, Alma Pater, Altenmann, AlwaysUnderTheInfluence, Alyssa kat13, Ameliorate!, Amyhollandfan, AndrewOne, Andrzejbanas, Angel2001, Animum, Ann Stouter, Ansset, Aranherunar, ArglebargleIV, Arjun01, Arthurfung, Artist Walser, Ashershow1, Ashmoo, Atlantarama, Auntof6, B00P, BD2412, Baileypalblue, Before My Ken, Ben Ben, Bencey, Bender235, Berean Hunter, Berenlazarus, Betty Logan, Betty kerner, Bigbadbyte, Bill Wrigley, Bishoprashad, Blake Burba, BlueLotusLK, Bobet, Bogey97, Bongopinky, Bovineboy2008, BrianGriffin-FG, BrownHairedGirl, Bt8257, Bte99, Burbridge92, Bzuk, CAreviewer, Cacique, CanadianLinuxUser, Canihaveacookie, CapitalR, Capt Jim, Casliber, Catgut, Ccacsmss, Celedor15, Cfortunato, Charly0731, Charmed fanatic, Chris the speller, ChrisHamburg, Clarityfiend, Closedmouth, Coder Dan, Cohesion, Coinmanj, Colonies Chris, CommonsDelinker, Cosprings, CowboySpartan, Cranston lamont, Crazymaner2003, Crboyer, Crisco 1492, Crosstimer, Cshay, Cskor, Cst17, Curious Blue, DBigXray, DCEdwards1966, DCGeist, Damiantgordon, Darev, Dark jedi requiem, David Gerard, Ddwyer, Denisarona, Dgw, Diannaa, Dinostan, Discographer, Dizzy127, Djstew, Dmoon1, Dralwik, Dreadstar, Drunkenpeter99, Dume7, Dysepsion, ERJANIK, Easchiff, EchetusXe, EdenCole, Ejosse1, Elen of the Roads, Elipongo, Epbr123, Erik, Escobar@gmail.com, Euchiasmus, Euskaldunaa, Exodite, ExpressingYourself, FMAFan1990, Famguyfan, Favonian, Ferengi, Fierce Beaver, Firstorm, FrancoGG, Franzy89, Freshh, Frmatt, Fufu12121212, FuriousFreddy, Fyrael, GT, Gabrielkat, Gaius Cornelius, Gary King, Gautham5678, Gelernter613, George Ho, Gilliam, Girlwithgreeneyes, Girolamo Savonarola, Gothicfilm, Goustien, Graeme Phillips, Granpuff, Grayfox490777, GrimGrinningGuest, Gurt Posh, GusF, Gwen-chan, Gwernol, HM211980, Hajatvrc, Handicapper, Hankwang, Hardy1956, Harryboyles, Headbomb, Hecgonza, Hede2000, Heegoop, Helios13, Hertz1888, Ianblair23, Ibgte, Icarus of old, ImGz, Incoherent fool, Informationfountain, Invincible Ninja, Ionesco, Isaac Sanolnacov, ItsTheClimb17, Ixfd64, J.delanoy, JGHowes, JGKlein, JHMM13, JMax555, JYi, Jackol, Jameschipmunk, Jar789, Jbgreen, Jeanne boleyn, Jedi94, JeffyP, Jennifer Tisdale, Jimknut, Jmcastano, Joe Schmedley, Joey80, Jogers, John, John Paul Parks, John Thaxter, JonasBrother1, Joseph A. Spadaro, JosephMurillo, JuJube, JustAGal, Jwking, Jwy, Jzummak, Kamoranakrre T. Eyaelitenan, Katana Geldar, Katrinka ohio, Kazkaskazkasako, Kbdank71, Keely morris1, KeelyMorris, Keithw84, Ketamino, Kevin j, Kevinewolf, Khan singh, Khoikhoi, Kintetsubuffalo, Kitch, Kollision, KrakatoaKatie, Kyledeb, LOL, La goutte de pluie, Lacrimosus, Lady Aleena, Lambiam, Laurie528, Lawikitejana, LeaveSleaves, Leszek Jaczuk, Levineps, Lexicon, Lighterside, LilHelpa, LisasSaxisDaBomb, Lmblackjack21, Lobo512, LodeRunner, LolCatEffYou, Looris, Lord Cornwallis, Ltheprodigyh, Lugnuts, Luigibob, Luna Santin, MHarrington, MK8, Macarrones, Magioladitis, Manuel Trujillo Berges, Marauding Monkey, Mark Sheridan, Markhh, MarnetteD, MartinVillafuerte85, Martinvillafuerte85, MathewTownsend, Matlefebvre20, Mattderojas, Matthew Fennell, Mayshake, MegX, Mentisock, Meredy, Mervyn, Midnight man, Mild Bill Hiccup, Mix-pix, Mmann1988, Mondocanerules, Monkbel, Monkeyzpop, Morgan Wick, Morshem, Moviesnoop, Mr Hall of England, Mrjoyhoyful, Mrs Scarlett Butler, Mrsnoops, Mschlock, Musdan77, Mykolas OK, Nadesai, Naphouse, Nat Miller, Ndboy, Ned Scott, Neier, NeoNerd, Newone, Nicole A. Jenkins, NightBear, Nlu, Notmicro, Npaskin, Nyikita, ObsessiveJoBroDisorder, Ogioh, Ohconfucius, OldsVistaCruiser, Oobug, Orbicle, Ozgod, P0mbal, P30Carl, PGWG, PL290, Pablosecca, Parkwells, Paul Magnussen, Paulhogarth, Peter G Werner, Pgtf, Pharillon, Phbasketball6, Philbertgray, Phileadie, PhysicsR, Pigby, Pikne, Pinethicket, Pinkadelica, Pipedreambomb, Pit-yacker, Polisher of Cobwebs, Postdlf, Prai, Prairiegrl, Preslethe, Promking, Purdygb, Qutezuce, Qxz, R'n'B, RA0808, RBBrittain, RCS, RG2, RHodnett, RPlunk2853, RR, Racerx11, Raghus, Rampartpress, Rarmin, Raymondwinn, Recognizance, Redrose64, Rettetast, ReyBrujo, Rfbarrington, Rhopkins8, Rich Farmbrough, Rjwilmsi, Rms125a@hotmail.com, Roccyraccoon, Rodhullandemu, Rodrigogomespaixao, Rossrs, Rozehawk, Rumpsenate, SAULGNRFAN, SUNY Boy, Savolya, ScarlettOHara123, Schuym1, ScottMHoward, Scottrb, Scuevas08, Scwlong, Seattle Skier, Sebastian Goll, Seddon, Semperf, SergeantLuke, Shadowjams, Shawnc, Shshshsh, Shwheeler, Siepe, Simonh123, Skaapgif, Skier Dude, Skizzik, Smash, SoWhy, SoccerD, SpeedRacer2K, SpiderWid, Spritelyalex, Steve Smith, Stevenscollege, Stillstudying, Stormie, Stovelsten, Studerby, Superboy777, Superstooge, Supertigerman, Szumyk, Tabletop, Tassedethe, Tenebrae, Terryxpress, Tertiary7, Th1rt3en, ThatGuamGuy, Thatjeopardygirl, The Singing Badger, The Thing That Should Not Be, TheLastAmigo, TheRealFennShysa, Thefourdotelipsis, Thephotoplayer, Thewarison101, Thuresson, Tide rolls, Tim Long, Timeineurope, Tiptoety, Tjmayerinsf, Tommyt, TonyTheTiger, Top Gunn, Transferred, Tregoweth, Trekphiler, TreyMarsh20, Treybien, Truevalue, Truthiness Jones, Twelveoaks, UZiBLASTER7, Ur bap, Ustye, Valenciano, Vcgtv, Veggiegirl, Vlad, VolatileChemical, Waiting111, Walloon, Wasbeer, Wedg, Wencer, Wertdunk999, WikHead, Wikievil666, Wikiwatcher1, Wildhartlivie, Will Beback, Wknight94, Wonka399, Woohookitty, Wwestarwars, Wysinger, Xgamer424, Yamazon3, Yarnalgo, Yekrats, YellowFives, YingYang2, Ylee, Yonatan, Zoicon5, Zone46, Zzmyers, Zzyzx11, 878 , anonymous edits 1940 Rebecca Source: http://en.wikipedia.org/w/index.php?oldid=507173975 Contributors: 6afraidof7, AFrayMo, Acceber123, Accounting4Taste, Ajshm, AlbertSM, Ameliorate!, Andrzejbanas, ArnoGourdol, Ashton1983, Aspects, B00P, Bahar101, Barticus88, Betacommand, Bibliomaniac15, Bluap, Bobet, Bovineboy2008, BudMann9, Caiaffa, CanisRufus, Caribbean H.Q., Cburnett, Ckatz, Classicfilms, Colonies Chris, Cooksi, Cop 663, Darev, Darrenhusted, David Gerard, Decartsmart, Dmlandfair, Dr. Blofeld, Draggleduck, Dravecky, Dutzi, EamonnPKeane, EchetusXe, Ejegg, Emperor1993, Erik, Erik Kennedy, Estrose, Eugene-elgato, Feydey, FrenchIsAwesome, Fritz Saalfeld, Girolamo Savonarola, Gran2, Granpuff, Greeeeeen, Grstain, Gwen Gale, Hankwang, Headbomb, Holothurion, Ilyanassa, Iridescent, Irishguy, JGKlein, Jahangir23, Jaydec, JoeSmack, Joey80, John J. Bulten, Johnc69, Jonnium, Josh Rumage, JoshuaZ, Jrossman, Jzummak, Kevinalewis, KingTT, Kusma, Labelephant, Lady Aleena, Lalunadiosa, Laurenceoliviervivienligh, Lentower, Levinine, Lord Cornwallis, Lugnuts, Luigibob, Mallanox, Matlefebvre20, Melaen, MovieMadness, Moviefan, Mr Hall of England, Myanw, Nandt1, Neo-Jay, Noirish, NorthernThunder, Orbicle, P.L.A.R., Persiana, Pfa, PhantomS, Phbasketball6, Phe, Pinethicket, RBBrittain, Rachiefoo, RandomTool2, Rbellin, Redrocket, Ribbet32, Rich Farmbrough, Rjwilmsi, Ron whisky, Rossrs, SFTVLGUY2, Sansari13, Savidan, Savolya, Scathlock, SchfiftyThree, Schwenkstar, Seann, Seqsea, Sevenarts, Skier Dude, Smith03, Somercet, Spaceflower, SpeedyGonsales, Student7, Sugar Bear, Sun Creator, Surv1v4l1st, TAnthony, Ta1k3d, Tassedethe, Tchoutka, Telamonides, TheMovieBuff, Thefourdotelipsis, Themfromspace, Thismightbezach, Tinton5, Tjmayerinsf, Tomwhite56, Tool2Die4, Treybien, Tvaughn05, UDScott, Vgranucci, Volatile, Walter Grlitz, Weirdman, Werldwayd, Who, WilliamSommerwerck, Wjhonson, Wmahan, Wool Mintons, Zadcat, Zoicon5, Zzyzx11, 216 anonymous edits
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1941 How Green Was My Valley Source: http://en.wikipedia.org/w/index.php?oldid=502841565 Contributors: AbsoluteGleek92, After Midnight, Alan W, AlbertSM, Ameliorate!, Andycjp, AnmaFinotera, Aqua byte, CWii, Chantessy, Clarityfiend, Crazy Eddy, Cuchullain, Damaavand, DanielPenfield, Denisarona, Dr. Blofeld, Dutzi, Econprof, Estrose, Frecklefoot, Froid, Galoubet, Garik, Garion96, Glimmer1971, Goustien, Huw Powell, JGKlein, Jackie, Japanese Searobin, Jeremy Bolwell, Jeremy Butler, Joey80, Kummi, Lightmouse, Lugnuts, Luigibob, MachoCarioca, Martin de la Iglesia, Matlefebvre20, Mickeyv007, Mr Hall of England, Nelsoncaicedo, Nice poa, Pavium, Pdunne, Phbasketball6, RBBrittain, Redbone360619, Reedmalloy, Ron whisky, Skywalker80100, Snakesilvery, Tassedethe, ThatGuamGuy, Thefourdotelipsis, Thismightbezach, Tiyoringo, Tjmayerinsf, Tony Sidaway, Treybien, UZiBLASTER7, Vikiizer, Vit Chi, Wilybadger, Wjhonson, Wool Mintons, 49 anonymous edits 1942 Mrs. Miniver Source: http://en.wikipedia.org/w/index.php?oldid=502841425 Contributors: Aardvarkzz, Ablebakerus, Ameliorate!, Andrzejbanas, Aqua byte, Bede735, Bovineboy2008, Burglekutt, CPBOOTH, Centpacrr, Crstsk, Dave souza, David Gerard, Db4260, Dilerius, Dr. Blofeld, Drosslib, Dutzi, EchetusXe, Erianna, Estrose, Frietjes, Gaagaagiw, Garion96, Goldfritha, Gozergozarian, Headbomb, Hmains, Iridescent, Jackie, Jimknut, Joey80, K3vin, Kchishol1970, Kummi, Lane, Lord Cornwallis, Lotje, Lugnuts, MarnetteD, Marshall, Matlefebvre20, Mr Hall of England, Ntnon, NuclearWarfare, Orbicle, P0mbal, Pfa, PhantomS, Phbasketball6, Psyklax, Pwhytcross, RBBrittain, Rms125a@hotmail.com, Robert Fraser, Rogerd, Ron whisky, Savolya, Schandelman, Shsilver, ThatGuamGuy, Thismightbezach, Tkreuz, Tool2Die4, Treybien, Varlaam, Vit Chi, William Avery, Wool Mintons, Y-take, Zzyzx11, 62 , anonymous edits 1943 Casablanca Source: http://en.wikipedia.org/w/index.php?oldid=507234321 Contributors: *drew, -Majestic-, .:Ajvol:., 1 Lucky Texan, 2005, 23skidoo, 2T, 334a, 4v4l0n42, 6afraidof7, A Quest For Knowledge, Aaron north, AaronY, Aaronchall, Abato piscorum, Acedian, Adam Keller, Adam keller, Adnghiem501, Adraeus, Aeranis, Agnosticraccoon, Ajbp, Alansohn, AlbertBowes, Alcmaeonid, Allens, Altenmann, Amalas, Ambaryer, Ameliorate!, Andre Engels, AndrewOne, Andrewloveswiki, Andrewlp1991, Andrzejbanas, Andycjp, Anewc2, Animum, Ann O'nyme, Anne McDermott, AnonEMouse, Apittard, Arbero, Ari212, Arite, Arno, Artene50, Asenine, Ashton1983, Aside, AskFranz, Aspects, Astorknlam, Astroviolin, BD2412, Barte, Batman2005, Bbpen, Bebgsurg, Before My Ken, Bender235, BerlinCactus, Betty Logan, Betty kerner, Beyond My Ken, Big Bird, Bignole, Bigoak, Binary TSO, Bluejay Young, Bobblewik, Bobnoir, Bobo92, Bongwarrior, Bovineboy2008, BozMo, Brad101, Brighterorange, Bursting74, Bwilkins, Bylandl, C777, Cacique, Cadwaladr, Caltas, Can't sleep, clown will eat me, Canterbury Tail, Capricorn42, Capt Jim, Cat-five, Catgut, Cbrodersen, Cburnett, Cculhane, ChargersFan, Cherries Jubilee, Chocolateboy, Chris the speller, Cinemaniac, Clarityfiend, Cleared as filed, Clown in black and yellow, Cobaltbluetony, Cobaltcigs, Coelacan, Colfer2, Colin4C, Colonel Cow, Comar4, Cooksey, Cop 663, CowboySpartan, Crackerbelly, Crboyer, Crwr, Cuchullain, Cutler, Cybergoth, CzechOut, DATAC, DHN, DJ Clayworth, DLand, DagErlingSmrgrav, Dane 1981, Daniel J. Leivick, Danny, Darkone, Darkwind, David Gerard, Delivery system, Delldot, Deltabeignet, Demoman87, Denis C., Deor, Der Eberswalder, DerHexer, Descriptive notes, DirectRevelation, Dirk Diggler Jnr, Dismas, Disneyfolly2, Djdaedalus, Djnjwd, DocDRF, DoctorWho42, Dominicbillings, Doniago, Download, Dpbsmith, Dr. Blofeld, DrKeirnan, DrKiernan, DreamGuy, Drmies, Drpixie, Dsmdgold, Dsp13, Dstern54, Dutzi, Dvyost, Dwaipayanc, E-Kartoffel, EMU CPA, EMWu, ESkog, EamonnPKeane, EchetusXe, Eclecticology, Ed Poor, Eeekster, El Chemaniaco, ElTchanggo, Eleanoraquitaine, Ellsworth, Emdx, Entonces 99, Enviroboy, Epicadam, Erik, ErinHowarth, Error, Esrever, Estrose, Eternal Equinox, Eurocopter, Excirial, F McGady, FMAFan1990, Farside, FeanorStar7, Ferengi, Fernando S. Aldado, Fifpasshix, FiggyBee, Figureskatingfan, FilmFemme, Finlay McWalter, Finnegas, Fiziker, Flamurai, Flatterworld, Flexdream, Fluffybun, FlyingToaster, FookUsloots, Footballcao, Fr33kman, Freshh, Fritz Saalfeld, FuriousFreddy, Furrykef, Gabbe, Gadfium, Gaius Cornelius, Gamaliel, Gareth Owen, Garion96, Gaurav1146, Gemini1980, George Ho, Girolamo Savonarola, Go229, GoingBatty, Good Olfactory, Gotgenes, Gpollock, GraemeL, Graham87, Grandpafootsoldier, GregorB, Griffin&Sabine, Grstain, Gtrmp, Gunnar Hendrich, Gunslinger, Gurch, HDS, Hal Raglan, Hamiltonian, Hamster Sandwich, Hans Dunkelberg, Haonhien, Headbomb, Hektor, Helltopay27, Henry Flower, Henry hanging around, Heron, Hipocrite, Hms3001, Hoary, Horz, Howcheng, Humbleradio, Husky, Hydrargyrum, II MusLiM HyBRiD II, IKR1, IamCanadianEh, Ianblair23, Imansola, Infrogmation, InuYoshi, InverseHypercube, Ionesco, Iridescent, J. Fanning, JB82, JDDJS, JGKlein, JYOuyang, JYing, JackofOz, Jahsonic, Jakub Sedlk, Jamdodge, Jaxl, Jay32183, Jbonneau, Jealvey, Jeronimo, Jerzy, Jhsounds, Jhuuskon, Jim1138, Jimknut, Jimmerdoyle, Jkta97, Jmathias1216, Joaquin008, Joey80, John, John K, Jojhutton, Joker Begins, Jon Harald Sby, Jonathan F, Jonathan.s.kt, Jordanmills, JorgeGG, Joseph A. Spadaro, Joshfed6, Jpg, JuJube, Jwissick, Jzummak, K. Lastochka, K1Bond007, KaaRoy, Kbdank71, Keegan, Keerdin, KenJacowitz, Kendrick7, Kernitou, Kingturtle, Kintetsubuffalo, Kirrages, Kitch, Kjbretto3214, Kmhkmh, KneeLess, Koyaanis Qatsi, Kpjas, Kubigula, Kumioko, Kuralyov, Labelephant, Lacrimosus, Laurinavicius, LeadSongDog, LeoDV, Leon7, Leonard G., Levineps, LiDaobing, Lightmouse, Lizzzs, Locaoimh, Logawi, Lohusalu, Loochoohong, Loren.wilton, Lotje, Lowellian, Lugnuts, Luigibob, Luke21, Luna Santin, Lydia in Orange County, M0bi, MHarrington, Magnus Manske, Malleus Fatuorum, Mandarax, Mani1, MarineEric, Mariontwo, Martinwilke1980, Martyn Smith, Martynas Patasius, MaryLou, Massimo Macconi, Matlefebvre20, Matt eickhoff, Matthead, Matthew Fennell, Maury Markowitz, Mav, Max Hyre, Maxamegalon2000, Maxl, Mbakkel2, McGeddon, McSly, Mcshadypl, Me10113, MegX, Mercury McKinnon, Metrocab, Mgiganteus1, Mhardcastle, MicroBio Hawk, Mikeblas, MikeyMouse10, Milolekic, Mindmatrix, Minimac's Clone, Mintleaf, Minutiaman, MisfitToys, MisterHand, Mmounties, Mnementh, Modemac, Moncrief, Montrealais, Moonsez, Mr Hall of England, Mr. Lugosi17, Mrblondnyc, MrsCinnamon, Muddycrutchboy, Muntuwandi, Muppet, Musical Linguist, NE2, NSLE, NawlinWiki, Neddyseagoon, Nehrams2020, Netkinetic, Netoholic, Neutrality, Nev1, Newone, Niteowlneils, No Guru, Noirish, Nono64, Nora nettlerash, NorthernThunder, NuclearWarfare, Nyguide, Old school sega boy, Olof nord, OlofE, Ondewelle, OneWeirdDude, Oneiros, Orbicle, Ortolan88, Ost316, Ostinato, Otto4711, P-Chan, P.s., PJtP, Paddycan, Panagiotis Kountardas, Paris 16, Pat Payne, Paul A, Paul Barlow, Paul Magnussen, Pdunaway, Pearle, Pfa, PhantomS, Phbasketball6, Phenylphree, Philip Cross, Philipp670, Piano non troppo, Pianosnake, Pilotrtc, Pinethicket, Pinktulip, Pitilessbronze, Pjoef, PlasmaDragon, Plasticspork, Plastikspork, Polisher of Cobwebs, Polylerus, Poorpete, Porsche997SBS, Postdlf, Pradiptaray, Prayspot, Preaky, Princess Lirin, Prisant, Professorgupta, Psage, Pteron, P de Chinelo, QuizzicalBee, Quota, Qutezuce, R sirahata, R. fiend, RBBrittain, RJaguar3, Raghus, RalfiParpa, Randomkindaguy, Randyintobritishthings, RashBold, Raskin, Ray Chason, Rbb l181, Redvers, Reskujafs, Resqspc, Reviewking1, ReyBrujo, Reywas92, Rfc1394, Richard Myers, Richard Weil, Richardprins, Richiekim, Rickterp, Rintrah, Rjstern, Rjwilmsi, Rlquall, Robert Fraser, Robomaster, Rocky stallone, Rodrigogomespaixao, Rogerd, Romainhk, Rossrs, RoyBoy, Rray, Rrburke, Rustyspell, Ryanasaurus007, SAULGNRFAN, SCB '92, SS451, Salimi, Sam, SandyGeorgia, Sasquatch, Satanael, Savidan, Savolya, Scapler, Scooter, ScottMHoward, Screamingboy48, Shaka, ShelfSkewed, Shortcoat, Shuffdog, SidP, Signaleer, SilkTork, Simenmyk, Sixteen Left, Sjc, Sjones23, Skarebo, Skier Dude, Skomorokh, Skyjude, Skymasterson, Slgrandson, SlightlyInsane, Slimeknight, Smooth O, SoccerD, Someguy1221, SpencerVR, Spidermine, St.daniel, Stackja1945, Stassats, Stbalbach, Stefanomione, Stephen Gilbert, Steven Walling, Stoichiometry, Str1977, StuartDD, Stundra, Su.iss, Sugar Bear, Sun Creator, Supertigerman, Susanth, Susurrus, Swentworth15, Syzygy, Szyslak, T-dot, TFOWR, Tal Cohen, Tassedethe, Tdwilliker, Ted Wilkes, Th1rt3en, ThatGuamGuy, The Invisible Man, The JPS, The Singing Badger, The Thing That Should Not Be, The wub, TheOldJacobite, Thefourdotelipsis, Thehornet, Thismightbezach, ThomasK, Threecamps, Thu, Timc, Tjansen, Tjmayerinsf, TobyHung1234, Tom Lennox, Tom-, Tombright, Tommyt, Tomwhite56, Tony Sidaway, Tony1, Tranquileye, Trappist the monk, Tregoweth, Treisijs, Trekphiler, Treybien, Tstrobaugh, Ttc817, UDScott, UZiBLASTER7, Ultraviolet scissor flame, Unidyne, Unschool, Usnerd, Utergar, Vanjagenije, Vargasv, Vincent4000, Visor, Vladko, Ward3001, Wedg, WhisperToMe, Whosyourjudas, WikiDon, Wikid77, Wikimega, Woohookitty, Xeworlebi, Xp54321, Ydef, Yoninah, Yworo, Zanimum, Zantakyo, Zero no Kamen, Zoe, Zoidbergmd, Zone46, Zwiczeski, Zzyzx11, , 773 anonymous edits 1944 Going My Way Source: http://en.wikipedia.org/w/index.php?oldid=506067905 Contributors: 23skidoo, AKGhetto, After Midnight, Ahkond, Ameliorate!, American24, Aradek, Azucar, Bede735, Billy Hathorn, Bovineboy2008, Brianolanboatright, Burglekutt, Catamorphism, Cburnett, Clarityfiend, Danny, Ddball, Domingo Portales, Dr. Blofeld, DragonflyDC, Drboisclair, EchetusXe, Eclecticology, Edgars2007, Estrose, ForDorothy, Gamaliel, Gareth E Kegg, Garion96, Grenavitar, Harris7, Huandy618, I Help When I Can, JGKlein, JaGa, Joey80, Joseph A. Spadaro, Kappa, Koyaanis Qatsi, Kummi, Magioladitis, Matlefebvre20, MegX, Michaelcarraher, Mr Hall of England, Mr Snrub, Nico French Bailey, Nikkimaria, Northumbrian, Ospalh, Otto4711, Pastor Richards, Pearle, Phbasketball6, Phil Bridger, Pi zero, Polisher of Cobwebs, ProhibitOnions, RBBrittain, Redrose64, ReyBrujo, Rich Farmbrough, Ricky81682, Ron whisky, Rossrs, Savidan, Schweiwikist, ScottMHoward, Sicamous, Supernumerary, T. Anthony, TSoules, ThatGuamGuy, Thefourdotelipsis, Thepangelinanpost, Thismightbezach, Tnxman307, TonyTheTiger, Tool2Die4, Truthanado, Ustye, Val42, Vit Chi, Weregoose, WikHead, Wool Mintons, Zzyzx11, 55 anonymous edits 1945 The Lost Weekend Source: http://en.wikipedia.org/w/index.php?oldid=506697347 Contributors: Adrian 1001, Alvis, Ameliorate!, Aradek, Askedoffer, BD2412, Bagori, Baseball Bugs, Before My Ken, Bitbitz.xx, Bmclaughlin9, Bobo192, Boozemovies, Bovineboy2008, Burglekutt, Butterboy, Calstanhope, Cburnett, Ceyockey, Convicious, Correogsk, D C McJonathan, D.brodale, David Shay, Decora, Dohhh22, Dr. Blofeld, Drunkenpeter99, Dylar, Easchiff, EchetusXe, Eclecticology, Erik, Eumolpo, FMAFan1990, FredR, Fuhghettaboutit, Garion96, Gcstackmoney, GentlemanGhost, Gilliam, Goatasaur, Graham87, GregorB, Headbomb, Ignignot, Jesster79, Joey80, Jogers, John K, Joseph A. Spadaro, Kaneshirojj, Kerowyn, Kollision, Koyaanis Qatsi, Kummi, Lockley, LoganmlSmiley, Lugnuts, Luigibob, Ma'ame Michu, MachoCarioca, Magioladitis, Mantanmoreland, MartinVillafuerte85, Matlefebvre20, Maxl, McDoobAU93, Mdumas43073, MegX, Mikomaid, Mix-pix, Mr Hall of England, Nandesuka, Nehrams2020, Nehushtan, Nikkimaria, Nobaddude, Noirish, Npd2983, Olivier, Otto4711, Pfa, Phbasketball6, Philip Cross, Placeandtime, Pointy haired fellow, Postdlf, RBBrittain, RedWolf, Reginmund, Rhiltons, Ron whisky, Rosenzweig, SCEhardt, Savidan, Savolya, ScottyBerg, Sdornan, Sergay, ShelfSkewed, Skomorokh, SlamDiego, Sonett72, Str1977, Swimdb, Tassedethe, TastyPoutine, Ted Wilkes, ThatGuamGuy, Thepangelinanpost, Thismightbezach, Tregoweth, Treybien, Tryptofeng, UDScott, Unyoyega, Verdatum, Volatile, Voxparadox, Wmahan, Woohookitty, Wool Mintons, X3210, Yestyest2000, Yossarian, Zoltarpanaflex, Zzyzx11, 60 anonymous edits 1946 The Best Years of Our Lives Source: http://en.wikipedia.org/w/index.php?oldid=505932769 Contributors: 10qwerty, Adraeus, Aericanwizard, Ahoerstemeier, Alexsautographs, Allens, Ameliorate!, AnOrdinaryBoy, AndrewOne, Aradek, Archantos15, Ashdog137, Awien, B00P, Bakkster Man, Barrympls, Bchaosf, Bede735, Before My Ken, Bellhalla, Betty Logan, Billcats, Blake Burba, Bobet, Bovineboy2008, Brutaldeluxe, Bzuk, CapeCanaveral321, Cburnett, Ceyockey, Clarityfiend, Colonies Chris, Cop 663, Crazymaner2003, Critic-at-Arms, Cybertooth85, DHN, DanTD, Danny, Derek R Bullamore, DonHazeltine, Dr. Blofeld, Drkfoxxx, Dyl, Easchiff, EchetusXe, Eclecticology, Einbierbitte, Ekwos, EmersonLowry, Erik9, Fasttimes68, Foofbun, GCW50, Gamaliel, Garion96, GeoWPC, George Ho, Goodvac, Headbomb, Itxia, JGKlein, Jeremy Butler, Jimnyc62, Joey80, John K, Jslasher, Jzummak, Kbdank71, Kerowyn, Koyaanis Qatsi, Kubigula, Kummi, Lairor, Lawikitejana, Lockley, LtNOWIS, Lugnuts, Luigibob, MachoCarioca, Magioladitis, Matlefebvre20, Mav, Maxx151, MegX, Michael Hardy, Monk127, Morven, Mr Hall of England, MrMarmite, Nehrams2020, NickCT, Noirish, NorthernThunder, Ocatecir, Oobopshark, Parkwells, Paterakis, Pearle, Pegship, Pfa, PhantomS, Phbasketball6, Philip Cross, RBBrittain, Rejoicing, Rfc1394, Richrakh, Rikman07, Rjwilmsi, Robertstackarmy, Robtdever, Rodrigogomespaixao, Rogerd, Ron whisky, Rossrs, RoyGoldsmith, Sam, Savidan, ScottMHoward, Sealman, Seneca91, Skier Dude, Slgrandson, Slrubenstein, Snowmanradio, Srich32977, Stephencdickson, Stetsonharry, Supernumerary, ThatGuamGuy, The wub, Thismightbezach, Timc, Timo Honkasalo, Tjmayerinsf, Tollini, Tony Sidaway, Toyota93, Treybien, UZiBLASTER7, Verify67, Vince Navarro, VolatileChemical, Vox melba cylinders, WOSlinker, Wafulz, Wittyname, Wlegro, Wool Mintons, Wukai, Ylee, Zzyzx11, 177 anonymous edits 1947 Gentleman's Agreement Source: http://en.wikipedia.org/w/index.php?oldid=502995795 Contributors: Active Banana, AlbertSM, Alcmaeonid, Ameliorate!, AnonMoos, Aradek, Are You The Cow Of Pain?, Arthena, AubreyEllenShomo, Austinfidel, BD2412, Biggybear, Burglekutt, Bzuk, CapitalR, Cbrown1023, Cburnett, Clarityfiend, Cliff1911, Cooksey, Daniel J. Leivick, Darwinek, DaveGorman, David Gerard, Dr. Blofeld, Dutzi, Easchiff, EchetusXe, Eclecticology, Ed Poor, Edcolins, Fuhghettaboutit, Gejyspa, Goustien, Greg Daniels, HaeB, Hunter2005,
765

Irregulargalaxies, JForget, JnB987, Joey80, John K, Jonathan Stokes, Kbdank71, Kempy2000, Koyaanis Qatsi, KrizSaphr, Lawikitejana, MachoCarioca, Magioladitis, Matlefebvre20, MegX, Mhking, Michael Hardy, Molinari, Moncrief, Mr Hall of England, Neutrality, Nice poa, Niteowlneils, Noirish, Otto4711, PhantomS, Philip Cross, Pjoef, Polisher of Cobwebs, RBBrittain, RJHall, Rfc1394, Rich Farmbrough, Rickterp, Rklawton, Roadrunner, RobNS, Ron whisky, Rossrs, Sam, Savidan, Ser Amantio di Nicolao, Sfan00 IMG, ShelfSkewed, Simonxag, Snowmanradio, Stetsonharry, Steven J. Anderson, Supernumerary, Tassedethe, ThatGuamGuy, Thepangelinanpost, Thismightbezach, Tjmayerinsf, Tkreuz, Tosalmi, Treybien, TutterMouse, UZiBLASTER7, Unclemikejb, Vandermude, Wilybadger, Wool Mintons, Wragge, Zzyzx11, , 58 anonymous edits 1948 Hamlet Source: http://en.wikipedia.org/w/index.php?oldid=504614471 Contributors: Ajshm, AlbertSM, Ameliorate!, Andrzejbanas, Aquila89, Arxiloxos, Bahar101, Before My Ken, Beyond My Ken, Bobo55, BomBom, Bovineboy2008, Bzuk, Catamorphism, Cburnett, Clarityfiend, Coldness, Colonies Chris, Cop 663, Coughinink, Danceswithzerglings, Danilo Andres Ramirez, Dar-Ape, David Gerard, Delldot, Doctor Sunshine, Dutchy85, ERJANIK, EchetusXe, Einbierbitte, Estrose, Felix Folio Secundus, Fpastor, Funandtrvl, Girolamo Savonarola, Goustien, Granpuff, Gtrmp, GusF, Hektor, IceDrake523, J matula, JGKlein, JavaMan, Jay-W, Jihg, Joey80, Jogers, Johnbod, Joseph A. Spadaro, Judesba, JustAGal, Kummi, Kuralyov, Kylu, LeaveSleaves, Lugnuts, Lupin, Magichands, Magicpoo, Magioladitis, MarnetteD, Matlefebvre20, Mboverload, Meta faye, Mr Hall of England, Neelix, Nice poa, Nick Number, October1990, Orbicle, P0mbal, Paulinho28, Phbasketball6, Plasticspork, Porsche997SBS, R. fiend, RBBrittain, Ron whisky, SalusMelodicus, Savidan, SilkTork, Silverhorse, Sky Captain, Snowmanradio, Sreejithk2000, Staka, SteveCrook, Tarsie, Tassedethe, Telamonides, The Drama Llama, TheMadBaron, Thefourdotelipsis, Thismightbezach, Tibetan Prayer, Tim!, Treybien, Troy Zehnder, Ttc817, UZiBLASTER7, Welsh, Whouk, Wikipelli, Wrad, Ye Olde Luke, Yinzland, Yono, ZeroJanvier, Zoe, Zzyzx11, 77 anonymous edits 1949 All the King's Men Source: http://en.wikipedia.org/w/index.php?oldid=502995982 Contributors: After Midnight, Aibdescalzo, AlbertSM, Altes, Ameliorate!, AnmaFinotera, Aradek, Azucar, Before My Ken, Best O Fortuna, Bovineboy2008, Burglekutt, Cbrown1023, Clarityfiend, Dr. Blofeld, Dutchy85, Easchiff, EchetusXe, Estrose, Exactpilot, Ezzex, Grandpallama, Grenavitar, Gkhan, Hayford Peirce, Headbomb, Hoverfish, Hu12, JCDenton2052, JDspeeder1, JGKlein, Jauerback, Joey80, Joseph A. Spadaro, Kookidz, KrakatoaKatie, Kummi, Kuralyov, Leoni2, LilHelpa, Logologist, Lou Sander, Lugnuts, MachoCarioca, Matlefebvre20, McNoddy, MisfitToys, Mr Hall of England, Nice poa, Otto4711, Peanutcactus, Pfa, Qutezuce, RBBrittain, RicJac, Rich Farmbrough, Sacco, Savolya, ScottMHoward, Sfan00 IMG, ShelfSkewed, Skywalker80100, Stefanomione, Stephencdickson, Swimdb, Thefourdotelipsis, Thepangelinanpost, Treybien, TwoWings, UZiBLASTER7, Vit Chi, Wildhartlivie, Wool Mintons, Xn4, Zzyzx11, 26 anonymous edits 1950 All About Eve Source: http://en.wikipedia.org/w/index.php?oldid=507147219 Contributors: *drew, 10qwerty, 1962monroe, ABlockedUser, Adraeus, After Midnight, Ahkond, AlbertSM, Ameliorate!, Andycjp, Angel2001, Angr, Anna Lincoln, Are You The Cow Of Pain?, Armbrust, Ask123, AskFranz, Atomequal, Azucar, B00P, BD2412, BONKEROO, Bahar101, Baird, Barrympls, Before My Ken, Belovedfreak, Beyond My Ken, Billy Hathorn, Blake Burba, Bobet, Bovineboy2008, Briaboru, Bryan Derksen, Burglekutt, Butwhatdoiknow, CanisRufus, Carole.appel, Cburnett, Clarityfiend, Cop 663, CowboySpartan, Cst17, D-Rock, Daisykc, Dariahna, David Gerard, Davidatwikip, Delldot, Devotchka, Dewey Finn, Diogenes00, Djbaniel, Doctor yellow, Dpv, Dread Pirate Wesley, Drunkenpeter99, Dutchy85, ERJANIK, EVula, Easchiff, Eclecticology, Empoor, Erik, Erik9, Films addicted, Format, Frecklefoot, Fuhghettaboutit, GabrielInocencio, Gamaliel, Gassers2, Goustien, Guest9999, GusF, Hannahcrazy, Hmains, Hu12, Hgsippe Cormier, IPenguin, Inglis, J.delanoy, JackofOz, Jclemens, Jdtoth, Jeandr du Toit, Jigordon, Jimnyc62, Joantennal, Joey80, John K, Josh Rumage, Jzummak, K1Bond007, Kbdank71, Kbthompson, Kernitou, Kingoftonga86, Kinkyturnip, Kiteinthewind, Koyaanis Qatsi, Kuralyov, Lachatdelarue, LilHelpa, Lilwik, Lotje, Lots42, Ludivine, Lugnuts, Magioladitis, Magister Mathematicae, Maikel, ManymerrymenmakingmuchmoneyinthemonthofMay, Marek69, Markt3, Marysunshine, Massimo Macconi, Matlefebvre20, Max, MegX, Merkin4pres64, Mhrogers, Miami33139, Michael Snow, Mike hayes, Moncrief, MovieBuff74, Mr Hall of England, Mrblondnyc, Msgj, Mwelch, Neelix, Nick123, Norm mit, NorthernThunder, OS2Warp, Olivier, OlofE, Orbicle, Oswegan83, Otto4711, OwenBlacker, PaigeAFI, Pamalouie, Pearle, Pegship, Pfa, PhantomS, Phbasketball6, Plasticspork, Pocketearwig, Pointy haired fellow, Porsche997SBS, Pottermore7, RBBrittain, RFoglio, RHodnett, RPGLand2000, Remurmur, Rfc1394, Rich Farmbrough, Rick Block, Rjwilmsi, RobPursley, Rodrigogomespaixao, Rontrigger, Rossrs, Samuwt, Savidan, Seansinc, Shervinafshar, Shirtwaist, SilkTork, Silverfish, Silvermapleleaf, Slingbat, Softlavender, Sonicyouth86, Sophus Bie, Spark Plug, Sreejithk2000, Stefanomione, StephenCrane1926, Still, Ted Wilkes, Testu, Tevildo, The Anome, The Obento Musubi, The Singing Badger, The wub, Thepangelinanpost, Thismightbezach, Thomascochrane, Tjmayerinsf, Tovojolo, Treybien, UZiBLASTER7, Ulric1313, Unclemikejb, Utergar, Violetriga, Volatile, Voodoo4936, Wafry, Wafulz, WhisperToMe, Wildhartlivie, Will Beback Auto, Willki08, Xevior, Zephyrnthesky, Zoe, Zzyzx11, 287 anonymous edits 1951 An American in Paris Source: http://en.wikipedia.org/w/index.php?oldid=503288535 Contributors: 456wert, Ahoerstemeier, Ameliorate!, Anomalocaris, Arataman 79, Atomuran, Atrian, BD2412, BRG, Before My Ken, Bollyjeff, Bovineboy2008, Burglekutt, Cburnett, Chochopk, Clarityfiend, Cmdrjameson, Coyau, David.Gaya, Delldot, Dono, Dr. Blofeld, Dutchy85, Dutzi, DyadTriad, EchetusXe, Erick3814, Esradekan, Ezzex, Flami72, FordPrefect42, Fourvin, Gareth E Kegg, Gdje je nestala dua svijeta, Girlwithgreeneyes, Givememoney17, Goustien, Gregory Shantz, Headbomb, Hit me Daddy, eight to the bar, Hu12, Ilyaunfois, Itxia, JackalsIII, Jimknut, Jimmyflowers, Joey80, Julianster, Jzummak, Kazubon, Kbdank71, Kimmymarie24, Kintetsubuffalo, Kitsunegami, Kummi, LBM, Ldavid1985, Levineps, Lots42, Lugnuts, MachoCarioca, Magicpiano, Magnakai6, Marieblasdell, MarnetteD, Matlefebvre20, Maymay, Misza13, MonkeeJuice, Mr Hall of England, NWill, NatureBoyMD, Notmicro, PaigeAFI, Phbasketball6, Philip Cross, Picapica, Poorpete, RHodnett, Reywas92, Robertgreer, Roger Arguile, Savidan, Schnapps17, Shuffdog, SilkTork, SpNeo, TantrumTess, Tassedethe, Ted Wilkes, Thefourdotelipsis, Thepangelinanpost, Thomasbc1, Tjmayerinsf, Tollini, Trappist the monk, Tresiden, UDScott, UZiBLASTER7, Ultraviolet scissor flame, Ustye, Valermos, Vit Chi, Whyaduck, Wildroot, Woohookitty, Wool Mintons, Zrb, Zzyzx11, 64 anonymous edits 1952 The Greatest Show on Earth Source: http://en.wikipedia.org/w/index.php?oldid=503318311 Contributors: Adraeus, AlbertSM, Ameliorate!, Apollo-kun, AyaK, Bantosh, Benc, Big Bad Baby, Billy Hathorn, Bobet, Bomkia, Bovineboy2008, Branddobbe, Brian Huffman, Brian0918, Brion VIBBER, Burglekutt, Cburnett, Ceyockey, Cfk41, Clarityfiend, Cliff1911, Desertsky85450, Dieseldrinker, Dolfrog, Dr. Blofeld, Dutchy85, Easchiff, EchetusXe, Eclecticology, Econrad, Fabrictramp, Flonto, Froid, Grm wnr, Gurch, Hydrargyrum, Irishguy, Irrawaddy, JGKlein, JaneSprat, Jaydeebee1, Jbl1975, Joedeshon, Joey80, JonathanDP81, Jonmon, Jzummak, Koavf, Leoni2, Lightmouse, Llowe2008, Lockley, Lugnuts, MER-C, MachoCarioca, Madchester, Made of people, Magioladitis, Magnakai6, Maokart444, Marktreut, Matlefebvre20, MeltBanana, Miami33139, Mikomaid, MisfitToys, Modemac, Mr Hall of England, NawlinWiki, Noirish, NoseNuggets, Notmicro, Orbicle, OrgelnOrgelnOrgeln, Otto4711, Pethan, Polisher of Cobwebs, Porsche997SBS, Pugno di dollari, Quxeot, RBBrittain, RHodnett, RedWolf, Redrose64, Rlquall, RobyWayne, Rosemaryamey, Roy Jaruk, Salamurai, Sallyrob, Savidan, Selbymayfair, Shaliya waya, Shilonite, Simoes, SnowFire, Stbalbach, Swimdb, TUF-KAT, The Man in Question, TheLastAmigo, Thepangelinanpost, Timo Honkasalo, Tjmayerinsf, TonyTheTiger, Tool2Die4, Tregoweth, Treybien, Upsmiler, Voretus, We hope, YUL89YYZ, Yas, Yorkshiresky, Zro, Zzyzx11, , 77 anonymous edits 1953 From Here to Eternity Source: http://en.wikipedia.org/w/index.php?oldid=503317470 Contributors: Abelson, AdamSmithee, Airproofing, Alan Canon, Alansohn, AlbertSM, Alkivar, Allyn211, Ameliorate!, Andrzejbanas, Animeronin, Arapaima, Atharshiraz, Atlant, Avermillion, BD2412, BRG, Baird, Before My Ken, Billy Hathorn, Bovineboy2008, Buckboard, Burglekutt, Bzuk, Cassandro, Cburnett, Chcknwnm, Clarityfiend, Coder Dan, Crotchety Old Man, Cryptonymius, Cst17, Cubs Fan, DanMS, Denimadept, Domingo Portales, Drewcifer3000, Dutchy85, EchetusXe, Eclecticology, Ed Poor, Edward, Everyking, Fireworks, Foofbun, Frecklefoot, Fru1tbat, Fuhghettaboutit, FvdP, Gamaliel, GaryJGolden, Hokeman, ILikeMyName, Isis, J Milburn, JGKlein, Jaldridge86, Jeffkarlin, Joey80, John K, Johnny Weissmuller, Judgesurreal777, Julia Rossi, Jzummak, K1Bond007, KConWiki, Karin127, Kbdank71, Kelisi, Knyazhna, Koyaanis Qatsi, Krylonblue83, LGagnon, Ldavid1985, Ledfloyd13, Litalex, Lockley, LordWeller, Lugnuts, Luigibob, MachoCarioca, Magioladitis, Mallanox, Marcus Brute, MarnetteD, Matlefebvre20, Mav, Meisam, Mikepsean, Monkeyzpop, Mr Hall of England, Mwvandersteen, NPrice, Noirish, OldakQuill, Olivier, Otto4711, Pearle, Pegship, Penbat, Phbasketball6, PhilGaskill, Pjoef, Polisher of Cobwebs, Prodigenous Zee, Professor2789, Puuropyssy, Rabbabodrool, Rcbutcher, Repku, Rich Farmbrough, Rodrigo braz, Rossrs, Sangild, Savidan, Savolya, Schnapps17, Scieberking, ScottMHoward, SimonP, Skymasterson, Spamguy, Stamcose, SteveO1951, Sun Creator, Sus scrofa, Takima, Tallblonde311, Tenebrae, Tesseran, ThatGuamGuy, The Cake is a Lie, Thepangelinanpost, Timc, Tough Little Ship, Tovojolo, Treybien, UZiBLASTER7, Ukas, Ultrasolvent, Upsmiler, Ustye, Viajero, Vit Chi, Wasted Time R, Wegesrand, WilliamWQuick, Williamnilly, Woohookitty, Ziggurat, Zoltarpanaflex, Zondor, Zzyzx11, , 144 anonymous edits 1954 On the Waterfront Source: http://en.wikipedia.org/w/index.php?oldid=507155860 Contributors: 10qwerty, 32X, ACA, AEMoreira042281, Aaron Brenneman, Adambondy, Alexis 23456789, Ameliorate!, Amitvpai, Anthem2008, Arthur Holland, ArthurDuhurst, Athene cunicularia, Azucar, BD2412, Bagatelle, Bantosh, BanyanTree, Bdesham, Before My Ken, Belovedfreak, Betty Logan, Beyond My Ken, Bluerules, Bobbymoo159, Brain Rodeo, Brokenn, Burglekutt, Cbastian, Cburnett, Cenga, Cglassey, Chill Pill Bill, Chris Bainbridge, Cognita, Coltenstokes, Cometstyles, CommonsDelinker, Compscifiend, Cop 663, Cuchullain, DCNanney, Damianjoseph, Danny, Darev, David Gerard, Dbenbenn, Deceglie, Delldot, DesdinovaUK, Dismas, Djflem, Djkimmons, DoubleBlue, Dpwkbw, Dreadstar, Dronkers, Drunkenpeter99, Dutchy85, Dutzi, ERJANIK, EamonnPKeane, Eandradams, EchetusXe, Eclecticology, Editor at work, EmersonLowry, Epbr123, Erik, Esc861, Fictionscribe, Flamurai, Fodient, Franz-kafka, Froid, Frut, Fuhghettaboutit, GCord52, Gamaliel, Ganjadude420, Gideonbernstein, Girolamo Savonarola, Gogobera, GorgeCustersSabre, Gustav von Humpelschmumpel, H.F. Burdow, Hawyih, Heitbwp, Hephaestos, Hmmmmm382, Husond, IG-2000, It Is Me Here, JHunterJ, Jahangir23, JamesMLane, Jason One, JayHenry, Jellybaby 344, Jimknut, Jkbrat, Joey80, Jogers, John K, Johngalt2788, Jon Ascton, Jzummak, KCJesuit, KF, KPalicz, Kamkek, Kbdank71, Kolobochek, Kookyunii, Koyaanis Qatsi, Lacrimosus, Laurinavicius, Legrande111, Lence, Lugnuts, MK2, Mactabbed, Magioladitis, Man of wealth and taste, Man vyi, Mantanmoreland, Masoninman, Matlefebvre20, Melchoir, Middlenamefrank, MinuteHand, Morven, Motownlegend, Mr Hall of England, N-HH, Nandt1, Nattfodd, Nick Number, NorthernThunder, Ohconfucius, Ohnoitsjamie, Olivier, Otto4711, Pearle, Phbasketball6, Philmoorehosenozel, Pigman, Plasticspork, Pseudomonas, Quadell, Reflex Reaction, Reginald Perrin, Remni40, Rich Farmbrough, Richbank, Rjwilmsi, Rlquall, Robneyer, Rossami, Rsholmes, Sam Hocevar, Savidan, Savolya, Schissel, Scieberking, ScottMHoward, Secundus Zephyrus, Shebanow, SimonP, Sj, Slgrandson, Sobreira, Soetermans, Spellcast, Spiel, SquidSK, Stefanomione, Stetsonharry, Stevertigo, Str1977, StuHarris, Ted Wilkes, The Ink Daddy!, The wub, TheOldJacobite, Thepangelinanpost, Thismightbezach, Thorncrag, Thu, Tim1965, Timc, Tlesher, Tommy2010, Tool2Die4, Tpbradbury, Treybien, Ulric1313, Vizcarra, Vorenus, Waggers, Ward3001, Wayne Slam, Who, WickerGuy, Wikiwatcher1, Wool Mintons, Yekrats, Zidane tribal, Zondor, Zzyzx11, 275 anonymous edits 1955 Marty Source: http://en.wikipedia.org/w/index.php?oldid=503264094 Contributors: Aitias, Ameliorate!, Android Mouse, Andrzejbanas, Angel caboodle, Apparition11, Aristophanes68, ArmandPits, Bantosh, Bobet, Bovineboy2008, Brendan Moody, Bwood1957, Bzuk, CAreviewer, CORNELIUSSEON, CambridgeBayWeather, Camw, Cantus, Cburnett, Chancejones, CheshireKatz, Chicedy, Chrisvandemore, Click23, Cognita, Colonies Chris, Cop 663, DanTD, Danny, Dismas, Dogah, Donmike10, Dr. Blofeld, Dr.K., Drmies, Dutzi, EchetusXe, Eclecticology, Eeyore tim, Eleuther, Emccat, Estrose, Ezzex, Figaro, Gamaliel, George Ho, Gracenotes, HarringtonSmith, Hrish.thota, Iluvcapra, Informationfountain, Inteloutside2, Istvan, Iwouldyeah, J.delanoy, JGKlein, Japanese Searobin, Jchristensen1156, Jeffw57, JoanneB, Joey80, Joseph A. Spadaro, Juliancolton, KGasso, KJS77, Kbdank71, Kerowyn, Kidlittle, Kollision, Koyaanis Qatsi, KyraVixen, Law, Lihaas, Lugnuts, Luigibob, MachoCarioca, Magioladitis, Malpractice, Mandarax, Matlefebvre20, McGeddon, MegX, Middayexpress, Ministerpumpkin, MisfitToys,
766

Monkeycheetah, Mr Hall of England, Mushroom, Nehrams2020, Nice poa, Nixn, Olivier, Patzer42, Pearle, Pepso2, Phbasketball6, Playtime, Pointy haired fellow, Porsche997SBS, Postdlf, PrettyKitty3000, QuizzicalBee, RBBrittain, Rhobite, Rich Farmbrough, Rossrs, S@lo, Samuri430, Savidan, Scanlan, ScottMHoward, Spellcast, Stephen pomes, Steven Zhang, Surfeit of palfreys, Sycthos, Tanvir Ahmmed, Taylorr 2006, Tchronopoulos, Ted Wilkes, ThatGuamGuy, The Thing That Should Not Be, Thefourdotelipsis, Tim!, Timc, Tjmayerinsf, Tommy2010, Tovojolo, Treybien, UZiBLASTER7, Uucp, Vit Chi, Wasted Time R, WhisperToMe, Wikiklrsc, Woohookitty, WookieInHeat, Xoxoskate1, Zachary, Zzyzx11, 185 anonymous edits 1956 Around the World in 80 Days Source: http://en.wikipedia.org/w/index.php?oldid=506870482 Contributors: AlbertSM, Aldo samulo, Ameliorate!, Andrwsc, Andrzejbanas, Arcarius, Arthur Welle, Atomjack100, Auntof6, Azucar, Barrympls, Bovineboy2008, BudMann9, Burglekutt, Bzuk, CanisRufus, Captain Biggles, Cayla, Cburnett, CharlieEchoTango, Chris the speller, ChrisGualtieri, Chvsanchez, Clarityfiend, Cliff1911, Cypherpunk, Darev, Donmike10, Donthedon8675, Dougie monty, Dravecky, Dromioofephesus, DutchDevil, Dutzi, EchetusXe, Edlitz36, Edward, Erality, Error, Ferrie, Fistful of Questions, Fourthords, Frecklefoot, GS3, Garion96, General Rommel, Girolamo Savonarola, Goustien, Grosscha, Gurubrahma, Hiphats, Hoof Hearted, Hu, Husond, Igodard, Iohannes Animosus, Itxia, JGKlein, JLGD, JaGa, Jackehammond, JackofOz, JaneSprat, Jason Palpatine, Jaufrec, Jdtcjr, Jimknut, Jimnyc62, Joey80, Joseph A. Spadaro, JustAGal, Jzummak, Karin127, Kieranthompson, LOL, Lady Aleena, Laurinavicius, Lee M, Liftarn, Lockley, Lugnuts, Lususromulus, M2mallory, MachoCarioca, Metaeditor, Mikomaid, Mild Bill Hiccup, Misza13, Mr Hall of England, MrMarmite, Nandt1, NawlinWiki, Neelix, Noirish, Notmicro, OldsVistaCruiser, Orbicle, Paul A, Pegship, Pfa, Phbasketball6, Polisher of Cobwebs, Porsche997SBS, Princess Lirin, RBBrittain, Reedmalloy, Rich Farmbrough, Rockero, Rodrigogomespaixao, Sallyrob, Sarrazip, Savidan, Schweiwikist, Ser Amantio di Nicolao, ShelfSkewed, SilkTork, Slrubenstein, Smilemean, Solid Reign, Stevouk, Storyliner, StovePicture, TFNorman, TFunk, Tavilis, TheLastAmigo, TheMadBaron, TheMovieBuff, Thefourdotelipsis, Thismightbezach, Towpilot, Ttwaring, UZiBLASTER7, Unara, Vanjagenije, VolatileChemical, Von Tamm, WFinch, Wafulz, Wahkeenah, Waynesewell, Wehwalt, Whistopathe, Wool Mintons, Yopienso, Youtheen, Zuko Halliwell, Zzyzx11, , 130 anonymous edits 1957 The Bridge on the River Kwai Source: http://en.wikipedia.org/w/index.php?oldid=505627338 Contributors: 29.227, 2T, A. Carty, A.T.S. in Texas, Abtinb, Adambondy, Ahoerstemeier, Akldawgs, AlbertSM, Alcofribas Nasier, Alexander336, AllenbysEyes, Ameanv, Ameliorate!, Andrzejbanas, Andy5421, Andycjp, Angela, Aquillion, Archibald Heatherington Nastiface, AskFranz, Asmaybe, Athryn, AxelBoldt, Axem Titanium, Barbi6, Bcymn191, Beckus, Before My Ken, Betty Logan, BillFlis, Bkmays, Bovineboy2008, Btwied, Burglekutt, Byelf2007, Bzuk, C2equalA2plusB2, Capt Jim, Carlalangston, Catherineyronwode, Cburnett, Chowbok, Chris 42, Chris the speller, Cinemaretro, Clarityfiend, Coder Dan, Colonies Chris, Comrade snowball, Cop 663, Craigy144, Crotchety Old Man, Cubs Fan, DMCer, DWShaw, DagosNavy, Daisyabigael, DanielQDC, Darklock, David Gerard, Dekthep, Denimadept, DiogenesNY, DocWatson42, Doctofunk, Donfbreed, Donreed, Dr. Blofeld, Dudesleeper, Duggy 1138, E2eamon, ERJANIK, EagleOne, Eclecticology, Edward, Eekerz, Ehistory, Ekki01, Ellsworth, Elvenscout742, Emcardi, EoGuy, Eric Colvin, Erkomai, Erri4a, Erwfaethlon, Eskovan, Estrose, FalloutFan15, Felixboy, Feureau, Fistful of Questions, Floating Boat, Flying tiger, Frankfilardo, Frecklefoot, GShton, Gaius Cornelius, Gamaliel, Garion96, Geodyde, Gerbrant, Gevorg89, Gilliam, Girlwithgreeneyes, Girolamo Savonarola, Globbet, GoodDay, Goustien, Granpuff, Grant65, Great Scott, Greggreggreg, HamadaFanFFSM, HarringtonSmith, Harry the Dirty Dog, HarveyHenkelmann, Hayford Peirce, Heron, Hintha, Hitenshantia924, HortyTB, Hugo999, IainB, Intellectual snob, Ipazaryna, Itxia, Iwiwiwiwiwiw, JBK405, JGKlein, JRawle, JSquish, JackHearne, JackofOz, Jamie C, Japanese Searobin, Jar789, Jay-W, Jeffreymcmanus, Jellyman, Jerzy, Jezzabr, Jihg, Jimnyc62, Jivecat, Jmcc150, Joey80, Johncmullen1960, Johnmc, Jooler, Jordancelticsfan, Jpbowen, Jvhertum, Jwbacin, Jwheare, Jzummak, Karthickbala, Karthikndr, Kbdank71, Keilana, Kelisi, Kevinalewis, Khoikhoi, Khunglongcon, King nothing, Kingstowngalway, Kintetsubuffalo, Kollision, Konczewski, Koyaanis Qatsi, Kummi, LGagnon, Lanka07, Leandrod, Lee M, Les woodland, Leszek Jaczuk, Liftarn, Lincspoacher, LinkToddMcLovinMontana, Logan, Lugnuts, MBK004, MachoCarioca, Magioladitis, MakeChooChooGoNow, Mallanox, Manuel Trujillo Berges, Marciogualtieri, Mark Grant, Markpeak, Marktreut, MarnetteD, Materialscientist, Matthew Dillenburg, Mehranwahid, Metlman13, Miaow Miaow, Michael Hardy, MichaelJanich, Mike18xx, MinghamSmith, Modal Jig, Mr Hall of England, Mr. Billion, MrBananaGrabber, Mule Man, Muntuwandi, Mydreamistofly, Mzajac, NLB, Naaman Brown, NapoliRoma, Nareek, NawlinWiki, Nehrams2020, Neutrality, Nkocharh, Nnemo, Nneonneo, Nohomers48, Noirish, NortyNort, Notmicro, OldakQuill, Olivier, Optikos, Orbicle, Ortolan88, Otto4711, PBP, Patrick, Paul 012, Paulburnett, Pearle, Pegship, Penguin, Phbasketball6, Pinethicket, PlasmaTime, Polisher of Cobwebs, Porsche997SBS, Postlewaight, Pseudo-Richard, Punch37179, Quota, Qzk1718, R. fiend, RBBrittain, RFBailey, RHodnett, RadioBroadcast, RalfiParpa, Raymondwinn, Rcwc, Redrose64, Reginmund, Rfc1394, RicJac, Rigmahroll, RiseAbove, Rjwilmsi, Roadrunner, Robert Fraser, Robert K S, Robert25, Robthebob, Russelthor, Sango123, Savidan, Savolya, Scieberking, Scorpion0422, ScottJ, Sealman, Senorbad, Shadowjams, Shedt6, Sjzukrow, Sleeper99999, Slgrandson, Smoothiedudie, Spongefrog, Steven Walling, Stevertigo, Sus scrofa, Symphony Girl, Syrthiss, TFunk, Tassedethe, Tburman946, Ted Wilkes, ThatGuamGuy, The Banner Turbo, TheLeopard, Thefourdotelipsis, Thepangelinanpost, Thismightbezach, Thomas Blomberg, Timc, Tollini, TonyTheTiger, Tpicco, Treybien, UZiBLASTER7, Ustye, Varlaam, Vgranucci, Wafulz, Waltloc, Ward3001, Will Beback, WilliamSommerwerck, Windchaser, Winehoff, Wisekwai, Wjl2, Woohookitty, Y2kcrazyjoker4, YUL89YYZ, Ynot11, Yunshui, Ywong137, ZeroJanvier, Zondor, Zzyzx11, 398 anonymous edits 1958 Gigi Source: http://en.wikipedia.org/w/index.php?oldid=503619804 Contributors: 23skidoo, 456wert, AKeen, AbsoluteGleek92, After Midnight, Ajw786, AlbertSM, Ameliorate!, BlueAzure, Bollyjeff, Borelee12345, Bovineboy2008, Burglekutt, Bzuk, Cgersten, Clarityfiend, Colmiga, ConoscoTutto, Cybercobra, Dan8700, David Gerard, Deor, Derek Ross, Donshep, Dr. Blofeld, Dunhere, Dutzi, Easchiff, EchetusXe, English1123, Finley, Firetrap9254, Flami72, Freakachu, Gurch, Hegria66, Hmains, Hullaballoo Wolfowitz, Ianblair23, Itxia, J.delanoy, JGKlein, JackofOz, Joey80, Jperrylsu, Jzummak, Karrmann, Kbdank71, Kitty1983, Kmadigan, Lady Aleena, Lawikitejana, Levineps, Liftarn, LiteraryMaven, Lizolink, Loriannhart, Lou Sander, Lugnuts, Malikbek, Mallanox, MarnetteD, MonkeeJuice, NWill, Nickfargher, Nofaves, Noirish, Ondewelle, Orbicle, Otto4711, PWB, Phbasketball6, Philip Cross, Pigsonthewing, Polisher of Cobwebs, Qworty, R. fiend, RicJac, Ricky81682, RoyBoy, Rror, Savidan, Smetanahue, Smilemean, Snowmanradio, Ssilvers, Svick, Targetpuller, Tassedethe, Ted Wilkes, ThatGuamGuy, Thefourdotelipsis, Thepangelinanpost, Triddle, Trivialist, UZiBLASTER7, Ustye, Weekilter, Whbstare, Woohookitty, Wool Mintons, Yobmod, Zondor, Zrb, Zzyzx11, 91 anonymous edits 1959 Ben-Hur Source: http://en.wikipedia.org/w/index.php?oldid=505470595 Contributors: 000peter, 2T, 47of74, ARGOU, Aamerabbas, Academician, Ahoerstemeier, Ajw786, AlbertSM, Alcoved id, Alexf, Aliccolo, Alientraveller, Ameliorate!, American Eagle, Anchjo, Andrew Winston, Andrewk619, Andrzejbanas, Andy M. Wang, Anglicanus, Antandrus, Artimaean, Asbestos, AskFranz, Azucar, Babk Akifolu, Bantosh, Before My Ken, Bentogoa, Betty Logan, Beyond silence, Bignoter, BlackTerror, Bluejay Young, Bmundt, Bobblewik, Bovineboy2008, BreckColeman, Brisvegas, Brunocerous, Burglekutt, Bzuk, Cburnett, Chensiyuan, Chris fardon, Chris the speller, Chris1219, Chrisbearer, Clever curmudgeon, Cloogle12, Colonies Chris, Contaldo80, Cop 663, Cor anglais 16, CowboySpartan, CrazyChucky, Cristinc, Cwhite654, D. 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Wikitanvir, WilliamSommerwerck, Willthacheerleader18, Woohookitty, Wpollard, Wwestarwars, Xs3mx, Ylee, Yobmod, Yworo, ZeroJanvier, Zipzipzip, Zombie433, Zondor, Zzyzx11, aCestCharabia, 570 anonymous edits 1960 The Apartment Source: http://en.wikipedia.org/w/index.php?oldid=503623496 Contributors: 23skidoo, Adraeus, Ahoerstemeier, AlanSiegrist, AlbertBowes, Altzinn, Ameliorate!, Azucar, Badagnani, Barrympls, Bcostley, Before My Ken, Betty Logan, Betty kerner, Bluetooth954, Bobet, Bobyllib, Bovineboy2008, Bran01, Breckinridge, Brion VIBBER, Butterboy, Bzuk, CGameProgrammer, Cablehorn, Carli76, Cburnett, Chaparral2J, Christopherjfoster, CoolKatt number 99999, Cop 663, Cowlibob, Crazy Ivan2, Cubicle Ali, DCGeist, DStoykov, Danny, Darev, Daytripper6518, Deceglie, DerekDD, Design, Dismas, Dr. Blofeld, Dunks58, Dureo, Durova, Dutzi, EEMIV, EchetusXe, Eclecticology, Edwardx, Eoyount, Erasmussen, Erik, Estrose, Faterson, Father McKenzie, Flyguy33, Foobarnix, Fratrep, Fritz Saalfeld, 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Carty, ATM Toalster, Aardvarkzz, AbsoluteGleek92, AdamSmithee, AdultSwim, Ajshm, Ameliorate!, Amerias, Andrzejbanas, Angie Y., Angmering, Ayrton Prost, Azucar, Beinsane, Bovineboy2008, Brad101, BrownHairedGirl, Burglekutt, Bzuk, Cburnett, Cgwaters, Clarityfiend, Cop 663, Copysan, Crisco 1492, Cult-p, DabMachine, Damiwh2, Dan1863Sickles, David Gerard, DerHexer, Duncancumming, Dupz, Dutchy85, EchetusXe, Estrose, FeanorStar7, Foofbun, Goustien, Graham87, Headbomb, Hiphats, HofstraSummer, Ilyaunfois, Itxia, JGKlein, Japan-man, Jay-W, Jecar, Jgreenbook, Jihg, JimboB, Joey80, Joseph A. Spadaro, JustAGal, Jzummak, Keith-264, Kingstowngalway, Koyaanis Qatsi, Kusma, Latka, Leuliett, Lugnuts, MachoCarioca, MarnetteD, Mr Bungle, NWill, Nativeborncal, Oneiros, Orbicle, Paul A, Pearle, Phbasketball6, Philip Cross, Pumpie, Rettetast, Rigadoun, Rpab, Savidan, Ser Amantio di Nicolao, Silversirens, Spaceflower, StuHarris, Studerby, Supreme Deliciousness, TMigratorious, ThatGuamGuy, Thefourdotelipsis, Thismightbezach, Tim!, Tool2Die4, Tyrth, UZiBLASTER7, Vagrarian, Vlad b, Wedg, Xezbeth, Zoe, Zzyzx11, 53 anonymous edits 1964 My Fair Lady Source: http://en.wikipedia.org/w/index.php?oldid=504430140 Contributors: 15lsoucy, 23skidoo, A Nobody, A R King, ABehrens, ARUNKUMAR P.R, Aarsalankhalid, AbsoluteGleek92, Afri, Alansohn, AlbertSM, Ameliorate!, Andycjp, Angr, Anthony Fok, Arataman 79, Ashdog137, Astorknlam, Azucar, Azumanga1, Bamadude, Bdrischbdemented, Beatlebug101, Before My Ken, Billbert12, Bob bobato, Bons, BoomerAB, Bovineboy2008, Burglekutt, C. A. 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Spadaro, Jzummak, Kablammo, Karin127, Kbthompson, Kingstowngalway, Ldavid1985, Lights, M samadi, MachoCarioca, MarnetteD, MattHucke, Mighty Antar, MinghamSmith, MishaPan, Mokgamen, Mr. IP, Necrothesp, Neelix, Nice poa, Nick, Odie5533, Orton1066, Otto4711, Pacificus, Paxcoder, Penbat, PerfectStorm, Petrb, Phbasketball6, Playalp, Queenmomcat, RBBrittain, Rejectwater, Rich Farmbrough, Richhoncho, Ron whisky, Schrodinger's cat is alive, Seb az86556, ShelfSkewed, Sherurcij, Smoove Z, Spencerhoward, StrangerAtaru, Tassedethe, ThatGuamGuy, TheNeutroniumAlchemist, Thepangelinanpost, Thismightbezach, Thomas Blomberg, Tim Long, Tintin1107, Tjmayerinsf, Tomisti, Treybien, UZiBLASTER7, Val42, Varlaam, Violeta27, VolatileChemical, WakaFlockaFlameYoungMoney, Warut, Wikipelli, Wildhartlivie, Woohookitty, Xeryus, 165 ,1 anonymous edits 1967 In the Heat of the Night Source: http://en.wikipedia.org/w/index.php?oldid=504262118 Contributors: AdamSmithee, Agnosticraccoon, Aibdescalzo, Aitias, Ameliorate!, Andrzejbanas, Andylkl, BD2412, Bacteria, Baseball Bugs, Bender235, Bigjimr, Bluerules, Boatman666, Bovineboy2008, Bt8257, Buckboard, Burglekutt, CEngelbrecht, Cburnett, Chaucer1387, Childhoodtrauma, Chronodm, Clarityfiend, Compscifiend, Cop 663, DOHC Holiday, Darius Sinclair, Darwinek, David Gerard, DeWaine, Dirkbb, Dobrevano, Dozenist, Dr. Blofeld, Drunkenpeter99, Dubosejb, EchetusXe, Edwy, Entheta, Erik, Estrose, Ewa5050, Ezzex, Flummery, Freefry, Gamaliel, Ghost2011, Gregalodon, Headbomb, I dream of horses, Ifny, IllaZilla, Ixfd64, JFBridge, JGKlein, JYi, Jesster79, Joey80, Johnc69, Johngalt2788, Jsmaye, JustAGal, Jzummak, KF, Kbdank71, Kchishol1970, Kintetsubuffalo, Kummi, Kwiki, Ldavid1985, Leszek Jaczuk, LittleWink, Lord Cornwallis, Lugnuts, MachoCarioca, Magioladitis, Mark Sublette, Marktreut, MarnetteD, Mr.C, Mrceleb2007, Nehrams2020, Ngz303, Noirish, Orenburg1, Pegship, Phbasketball6, PhilKnight, Philip Cross, Phillip George, Phoenixrod, Pihamilton, Pinktulip, Proscript, Quentin X, RadioBroadcast, Reedmalloy, Richieice, Ringkichardthethird, RobNS, Robert Bin Peters, Savidan, Savolya, Scott197827, Sfan00 IMG, ShelfSkewed, Simesa, Sky Captain, Slacker203, Sugar Bear, Synergy, T smitts, TDogg310, TPIRFanSteve, Tabletop, Tassedethe, Ted Wilkes, TheMovieBuff, Thefourdotelipsis, Thismightbezach, Thomas Blomberg, Tool2Die4, Tregoweth, Trekphiler, Treybien, TylerThorne, Unrelatedthing, Vincent4000, Walter Breitzke, Zzyzx11, 129 anonymous edits 1968 Oliver! Source: http://en.wikipedia.org/w/index.php?oldid=505384065 Contributors: 4meter4, AMuscatelli, AbsoluteGleek92, Adamjackson77, AlbertSM, Alixbiggs, Ameliorate!, Andrzejbanas, Annabells, Apple1013, Arniep, Arthena, Arwel Parry, Aswn, AtheWeatherman, Axem Titanium, BD2412, BMcCJ, BYUbiologist, Bardego, Beardo, Billybhoy1888, Bovineboy2008, Brightgalrs, Brygator, Bzuk, Captain Kirk, Carlosmnash, Catfish Jim and the soapdish, Cesce78, CharlesFosterKane123, Ckatz, Colliric, Crana, Cureden, DAVID A ELLIS, Darev, David fick, Dl2000, Dr. Blofeld, Dr. Conehead, Dutzi, EchetusXe, Estrose, Euronick, Finchsnows, Foofbun, Freshh, Georgemunns, Goustien, Hadiahmed, Hapleworth, Heironymous Rowe, Hoverfish, Hrdinsk, ItsTheClimb17, Itxia, Iwillbeamoviestar, JGKlein, Jack1956, JackofOz, Jeffman52001, Jevansen, Joey80, Jonathan.s.kt, Joseph A. Spadaro, Juan Cruz, Jzummak, Katalaveno, KennethWDavis, Kummi, Kurai, Ldavid1985, Leithp, Loadmaster, Lugnuts, MachoCarioca, Magioladitis, Majorly, Mandy1909, MarnetteD, Matlefebvre20, Million Little Gods, Mlaffs, Nice poa, NightFalcon90909, Nikkimaria, Ntay, Olaflegend, Oscar O Oscar, Pascal.Tesson, Patrick, PatrickNewbold, Paul A, Phbasketball6, Philip Cross, PurpleChez, RBBrittain, Rjwilmsi, RyanTaylor1987, SCLewis, SamuelTheGhost, Sayerslle, Schrodinger's cat is alive, Scottandrewhutchins, Serpent212, Sfan00 IMG, Sjones23, Stevenscollege, Sue Wallace, Sun Creator, Supernumerary, TA-ME, Tabletop, ThatGuamGuy, The Man in Question, Thefourdotelipsis, Tim!, Tim1357, Tony Sidaway, Tree Biting Conspiracy, Tuesdaily, UZiBLASTER7, Uncle Dick, Vishnu2011, VolatileChemical, Wildhartlivie, William Avery, Wknight94, Woohookitty, Yettie0711, Zephyrad, Zoltarpanaflex, Zzyzx11, 174 anonymous edits 1969 Midnight Cowboy Source: http://en.wikipedia.org/w/index.php?oldid=504188700 Contributors: 10qwerty, 6birc, AEMoreira042281, AOC25, Adraeus, Agateller, Airproofing, Ameliorate!, Anonymousphrase, Anthony, Anthony Appleyard, Axl, BauerPower, Before My Ken, Belovedfreak, Biggiebigs23, Bignole, Bill william compton, Bjimba, Blake Burba, Blender34, Boffob, Bovineboy2008, Brewcrewer, Brianhe, BudMann9, Burglekutt, CCS81, CapitalR, Carlosp420, Cburnett, Ccacsmss, Chibluesteve, Chicagofan01, Cinemaniac86, Cjs56, Cobaltcigs, Cop 663, CowboySpartan, Crotchety Old Man, Croton, DBJameson, Danny, DarkSideSith, Darkfrog24, David Gerard, DavisLee, Dbrum0, Delldot, Dismas, Dmayank, Doctorfluffy, Donmike10, Donner, Donreed, Dozenist, Dr. Blofeld, DuncanHill, Dupes01, Dutzi, Easchiff, Ebear422, EchetusXe, Ecoleetage, Ellsworth, Erik, Estrose, Excimer3.141597, Faithlessthewonderboy, Feelinglistless, FlamingSilmaril, Fonetikli, Frecklefoot, FreplySpang, Funnybunny, Futurebird, Fuzzform, Gamaliel, Gampe, Gilliam, Gkklein, GoingBatty, Golden hound, Gonnym, Grafen, Harley Hudson, HarringtonSmith, HarvardOxon, Headbomb, Hibana, Ianblair23, IllaZilla, Intheshadows, Irk, JBiz10, JQF, Jaldridge86, Jbessie, Jeandr du Toit, Jgreenbook, JidGom, JimmB, Jkwiki1, Jncobbs, Jodykish, Joefromrandb, Joey80, Jogers, Jon Ascton, Jpvandijk, Jsdiego, JustPhil, Jzummak, Kate, Kbdank71, Kchishol1970, Keith D, Keithh, Kidlittle, Klausness, Koavf, Kollision, Koyaanis Qatsi, LGagnon, LWF, Ldavid1985, Le Gibbon, Leithp, Levineps, Lharrod, Little Jimmy, Looper5920, Lrd1rocha, Lucasmcd, Lugnuts, MECU, Maarten1963, Macarenses, Machete kills, Magioladitis, Mallanox, Marshmmellow545, Matlefebvre20, MattTM, Matthew Auger, Matthew Fennell, Mavenette, McSly, Mcfly85, Mmxx, Modeha, Moncrief, Moogyboy, Mrblondnyc, Mugs4000, Mugsywwiii, Myscrnnm, NWill, NYArtsnWords, Nafi1122, Naniwako, Ok!, One Salient Oversight, Oneiros, Orbicle, Otto4711, Owen, Patrick, Paul A, Paul Erik, Pearle, Pegship, Peripatetic, Phbasketball6, PhilSchabus, Pinktulip, Pipedreambomb, Prophetdaniel, Ravenhurst, Remurmur, Rfc1394, Rjwilmsi, Robsmyth40, RodC, Rogerqcaz, Romyboo, Ronhjones, Rory096, RyanCross, Salamurai, Sam Hocevar, Savidan, Sbharris, SerenadeOp24, Shamrox, Sharnak, Shawn in Montreal, ShelfSkewed, Slgrandson, SlubGlub, Somercet, StAnselm, Stanleykubrick224, StefanPernar, Stoogeyp, Sugar Bear, Surv1v4l1st, Swace, TammybytheC, TenPoundHammer, ThatGuamGuy, The Anome, The Cunctator, The Ink Daddy!, TheMadBaron, ThePhantomCopyEditor, TheRealFennShysa, Thefourdotelipsis, Thesoftbulletin82, Thismightbezach, Thumperward, Timc, Tins128, Tool2Die4, Topk, TracyLinkEdnaVelmaPenny, Treybien, Tukkaatje, UDScott, Uncle Dick, Usually Right, Vberger, Verne Equinox, Veryblueboy, Violentaberration, Violetriga, Walloon, Werdnawerdna, Werldwayd, Who, Wikifried, Wikijmt, Wisdomtenacityfocus, Wurdnurd, Yacht, Zambaccian, Zeist85, Zephyrad, Zone46, Zzyzx11, Zzztriple2000, 341 anonymous edits 1970 Patton Source: http://en.wikipedia.org/w/index.php?oldid=506698229 Contributors: *drew, 84user, A. Carty, Abkahn, Active Banana, Alan16, AlbertSM, Alientraveller, Ameliorate!, Americasroof, Anders.Warga, Andrensath, Andrzejbanas, Angilbas, AnonMoos, Anthem2008, Antientropic, Apple1013, Arapaima, Asams10, Ashley Pomeroy, Aswn, AuthorNeubius, Bbb23, Before My Ken, Berean Hunter, Berserker8778, BiroZombie, Bjk wiki, Bobet, Bovineboy2008, BrownHairedGirl, Bzuk, CPT Spaz, CSvBibra, Can't sleep, clown will eat me, Casbah d'Alger, Cburnett, ChessPlayer, Ckape, Clarityfiend, Cmcdonaldm, Czrisher, DAW0001, DIREKTOR, DanHS, Dannycali, Dark Kubrick, Das Baz, David Gerard, Dawkeye, Dellant, Deltabeignet, Demomoke, Discospinster, Dmadeo, Donmike10, Donreed, Dpwkbw, Dr. Colossus, Dr. Lucifer, Drunkenpeter99, Dudesleeper, EEMIV, Easchiff, Ebear422, EchetusXe, Edlitz36, Edward, Ehistory, Erik, Everyking, Falcon Kirtaran, FayssalF, Films addicted, Fistful of Questions, Flax5, Flex Flint, Flowerkiller1692, Foofbun, Foxhunt king, Frankchn, Frecklefoot, Freshh, Fultron89, Fvasconcellos, GabrielF, Gadfium, Gamaliel, Geniac, Georges Smith Patton, Glane23, GoodDay, Goustien, Great Scott, Greenshed, Grenavitar, Ground Zero, Heroville, Hill9868, Hmmst, Hugo999, Husnock, IP4240207xx, IllaZilla, Iluvcapra, J M Rice, J.delanoy, JackalsIII, Jay-W, Jesster79, Jg2904, Joey80, Joshdboz, Josiah Rowe, Jrgilb, Juan Cruz, JustAGal, JustPhil, Justice America, Jzummak, Kbdank71, Kdmoss, Kidlittle, Kjdamrau, Kjell Knudde, Knee427, Kransky, Kreachure, Krestinky02, Kummi, Kuralyov, Kvn8907, L1A1 FAL, LGagnon, Lacrimosus, Lavenderbunny, Ldavid1985, Levineps, LovelyLillith, Lpadilla, Lugnuts, MK2, MStern1999, MachoCarioca, MarnetteD, Martarius, Marteau, Matlefebvre20, McSly, Mcasey666, Mcmolotov, Meadowscm, Meganmegan, Mifter, MightyWarrior, Mikeo, MileyDavidA, Mintleaf, Mmarsh, Moonriddengirl, Mschlindwein, Nani2005, NawlinWiki, Neddyseagoon, Neilc, Nobunaga24, Noitall, Nuetralwordman, OberRanks, OldakQuill, Orbicle, Otrfan, Oydman, Patar knight, PaulHanson, Paulturtle, Pearle, PhantomS, PhantomWSO, Phbasketball6, Pinktulip, Pmeisel, ProfessorPaul, Propaganda328, Pumpkinshirt, Quoth the Raven, Quovak, R. fiend, RPellessier, RadicalBender, Radicaladz, Rameriz, Randroide, Rankefan, Raul654, Rdosser, Renegadeviking, Retired username, RicJac, Rich Farmbrough, Richard Weil, Richiekim, Rjwilmsi, Rogerd, Romarkin, Roo72, Ryan4314, SCNitehawk2, Sales2007, Savidan, Savolya, Sensei48, Shadow708, Signalhead, Sj, Sjyglm, Skier Dude, Snowmanradio, Spoonkymonkey, Sreejithk2000, Ssgransom, Stackja1945, Statalyzer, Stealth2525, Stefanomione, Stilgar135, TFNorman, TVfanatic2K, Tassedethe, Tcsawick13, TeganX7, Tempshill, ThatGuamGuy, TheLastAmigo, TheMovieBuff, TheOldJacobite, TheValentineBros, TheVamp, Theseven7, Thismightbezach, Thomasolson, Timc, Tinton5, Tom, Tomd7, TresRoque, Treybien, Ttc817, TuckLandry, Typeriuskirk, UZiBLASTER7, Unyoyega, Utuado, Uvaphdman, Valermos, Vgy7ujm, W. B. Wilson, WereSpielChequers, Who, WikiDon, Wikipaddy, WikiuserNI, WilliamJE, Wincewega, Wmahan, Wolcott, Woohookitty, WordyGirl90, Xompanthy, Zik2, Zoe, Zzyzx11, 327 anonymous edits 1971 The French Connection Source: http://en.wikipedia.org/w/index.php?oldid=504468855 Contributors: 10qwerty, 28421u2232nfenfcenc, 5150pacer, 84user, A8avexp, AEMoreira042281, ALadinN, Acps110, After Midnight, Aibdescalzo, Alientraveller, Ameliorate!, Amino2, Andrzejbanas, Arataman 79, Asmaybe, Athene cunicularia, Attilios, Becky Sayles, Before My Ken, Belovedfreak, Bender235, Bib, Blingy123, Bobmack89x, Bookgrrl, Bovineboy2008, Brockert, Burglekutt, Butterboy, Bzuk, Cburnett, Charly Matte, ChrisLoosley, Ckatz, Colonies Chris, Conradege, Count Ringworm, Crispyinstilly, Crum375, DReifGalaxyM31, Damaavand, Davecrosby uk, David Gerard, David.Monniaux, Davidatwikip, Donco, Doniago, Douglasr007, Drunkenpeter99, Dudufrias, EEMIV, ENexter, EchetusXe, Eekerz, Ekin, Ericburroughs, Ericgoldman, Erik, Fabrictramp, Factomancer, Fclass, Feddacheenee, FrankRizzo2006, Freefry, Froid, Fxbx, GCD1, Gaggins, Gamaliel, Gary King, Geogre, Gkklein, Gothicfilm, GrandpaPap, Gregalodon, GregorB, Gtrmp, HADRIANVS, Hockeyman001, IllaZilla, Intelspy, IrishPete, Irishguy, IronGargoyle, ItsTheClimb17, J.D., JackalsIII, Jackhynes, Jay-W, Jen Bonnothosn, JetLover, Jivecat, Joey80, John Williams Fan, Johnnyfog, JustPhil, Jzummak, KConWiki, Karaoke Prince, Kbdank71, Kbtv123, Kendal Ozzel, Kerimparrot, Kicking222, Kidlittle, Kitch, Kollision, Konczewski, Koplimek, Kusma, LGagnon, LarRan, Ldavid1985, Leithp, Levineps, Liffey, Lugnuts, MachoCarioca, MadMax, Maikel, MakeChooChooGoNow, Mallanox, Marek69, Marktreut, MarnetteD, Martarius, Matlefebvre20, Matt Deres, Matthew, MegX, Metalparasite, Milepost53, Mongrel 8, Mrblondnyc, Mrceleb2007, Mtk180, Munin75, Music2611, NWill, NaBUru38, Native truth, Naufana, Newkirk Plaza David, Noirish, Nymf, OOODDD, Olivier, Otto4711, Parallel33, Pat77094, Pegship, Phbasketball6, Phoebe, Plasticspork, Ponch's Disco, Popeye Doyle, Porterhse, Postdlf, Public Menace, Pyrorunner, Qutezuce, RadicalUpload, Reedmalloy, Reedy, Reg porter, Rfc1394, Rodrigogomespaixao, RyanGerbil10, Samir, Savidan, Secret (renamed), ShelfSkewed, Signalhead, Snowmanradio, Sonett72, Sonny Kilmer, SqueakBox, Stay cool, Stefanomione, Stevingtonian, Stheman, Stoogeyp, Struway, TMC1982, Tamfang, TenPoundHammer, ThatGuamGuy, The wub, Thepangelinanpost, Therealcandidus, Thismightbezach, Tim Long, Timsheridan, Tockman, TomB123, Tomdobb, Tommyt, Toussaint, Tregoweth, Truthiness Jones, Ttc817, UDScott, UZiBLASTER7, UltraEdit, VeryVerily, Wanengineer, Wastetimer, WereSpielChequers, Who, Wiendietry, Wikiliki, Wildroot, Woodhill5, Woohookitty, Xeno, Xxshadow93xx, YUL89YYZ, Zepheus, ZeroJanvier, Zoe, Zzyzx11, , 277 anonymous edits 1972 The Godfather Source: http://en.wikipedia.org/w/index.php?oldid=507261735 Contributors: $Ceridian1, 11113 o7, 28421u2232nfenfcenc, 2fort5r, 2tuntony, 47of74, 4meter4, 4twenty42o, 5 albert square, 777sms, 7mike5000, 84user, AEMoreira042281, AJFederation, AbsoluteGleek92, Acalamari, Ace ETP, Achester99, Acroterion, Adam.J.W.C., Adambro, Adoniscik, AdultSwim, Afterwriting, AgentAJD, AgentPeppermint, Airplaneman, Ajaymonster, Ajshm, Akamad, Akriloth 99, Al Fecund, Alai, Alansohn, Ale And Quail, Aleenf1, Alex.muller, Alexf, Alientraveller, Alipap7, Allumino, Amakuru, Amanm97, Amansour21, Ameliorate!, Ampae, Anclation, Andrevan, AndrewOne, Andrzejbanas, Andrs D., Andy M. Wang, Andycjp,
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Woohookitty, WordyGirl90, Wrath X, Wrp103, Wtmitchell, Xbvca, Xdiabolicalx, Xela Zeugirdor, Yamla, Yashveer r, Yekrats, Yep8, ZFGokuSSJ1, Zarbon, ZenCopian, Zepheus, Ziggurat, Zion Curtains, ZooFari, Zotdragon, Zscout370, Zzyzx11, ^demon, , 2659 anonymous edits 1973 The Sting Source: http://en.wikipedia.org/w/index.php?oldid=506965658 Contributors: 1297, 777sms, A. J. A. 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Stefanomione, Stepheng3, Steve Pastor, Steven J. Anderson, StevenHW, Sugar Bear, Super8Guy, Svetovid, TMC1982, Tassedethe, Ted Wilkes, ThatGuamGuy, The Anome, The Ink Daddy!, The wub, TheAllSeeingEye, TheOldJacobite, Thiagoxb500, Thismightbezach, Tombarrister, Tool2Die4, Torourkeus, Tregoweth, Ttc817, TutterMouse, Twinsfan133, UberMan5000, Uucp, Vargenau, Vesperwhisper, Victor Mazowski, Wahkeenah, Walkiped, WikipedianMarlith, Will2k, Woohookitty, Wordwright, WpZurp, YUL89YYZ, Yas, Zotdragon, Zwatkins, Zzyzx11, 251 anonymous edits 1974 The Godfather Part II Source: http://en.wikipedia.org/w/index.php?oldid=507331771 Contributors: $Ceridian1, 1966batfan, 2T, 4meter4, 96T, AOC25, ARGOU, Abach, AbsolutDan, AbsoluteGleek92, Acsenray, Adambomb1701, Adambro, Aghayes, Ajshm, Ajw786, Akmittal09, Alaz, AlbertSM, Ale And Quail, Algx1212, Allens, Allumino, Ameliorate!, Anchoress, Andrzejbanas, Andy M. 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Curtus, Who, Wiki alf, WikiableHome, Wikien2009, Wikiman735, Wikiuser100, WilliamJE, Wknight94, Wkurzius, Woohookitty, Wrath X, Y2kcrazyjoker4, Yankeefan1087, Yashveer r, Yekrats, Yllosubmarine, YoungBloodChampion, Zoe, Zoltarpanaflex, Zone46, Zscout370, Zzyzx11, 993 anonymous edits 1975 One Flew Over the Cuckoo's Nest Source: http://en.wikipedia.org/w/index.php?oldid=506231779 Contributors: 1992maria, 2help, A949037, AbsoluteGleek92, Ackatsis, Adrian Sampson, Aericanwizard, Ahoerstemeier, Aitwl, Alan daniel, AlbertSM, Alex Ex, Alex.petralia, Alientraveller, Alvaro, Ameliorate!, Ampd1, Anarchivist, Angelic Wraith, Anoopkn, Apoc2400, ArchetypeRyan, Arthur Holland, Artichoke-Boy, AskFranz, Atlan, Awbeal, AxelBoldt, BMW Z3, Badman89, Banazir, Banjaloupe, Bbedn, Before My Ken, Belasted, Belovedfreak, Bguest, Bigjimr, BillFlis, Billandlizanne, Bisected8, Bob77777, Bobbyfletch85, Bolman Deal, Bonavena, Bovineboy2008, BradBeattie, Brewcrewer, Bryan Derksen, Bzuk, Captain Infinity, Captain 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Litchfeld., Steveprutz, Stillstudying, Stolengood, Sureworksforme, Svick, Swellman, Sydfrog, Szumyk, THD3, TJ Spyke, TallulahBelle, Tanet, Tangotango, Tassedethe, Tatiana.larina, Tatrgel, Tdogg241, Teimu.tm, Tempshill, Terrypin, ThatGuamGuy, The Glow Pt. 2, The Singing Badger, The monkeyhate, TheLastAmigo, TheMadBaron, TheOldJacobite, TheOnlyOne12, Thepangelinanpost, Theradu123, Thomas Blomberg, Thorncrag, Timc, Tommyt, Tool2Die4, Torourkeus, Treybien, Triddle, Ttc817, Tucu Mann, Typhoon966, Tzahy, Ukzombie, Userafw, Ustye, Uucp, Vegaswikian, Vegaswikian1, Verkhovensky, Vladimir Skala, Vyvyan Ade Basterd, Waldir, Who, Wikipelli, Wikispork, Wildhartlivie, Will Beback, Willerror, Wolfer68, Wool Mintons, Wwestarwars, Yaf, Yamla, Yekrats, Yoshi Canopus, Zeerfszeerfs, Zero no Kamen, ZeroJanvier, Zoe, Zone46, Zorastrus, Zzyzx11, , 679 anonymous edits 1979 Kramer vs. Kramer Source: http://en.wikipedia.org/w/index.php?oldid=507349660 Contributors: *drew, 17Drew, 7&6=thirteen, AdamSmithee, Alcyrty, Amakuru, Ameliorate!, Amphytrite, Andycjp, Aryan song, Bantosh, Bladeofgrass, Bovineboy2008, Breckinridge, Brycee, Burglekutt, Bzuk, CapDac, Catgut, Cattus, Cavarrone, Cburnett, Christianster45, Classicfilms, Cotoco, DJZK, Daniel Case, David Gerard, Davstin2002, Dead3y3, DerHexer, Donreed, Dr. Blofeld, Earthwit, EchetusXe, Edlitz36, EoGuy, Erik, Erika1042, ExpressingYourself, FightTheDarkness, Fighting for Justice, Fleebo, Foobarnix, Fromgermany, GHcool, Garion96, GhostFace1234, Gp 1980, Gyrofrog, Headbomb, Heaven's Wrath, IronGargoyle, IrrTJMc, J Milburn, JGKlein, JHMM13, Jack Merridew, JavierMC, Jedi94, Jimknut, Joey80, John Paul Parks, Jonathan.s.kt, Jordancelticsfan, Jr2280, Jzummak, Kchishol1970, Kidlittle, Kollision, Koyaanis Qatsi, Ksnow, LFlippyl, LGagnon, Lacrimosus, Lady Aleena, Legalbeagle001, Levineps, Liftarn, Luckyluke, Lugnuts, MachoCarioca, Mallanox, Marktreut, Martarius, Master Deusoma, Matlefebvre20, Maximus Rex, Mca2001, Mdb1370, Mike Payne, NWill, Nafsadh, NapoliRoma, Nehrams2020, Ngchikit, Nues20, Nymf, OldSkoolGeek, Ozzykhan, PNW Raven, Phbasketball6, Philip Trueman, Philthy Liar, Pink Bull, ProhibitOnions, Quixoto, RBBrittain, Rfc1394, RobJ1981, Robert K S, Routedge, Rrburke, Rungbachduong, Savidan, Shawnyboy13, Shshshsh, Skier Dude, Skywalker80100, Snowmanradio, Stormfin, Subrata Roy, SummerPhD, SuperNova, Svencb, TJ Spyke, Tad Lincoln, TaintedMustard, Terrek, ThatGuamGuy, TheRedPenOfDoom, Thefourdotelipsis, Thismightbezach, Torrianne, Treybien, UZiBLASTER7, Uucp, Valermos, Vector Potential, VectorisPotential, Vipinhari, Vrenator, WereSpielChequers, Wiki fanatic, Wikipeterproject, Wildhartlivie, Wildtornado, WilliamJE, Yashveer r, Yestyest2000, Zepheus, Zoe, Zzyzx11, , 226 anonymous edits 1980 Ordinary People Source: http://en.wikipedia.org/w/index.php?oldid=505021341 Contributors: 1218jmm, 1966batfan, 3Tigers, AaronY, Alansohn, Ameliorate!, Amphytrite, Angiex3-2, ArachanoxReal, Ary29, Aspects, Awiseman, Bbb23, Belovedfreak, Ben Culture, Betacommand, Bigtimepeace, Blondjamesblond, Bovineboy2008, Bt8257, BullRangifer, Burglekutt, Calle, Calstanhope, Cburnett, Chris the speller, Chuunen Baka, Cirt, CityOfSilver, Cliff1911, Cmills1493, CortezK, Cosfx, CowboySpartan, DWShaw, Daniel Case, Dante Alighieri, David Gerard, Dcandeto, Ddperk1980, DocWatson42, Donmike10, Donteatyellowsnow, Drmargi, Drmies, E2e3v6, EchetusXe, Eclecticology, Edlitz36, Enigmaman, EoGuy, Erik, Escape Orbit,
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Fieldday-sunday, Flernk, Frecklefoot, Frschoonover, Fryn, Fyyer, Geniac, Gr8white, GrahamColm, GregorB, Grey Shadow, Hede2000, IJVin, Jaldridge86, JamesAM, Jeremy Butler, Jetpackfireman, Joey80, John Williams Fan, Johnor, Johnsemlak, Jojocool117, Jonathan F, Jordancelticsfan, Josh a brewer, Jzummak, K1Bond007, Keegan, Kollision, Kornfan71, LAMizell, Lady Aleena, Larry laptop, Liloodles, LittleDan, Magioladitis, Marblewonder, MarnetteD, Matlefebvre20, Mcmillin24, Meisam, MikeVitale, Millahnna, Mllefifi, Muna90, Mycroft7, NWill, NaschyCushing, Nightscream, Noirish, Nymf, Objectform, Optymystic, Otto4711, P.D., Pgw123, Phbasketball6, Piledhigheranddeeper, Pknkly, Pkperson, Playtime, RJFJR, Radosaw10, RedWolf, SMP0328., Sandoz, Savidan, Schmiteye, Sdgranger12, ShelfSkewed, Slgrandson, Soulpatch, Spidaman23, Squiddy, Stan weller, Sun Creator, Supernumerary, TJRC, TJSwoboda, Tabletop, Tad Lincoln, Tassedethe, Ted Wilkes, The Invisible Man, TheOldJacobite, Theleop, Thepangelinanpost, Thismightbezach, Tomdobb, TonyTheTiger, Tool2Die4, Totakeke423, Treybien, Triplicity, Truthiness Jones, Uucp, Vchimpanzee, VirtualSteve, Vizcarra, Warinthepocket, Wasted Time R, Wehwalt, Wiki alf, Wknight94, Woohookitty, Wrongcloth, Yllosubmarine, Zoe, Zzyzx11, 326 anonymous edits 1981 Chariots of Fire Source: http://en.wikipedia.org/w/index.php?oldid=507334061 Contributors: 0, 777sms, ABF, APOCOLYPSE7, Acroyear, Agerulestheworld, Alakazam, Ameliorate!, Amorim Parga, Andrzejbanas, Andycjp, Angmering, Ashmoo, AskFranz, AustralianMelodrama, Awillcox, Azumanga1, BadWolf42, Baseball Bugs, Batmanand, Bbgl98, Belovedfreak, BenZin, Bender235, Bensin, Bill60067, Birdienest81, BlueMoonlet, Bobblewik, Bonkerman99, Bovineboy2008, BruceJohnson, Btwied, Buckboard, Burzmali, Bweono, Bzuk, C.Fred, Cacophony, Cahk, CanadianLinuxUser, Capricorn42, Carlson288, Cburnett, Chase me ladies, I'm the Cavalry, Chasphillipsstoc, Chcknwnm, Chivista, Chvsanchez, CillanXC, Clancy60, Clarityfiend, Classicfilms, CommonsDelinker, Connection, Cop 663, Crucible Guardian, Dale Arnett, Daniel 1992, David Gerard, DavidBrooks, DavidMcCabe, Dbfirs, Deb, Dirac1933, Djdaedalus, Dobie80, Doc glasgow, Dsw171238, Dutchy85, Dutzi, Dyl, EP111, EchetusXe, Eclecticology, Ed4444, Edlitz36, Edward, Emoscopes, EnochSneed, Eric-Wester, Extols, FMAFan1990, FT2, Faradayplank, Fayenatic london, Finktastic, Finlay McWalter, Fmon, Freshh, George Ho, Gero, Glensgunnersgers, GordyB, Graham87, GrahamHardy, GregorB, Gundark, Hammersfan, Hapleworth, Headbomb, Hegria66, Hiphats, HonestTom, Horkana, HowardW, Hqb, Hugo999, Hydrargyrum, Icairns, Ihnatko, Illegitimate Barrister, InnocuousPseudonym, Invmog, Iohannes Animosus, Itxia, JB82, JamesMLane, Japanese Searobin, Jennavecia, Jeronimo, Jess Cully, Jheald, Jihg, Jmcc150, Joey80, John pretty 123, JohnWheater, Jpbowen, Jrgilb, Juozas Rimas, JustWong, Justin Foote, Jvhertum, JzG, KConWiki, KGasso, Kamoranakrre T. 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Anderson, Subitopiano, Sylfi, TMC1982, Tabath, Tai kit, Tassedethe, Termsenter11, Tesscass, Th1rt3en, The Anome, The Singing Badger, TheMadBaron, Thedjatclubrock, Thefourdotelipsis, Thivierr, Thryduulf, Thumperward, Tim bates, Tony Sidaway, TonyTheTiger, Treybien, TutterMouse, UZiBLASTER7, Ulric1313, Ume, Uvaphdman, Vanished user, Varlaam, Verytas, ViperSnake151, Wahkeenah, Wally, Whomp, Willdasmiffking, Willhsmit, Winternest, Woohookitty, Xadai, Yamla, YeshuaDavid, Z57N, Zzyzx11, 340 anonymous edits 1982 Gandhi Source: http://en.wikipedia.org/w/index.php?oldid=505456471 Contributors: 28bytes, A. 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Delldot, Dmol, Dpwkbw, Drbuzzard, Dreiundvierzig, Drolldurham, Easchiff, EchetusXe, Edward, Elwinator, Enr1x, Estrose, Ezeu, Favonian, Feudonym, FordPrefect42, Fuhghettaboutit, Gamaliel, Gaudio, GoingBatty, Goustien, Gridge, Grstain, Harryboyles, Headbomb, Hegria66, Hifrommike65, IP4240207xx, Inwind, IronGargoyle, Itxia, JaGa, JackofOz, Jaiwills, JamesAM, Jed, Jelins, Jg2904, Joey80, Johnbod, Jojocool117, Judgesurreal777, Julius Sahara, Jzummak, K1Bond007, Kbdank71, Ketiltrout, Klow, KnightRider, LGagnon, Levineps, LuK3, Lucasvitoriano1994, Lugnuts, M samadi, MachoCarioca, Mallanox, Matlefebvre20, Matt Crypto, Meadow68, Michael Hardy, Mike65535, Mischa83, Mschlindwein, Muntuwandi, NWill, Nick Number, OlofE, Orbicle, Pegship, Phbasketball6, Plch, PurrfectPeach, Roberto Frana, Ruud Koot, Savidan, Sherool, Smaines, Snowmanradio, Sreejithk2000, Starcheerspeaksnewslostwars, Stevenscollege, SunSeekerScot, Supernumerary, SusanLesch, Taiichi, Tassedethe, Tejblum, ThatGuamGuy, The Unknown Muncher, TheGerm, TheLastAmigo, TheMadBaron, Thismightbezach, Thomas Blomberg, Timbouctou, TonyTheTiger, Treybien, Twthmoses, Tyancy, U608854, UZiBLASTER7, Vlad, Whbjr, WhisperToMe, Wikid77, Wikipus, Woohookitty, Xevior, Zyxoas, Zzyzx11, 149 anonymous edits 1986 Platoon Source: http://en.wikipedia.org/w/index.php?oldid=506527757 Contributors: AOC25, AaronY, AbsolutDan, Ace Oliveira, Acoy3p3s, Adam McMaster, Al3xil, AlbertBowes, Alex.muller, AlexForche, Alexander Iwaschkin, Alientraveller, Alvis, Ameliorate!, Anaraug, Andorbal, Andrew Steller, Andrzejbanas, Andy Dingley, Andycjp, AnnaAniston, Anthony71, Aphaia, Arataman 79, Atlant, Avengedsevenfoldacdc, Bagradian, Baylorcmh, Before My Ken, Betacommand, Beyond silence, Bigred2989, Billybob222, Birdienest81, Blake Burba, Blethering Scot, Blue73, Bluerules, Bobo55, Boleyn3, Bongwarrior, Bootkinero, Bovineboy2008, BoxOfficeButcher, Bribriboy16, BrightLights, CSZero, Candoleccia, Canterbury Tail, Capt Jim, Carlson288, Cat's Tuxedo, Cburnett, Chad44, Charles Matthews, Chupon, ClaesWallin, Claygate, CodeMonk, ColinHunt, Condorhero, CowboySpartan, Crazyniece, Crimson Ghost, Cuchullain, D. 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Anderson, Stevenscollege, Stopkid, Str1977, Supersexyspacemonkey, Tangotango, Tarrant on Wiki, Tertiary7, ThatGuamGuy, The Wrong Man, The wub, TheJazzDalek, TheLeopard, TheNeutroniumAlchemist, Thepangelinanpost, Thismightbezach, Thumperward, Tientao, Tij, Timbouctou, Timrollpickering, Tommyt, Tomsega, TonyTheTiger, Tool2Die4, Treybien, Tryptofeng, Trystero11, Unyoyega, Usb10, VanSisean, Varlaam, Vocaro, WOSlinker, WhisperToMe, Wshun, Wwoods, XP1, Xevior, Xxplosive, Zoe, Zondor, Zzyzx11, 236 anonymous edits 1988 Rain Man Source: http://en.wikipedia.org/w/index.php?oldid=505632747 Contributors: *drew, 2004-12-29T22:45Z, 6afraidof7, 777sms, AJ 262, AbsoluteGleek92, Abu badali, Ace of Blade, Alientraveller, Amchow78, Ameliorate!, Amniarix, Andland, Andrzejbanas, Andyroo316, Angus Lepper, Anomie, Arbero, Arno Matthias, Arven04, Asdert, Ashmoo, Aswn, AtticusGray, Azgorodin, Azumanga1, Begoon, Belasted, Bellhalla, Benjamin Mako Hill, Bensin, Bergsten, Betty Logan, Bfern8788, Biblbroks, Big Brother 1984, Bihco, BilCat, Bitbitz.xx, Bobblewik, Bobet, BobiKav, Bollyjeff, BomBom, Bovineboy2008, Brain, Briguy52748, Builtbyanimals, BurtAlert, Bzuk, CK4231, CStyle, Caiaffa, CalendarWatcher, CalgaryWikifan, Calvin 1998, Canterbury Tail, Carlson288, Catapult, Cburnett, Cclarke, Chick Bowen, Chris 42, Christopherlin, Chzz, Cinemaniac, Cirt, ClockworkTroll, Colonies Chris, ContiAWB, Cop 663, CowboySpartan, Curry9 12, DRosenbach, DStoykov, Dabanhfreak, Dale Arnett, Dancxjo, Daniel.rivera, Danny Beaudoin, Darkness2005, Darrenhusted, Dave-ros, David Gerard, David Matchen, Daytonafathead, DearPrudence, Decltype, Demong, DiabloDave363, Disambigutron, Djodjo666, Dmodlin71, DocKino, Donmike10, Dr. Blofeld, DrLove0378, Duke53, Dylan620, ERJANIK, EagleFan, Earlypsychosis, EdenCole, Elipongo, EncMstr, Engineer Bob, Enigmatic2k3, Epbr123, Eric TF Bat, Erik, Erik9, Espoo, Eubulides, Evangeline, Federicosentinelli, Filmerbob, Fishwristwatch, FlareNUKE, FrankRizzo2006, Freechild, Freelance Intellectual, Frencheigh, Fuhghettaboutit, GVnayR, Gaius Cornelius, Gamrboi, Gardener of Geda, Garing, Garion96, Gary King, Geopgeop, Gerald G-Money, GhostFace1234, Gloriamarie, GnomeV, Gohst, Good Olfactory, Goodnyou100, Goustien, Graham87, Great Scott, GregorB, Gyrosyzygy, HDCase, Headbomb, Heqs, Hiphats, Hollywoodpaint, Husond, Igordebraga, Imladros, Indwar, Island Monkey, Isnow, Italianlover07, Ixymapoe, J JMesserly, JHMM13, JP1978, JaGa, Jagfan71, Jamamala, James Scalia, James.S, January, JayJasper, Jclemens, Jconroe, Jcuk, Jef-Infojef, Jeff Silvers, Jkroeis, Jnelson09, Jnocook, Joey80, Joeymartin64, Jogers, John S. 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Image:AMPAS.jpg Source: http://en.wikipedia.org/w/index.php?title=File:AMPAS.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors: Ucla90024 Image:Academy02.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Academy02.jpg License: Public Domain Contributors: Minnaert Image:PickfordCenter01.jpg Source: http://en.wikipedia.org/w/index.php?title=File:PickfordCenter01.jpg License: unknown Contributors: Gary Minnaert (Minnaert)) File:Gnome globe current event.svg Source: http://en.wikipedia.org/w/index.php?title=File:Gnome_globe_current_event.svg License: GNU Lesser General Public License Contributors: David Vignoni (globe, clock face/ring), Anomie (clock hands), David Gthberg (making the clock red, shadows). Anomie and David G (putting all the parts together). 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Academy Awards For Best Picture

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Academy Awards For Best Picture

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Academy Awards for Best Picture

Membership President Website

Galleries and theaters

Academy of Motion Picture Arts and Sciences

Original 36 founders of the Academy

Presidents of the Academy

Current administration of the Academy

Board of Governors 2011-2012

Academy of Motion Picture Arts and Sciences

Notes and references

Official website www.oscars.org [1]

Ownership of Oscar statuettes

31st Academy Awards Presentations, Pantages Theater, Hollywood, 1959

1st Academy Awards

May 16, 1929

Douglas Fairbanks, William C. deMille William C. deMille

Hollywood Roosevelt Hotel Ambassador Hotel / Millennium Biltmore [43] Hotel

The Broadway Melody All Quiet on the Western Front Cimarron

Lionel Barrymore, Conrad Nagel Will Rogers

It Happened One Night Mutiny on the Bounty The Great Ziegfeld

February 23, 1939

You Can't Take It With You

February 29, 1940

Gone with the Wind

February 27, 1941

February 26, 1942

How Green Was My Valley

Grauman's Chinese Theater

March 15, 1945

Bob Hope, John Cromwell

The Lost Weekend

Bob Hope, James Stewart

March 13, 1947

The Best Years of Our Lives

March 20, 1948

Agnes Moorehead, Dick Powell

March 24, 1949 March 23, 1950

All the King's Men

March 29, 1951

All About Eve

March 20, 1952

March 19, 1953

The Greatest Show on Earth

Bob Hope, Conrad Nagel

Pantages Theatre / NBC International Theatre

March 30, 1955

Bob Hope, Thelma Ritter

March 21, 1956

Jerry Lewis, Claudette Colbert, Joseph L. Mankiewicz

March 27, 1957

Around the World in 80 Days

Jerry Lewis, Celeste Holm

March 26, 1958

The Bridge on the River Kwai

31st Academy April 6, 1959 Awards

April 17, 1961

Santa Monica Civic Auditorium

West Side Story

April 13, 1964

April 18, 1966

The Sound of Music

April 10, 1967

A Man for All Seasons