title: Lolita (1962 film)

text: Owing to restrictions imposed by the Motion Picture Production Code, the film toned down the most provocative aspects of the novel, sometimes leaving much to the audience's imagination. The actress who played Lolita, Sue Lyon, was 14 at the time of filming.


title: Lolita (1962 film)

text: "Lolita" polarized contemporary critics for its controversial depictions of child sexual abuse. Years after its release, Kubrick expressed doubt that he would have attempted to make the film had he fully understood how severe the censorship limitations on it would be. Regardless, the film has since received critical acclaim, and was later nominated for Best Adapted Screenplay at the 35th Academy Awards.


title: Lolita (1962 film)

text: In a remote mansion, Clare Quilty, drunk and incoherent, plays Frédéric Chopin's Polonaise in A major, Op. 40, No. 1 on the piano before being shot to death by Humbert "Hum" Humbert, a middle-aged British professor of French literature.


title: Lolita (1962 film)

text: Four years earlier, Humbert arrives in Ramsdale, New Hampshire, intending to spend the summer before his professorship begins at Beardsley College, Ohio. He searches for a room to rent, and Charlotte Haze, a cloying, sexually frustrated widow, invites him to stay at her house. He declines until seeing her 12-year-old daughter, Dolores, affectionately nicknamed "Lolita", with whom he becomes infatuated.


title: Lolita (1962 film)

text: To be close to Lolita, Humbert accepts Charlotte's offer and becomes a lodger in the Haze household. However, Charlotte wants all of Humbert's time for herself and tells him that she will be sending Lolita to an all-girl sleepaway camp for the summer. After the Hazes depart for camp, the maid gives Humbert a letter from Charlotte, confessing her love for him and demanding he vacate at once unless he feels the same way. The letter says that if Humbert is still in the house when she returns, Charlotte will know her love is requited, and he must marry her. Though he roars with laughter while reading the sadly heartfelt yet characteristically overblown letter, Humbert marries Charlotte.


title: Lolita (1962 film)

text: Things turn sour for the couple in the absence of the child: glum Humbert becomes more withdrawn, and Charlotte grows increasingly unfulfilled and upset. Charlotte discovers Humbert's diary entries detailing his passion for Lolita and describing Charlotte as "obnoxious" and "brainless". In an outburst, she runs outside, but is hit by a car and dies.


title: Lolita (1962 film)

text: Humbert arrives to pick up Lolita from camp; she does not yet know her mother is dead. They stay the night in a hotel that is handling an overflow influx of police officers attending a convention. One of the guests, a pushy, abrasive stranger, insinuates himself upon Humbert and keeps steering the conversation to his "beautiful little daughter", who is asleep upstairs. The stranger implies that he too is a policeman and repeats, too often, that he thinks Humbert is "normal". Humbert escapes the man's advances, and, the next morning, Humbert and Lolita play a "game" she learned at camp, and it is implied that they have a sexual encounter. The next day, Humbert confesses to Lolita that her mother is not sick in a hospital, as he had previously told her, but dead. Grief-stricken, she stays with Humbert. The two then commence a trip cross country, traveling from hotel to motel. In public, they act as father and daughter.


title: Lolita (1962 film)

text: In the fall, Humbert reports to his position at Beardsley College, and enrolls Lolita in high school there. Before long, people begin to wonder about the relationship between the father and his over-protected daughter. Humbert worries about her involvement with the school play and with male classmates. One night he returns home to find Dr. Zempf, a pushy, abrasive stranger, sitting in his darkened living room. Zempf, speaking with a thick German accent, claims to be the psychologist from Lolita's school and wants to discuss her knowledge of "the facts of life". He convinces Humbert to allow Lolita to participate in the school play, for which she had been selected to play the leading role.


title: Lolita (1962 film)

text: While attending a performance of the play, Humbert learns that Lolita has been lying about how she was spending her Saturday afternoons when she claimed to be at piano practice. They get into a row and Humbert decides to leave Beardsley College and take Lolita on the road again. Lolita objects at first but then suddenly changes her mind and seems very enthusiastic. Once on the road, Humbert realizes they are being followed by a mysterious car that never drops away but never quite catches up. When Lolita becomes sick, he takes her to the hospital. However, when he returns to pick her up, she is gone. The nurse there tells him she left with another man claiming to be her uncle and Humbert, devastated, is left without a single clue as to her disappearance or whereabouts.


title: Lolita (1962 film)

text: Some years later, Humbert receives a letter from Mrs. Richard T. Schiller, Lolita's married name. She writes that she is now married to a man named Dick and that she is pregnant and in desperate need of money. Humbert travels to their home and demands that she tell him who kidnapped her three years earlier. She tells him it was Clare Quilty, the man that was following them, who is a famous playwright and with whom her mother had a fling in Ramsdale. She states Quilty is also the one who disguised himself as Dr. Zempf, the pushy stranger who kept crossing their path. Lolita admits she was infatuated by Quilty and also carried on an affair with him at Beardsley, then left the hospital with him when he promised her a Hollywood contract. However, he then demanded she join his bohemian lifestyle, including acting in his "art" films, which she refused.


title: Lolita (1962 film)

text: Humbert begs Lolita to leave her husband and come away with him. She declines, reminding him that she has a baby due in three months, but apologizes for cheating. Humbert gives Lolita $13,000, explaining it is her money from the sale of her mother's house, and leaves to go shoot Quilty in his mansion. Intertitles explain that Humbert died of coronary thrombosis awaiting trial for Quilty's murder.


title: Lolita (1962 film)

text: With Nabokov's consent, Kubrick changed the order in which events unfolded by moving what was the novel's ending to the start of the film. Kubrick determined that while this sacrificed a great ending, it helped maintain interest, as he believed that interest in the novel sagged halfway through once Humbert “seduced” Lolita.


title: Lolita (1962 film)

text: The second half contains an odyssey across the United States and though the novel was set in the 1940s, Kubrick gave it a contemporary setting, shooting many of the exterior scenes in England with some back-projected scenery shot in the United States, including upstate eastern New York, along NY 9N in the eastern Adirondacks and a hilltop view of Albany from Rensselaer, on the east bank of the Hudson. Some of the minor parts were played by Canadian and American actors, such as Cec Linder, Lois Maxwell, Jerry Stovin and Diana Decker, who were based in England at the time. Kubrick had to film in England, as much of the money to finance the movie was not only raised there but also had to be spent there. In addition, Kubrick was living in England at the time, and suffered from a deathly fear of flying. Hilfield Castle featured in the film as Quilty's "Pavor Manor".


title: Lolita (1962 film)

text: Mason was the first choice of Kubrick and producer Harris for the role of Humbert Humbert, but he initially declined due to a Broadway engagement while recommending his daughter, Portland, for the role of Lolita. Laurence Olivier then refused the part, apparently on the advice of his agents. Kubrick considered Peter Ustinov but decided against him. Harris then suggested David Niven; Niven accepted the part but then withdrew for fear the sponsors of his TV show, "Four Star Playhouse" (1952), would object. Noël Coward and Rex Harrison were also considered. Mason then withdrew from his play and got the part.


title: Lolita (1962 film)

text: The role of Clare Quilty was greatly expanded from that in the novel and Kubrick allowed Sellers to adopt a variety of disguises throughout the film. Early on in the film, Quilty appears as himself: a conceited, avant-garde playwright with a superior manner. Later he is an inquisitive policeman on the porch of the hotel, where Humbert and Lolita are staying. Next he is the intrusive Beardsley High School psychologist, Doctor Zempf, who lurks in Humbert's front room, to persuade him to give Lolita more freedom in her after-school activities. He is then seen as a photographer backstage at Lolita's play. Later in the film, he is an anonymous phone caller conducting a survey.


title: Lolita (1962 film)

text: Jill Haworth was asked to take the role of Lolita but she was under contract to Otto Preminger and he said "no". Although Vladimir Nabokov originally thought that Sue Lyon was the right selection to play Lolita, years later Nabokov said that the ideal Lolita would have been Catherine Demongeot, a French actress who had played Zazie in "Zazie in the Metro" (1960), followed by only a few more films.


title: Lolita (1962 film)

text: At the time the film was released, the ratings system was not in effect and the Hays Code, dating back to the 1930s, governed movie production. The censorship of the time inhibited Kubrick's direction; Kubrick later commented that, "because of all the pressure over the Production Code and the Catholic Legion of Decency at the time, I believe I didn't sufficiently dramatize the erotic aspect of Humbert's relationship with Lolita. If I could do the film over again, I would have stressed the erotic component of their relationship with the same weight Nabokov did." Kubrick hinted at the nature of their relationship indirectly, through double entendre and visual cues such as Humbert painting Lolita's toes. In a 1972 "Newsweek" interview (after the ratings system had been introduced in late 1968), Kubrick said that he "probably wouldn't have made the film" had he realized in advance how difficult the censorship problems would be.


title: Lolita (1962 film)

text: The film is deliberately vague over Lolita's age. Kubrick commented, "I think that some people had the mental picture of a nine-year-old, but Lolita was twelve and a half in the book; Sue Lyon was thirteen." Actually, Lyon was 14 by the time filming started and 15 when it finished. Although passed without cuts, "Lolita" was rated "X" by the British Board of Film Censors when released in 1962, meaning no one under 18 years of age was permitted to watch.


title: Lolita (1962 film)

text: Humbert uses the term "nymphet" to describe Lolita, which he explains and uses in the novel; it appears twice in the movie and its meaning is left undefined. In a voice-over on the morning after the Ramsdale High School dance, Humbert confides in his diary, "What drives me insane is the twofold nature of this nymphet, of every nymphet perhaps, this mixture in my Lolita of tender, dreamy childishness and a kind of eerie vulgarity. I know it is madness to keep this journal, but it gives me a strange thrill to do so. And only a loving wife could decipher my microscopic script."


title: Lolita (1962 film)

text: The screenplay is credited to Nabokov, although very little of what he provided (later published in a shortened version) was used in the film itself. Nabokov, following the success of the novel, moved out to Hollywood and penned a script for a film adaptation between March and September 1960. The first draft was extremely long—over 400 pages. As producer Harris remarked, "You couldn't make it. You couldn't "lift" it". Nabokov remained polite about the film in public but in a 1962 interview before seeing the film, commented that it may turn out to be "the swerves of a scenic drive as perceived by the horizontal passenger of an ambulance". Kubrick and Harris rewrote the script themselves, writing carefully to satisfy the needs of the censor.


title: Lolita (1962 film)

text: There are many differences between the Kubrick-Harris film adaptation and Nabokov's novel, including some events that were entirely omitted. Most of the sexually explicit innuendos, references and episodes in the book were taken out of the film because of the strict censorship of the 1960s; the sexual relationship between Lolita and Humbert is implied and never depicted graphically on the screen. In addition, some events in the film differ from the novel, and there are also changes in Lolita's character. Some of the differences are listed below:


title: Lolita (1962 film)

text: Lolita's age was raised from 12 to early teens in the film to meet MPAA standards. Kubrick had been warned that censors felt strongly about using a more physically developed actress, who would be seen to be at least 14. As such, Sue Lyon was chosen for the title role, partly due to her more mature appearance.


title: Lolita (1962 film)

text: The name "Lolita" is used only by Humbert as a private pet nickname in the novel, whereas in the film several of the characters refer to her by that name. In the book, she is referred to simply as "Lo" or "Lola" or "Dolly" by the other characters. Various critics, such as Susan Sweeney, have observed that since she never calls herself "Lolita", Humbert's pet name denies her subjectivity. Generally, the novel gives little information about her feelings.


title: Lolita (1962 film)

text: The film is not especially focused on Lolita's feelings. In the medium of film, her character is inevitably fleshed out somewhat from the cipher that she remains in the novel. Nonetheless, Kubrick actually omits the few vignettes in the novel in which Humbert's solipsistic bubble is burst and one catches glimpses of Lolita's personal misery. Susan Bordo writes, "Kubrick chose not to include any of the vignettes from the novel which bring Lolita's misery to the forefront, nudging Humbert's obsession temporarily off center-stage. ...Nabokov's wife, Vera, insisted—rightly—on 'the pathos of Lolita's utter loneliness.'... In Kubrick's film, one good sobfest and dead mommy is forgotten. Humbert, to calm her down, has promised her a brand-new hi-fi and all the latest records. The same scene in the novel ends with Lolita sobbing, "despite" Humbert having plied her with gifts all day." Bordo goes on to say "Emphasizing Lolita's sadness and loss would not have jibed, of course, with the film's dedication to inflecting the 'dark' with the comic; it would have altered the overwhelmingly ironic, anti-sentimental character of the movie." When the novel briefly gives us evidence of Lolita's sadness and misery, Humbert glosses over it but the film omits nearly all of these episodes.


title: Lolita (1962 film)

text: Critic Greg Jenkins believes that Humbert is imbued with a fundamental likability in this film that he does not necessarily have in the novel. He has a debonair quality in the film, while in the novel he can be perceived as much more repulsive. Humbert's two mental breakdowns leading to sanatorium stays before meeting Lolita are entirely omitted in the film, as are his earlier unsuccessful relationships with women his own age whom he refers to in the novel as "terrestrial women" through which he tried to stabilize himself. His lifelong complexes around young girls are largely concealed in the film, and Lolita appears older than her novelistic counterpart, both leading Jenkins to comment "A story originally told from the edge of a moral abyss is fast moving toward safer ground." In short, the novel early flags Humbert as both mentally unsound and obsessively infatuated with young girls in a way the film never does.


title: Lolita (1962 film)

text: Jenkins notes that Humbert even seems a bit more dignified and restrained than other residents of Ramsdale, particularly Lolita's aggressive mother, in a way that invites the audience to sympathize with Humbert. Humbert is portrayed as someone urbane and sophisticated trapped in a provincial small town populated by slightly lecherous people, a refugee from Old World Europe in an especially crass part of the New World. For example, Lolita's piano teacher comes across in the film as aggressive and predatory compared to which Humbert seems fairly restrained. The film character of John Farlow talks suggestively of "swapping partners" at a dance in a way that repels Humbert. Jenkins believes that in the film it is Quilty, not Humbert, who acts as the embodiment of evil. The expansion of Quilty's character and the way Quilty torments Humbert also invites the audience to sympathize with Humbert.


title: Lolita (1962 film)

text: Because Humbert narrates the novel, his increased mental deterioration due to anxiety in the entire second half of the story is more obvious from the increasingly desperate tone of his narrative. While the film shows Humbert's increasingly severe attempts to control Lolita, the novel shows more of Humbert's loss of self-control and stability.


title: Lolita (1962 film)

text: Jenkins also notes that some of Humbert's more brutal actions are omitted or changed from the film. For example, in the novel he threatens to send Lolita to a reformatory, while in the film he promises to never send her there. He also notes that Humbert's narrative style in the novel, although elegant, is wordy, rambling, and roundabout, whereas in the film it is "subdued and measured".


title: Lolita (1962 film)

text: The film entirely omits the critical episode in Humbert's life in which at age 14 he was interrupted making love to young Annabel Leigh who shortly thereafter died, and consequently omits all indications that Humbert had a preoccupation with prepubescent girls prior to meeting Dolores Haze. In the novel, Humbert gives his youthful amorous relationship with Annabel Leigh, thwarted by both adult intervention and her death, as the key to his obsession with nymphets. The film's only mention of "nymphets" is an entry in Humbert's diary specifically revolving around Lolita.


title: Lolita (1962 film)

text: Humbert explains that the smell and taste of youth filled his desires throughout adulthood: "that little girl with her seaside limbs and ardent tongue haunted [him] ever since". He thus claims that "Lolita began with Annabel" and that Annabel's spell was broken by "incarnating her in another".


title: Lolita (1962 film)

text: The idea that anything connected with young girls motivated Humbert to accept the job as professor of French Literature at Beardsley College and move to Ramsdale at all is entirely omitted from the film. In the novel he first finds accommodations with the McCoo family because the McCoos have a twelve-year-old daughter, a potential "enigmatic nymphet whom [he] would coach in French and fondle in Humbertish." However, the McCoo house happens to burn down in the few days prior to his arrival, and this is when Mrs. Haze offers to accommodate Humbert.


title: Lolita (1962 film)

text: Susan Bordo has noticed that in order to show the callous and cruel side of Humbert's personality early in the film, Nabokov and Kubrick have shown additional ways in which Humbert behaves monstrously towards her mother, Charlotte Haze. He mocks her declaration of love towards him, and takes a pleasant bath after her accidental death. This effectively replaces the voice-overs in which he discusses his plans to seduce and molest Lolita as a means of establishing Humbert as manipulative, scheming, and selfish. However, Greg Jenkins has noted that Humbert's response to Charlotte's love note in the film is still much kinder than that in the novel, and that the film goes to significant lengths to make Charlotte unlikable.


title: Lolita (1962 film)

text: Quilty's role is greatly magnified in the film and brought into the foreground of the narrative. In the novel Humbert catches only brief uncomprehending glimpses of his nemesis before their final confrontation at Quilty's home, and the reader finds out about Quilty late in the narrative along with Humbert. Quilty's role in the story is made fully explicit from the beginning of the film, rather than being a concealed surprise twist near the end of the tale. In a 1962 interview with Terry Southern, Kubrick describes his decision to expand Quilty's role, saying "just beneath the surface of the story was this strong secondary narrative thread possible—because after Humbert seduces her in the motel, or rather after she seduces him, the big question has been answered—so it was good to have this narrative of mystery continuing after the seduction." This magnifies the book's theme of Quilty as a dark double of Humbert, mirroring all of Humbert's worst qualities, a theme which preoccupied Kubrick.


title: Lolita (1962 film)

text: The film opens with a scene near the end of the story, Humbert's murder of Quilty. This means that the film shows Humbert as a murderer "before" showing us Humbert as a seducer of minors, and the film sets up the viewer to frame the following flashback as an explanation for the murder. The film then goes back to Humbert's first meeting with Charlotte Haze and continues chronologically until the final murder scene is presented once again. The book, narrated by Humbert, presents events in chronological order from the very beginning, opening with Humbert's life as a child. While Humbert hints throughout the novel that he has committed murder, its actual circumstances are not described until near the very end. NPR's Bret Anthony Johnston notes that the novel is sort of an inverted murder mystery: the reader knows someone has been killed, but the reader has to wait to find out who the victim is.


title: Lolita (1962 film)

text: Similarly, the online Doubleday publisher's reading guide to "Lolita" notes "the mystery of Quilty's identity turns this novel into a kind of detective story (in which the protagonist is both detective and criminal)." This effect is, of course, lost in the Kubrick film.


title: Lolita (1962 film)

text: In the novel, Miss Pratt, the school principal at Beardsley, discusses with Humbert Dolores's behavioral issues and among other things persuades Humbert to allow her to participate in the dramatics group, especially one upcoming play. In the film, this role is replaced by Quilty disguised as a school psychologist named "Dr. Zempf". This disguise does not appear in the novel at all. In both versions, a claim is made that Lolita appears to be "sexually repressed", as she mysteriously has no interest in boys. Both Dr. Zempf and Miss Pratt express the opinion that this aspect of her youth should be developed and stimulated by dating and participating in the school's social activities. While Pratt mostly wants Humbert to let Dolores generally into the dramatic group, Quilty (as Zempf) is specifically focused on the high school play (written by Quilty and produced with some supervision from him) which Lolita has secretly rehearsed for (in both the film and novel). In the novel Miss Pratt naïvely believes this talk about Dolores' "sexual repression", while Quilty in his disguise knows the truth. Although Peter Sellers is playing only one character in this film, Quilty's disguise as Dr. Zempf allows him to employ a mock German accent that is quintessentially in the style of Sellers's acting.


title: Lolita (1962 film)

text: With regard to this scene, playwright Edward Albee's 1981 stage adaptation of the novel follows Kubrick's film rather than the novel.


title: Lolita (1962 film)

text: The movie retains the novel's theme of Quilty (anonymously) goading Humbert's conscience on many occasions, though the details of how this theme is played out are quite different in the film. He has been described as "an emanation of Humbert's guilty conscience", and Humbert describes Quilty in the novel as his "shadow".


title: Lolita (1962 film)

text: The first and last word of the novel is "Lolita". As film critic Greg Jenkins has noted, in contrast to the novel, the first and last word of the screenplay is "Quilty".


title: Lolita (1962 film)

text: In the novel, Humbert and Charlotte go swimming in Hourglass Lake, where Charlotte announces she will ship Lo off to a good boarding school; that part takes place in bed in the film. Humbert's contemplation of possibly killing Charlotte similarly takes place at Hourglass Lake in the book, but at home in the film. This difference affects Humbert's contemplated method of killing Charlotte. In the book he is tempted to drown her in the lake, whereas in the film he considers the possibility of shooting her with a pistol while in the house, in both scenarios concluding that he could never bring himself to do it. In his biography of Kubrick, Vincent LoBrutto notes that Kubrick tried to recreate Hourglass Lake in a studio, but became uncomfortable shooting such a pivotally important exterior scene in the studio, so he refashioned the scene to take place at home. Susan Bordo notes that after Charlotte's actual death in the film, two neighbors see Humbert's gun and falsely conclude Humbert is contemplating suicide, while in fact he had been contemplating killing Charlotte with it.


title: Lolita (1962 film)

text: The same attempted killing of Charlotte appears in the "Deleted Scenes" section of the DVD of the 1997 film (now put back at Hourglass Lake). In the novel Humbert really considers killing Charlotte and later Lolita accuses Humbert of having deliberately killed her. Only the first scene is in the 1962 film and only the latter scene appears in the 1997 film.


title: Lolita (1962 film)

text: Lolita's friend, Mona Dahl, is a friend in Ramsdale (the first half of the story) in the film and disappears quite early in the story. In the film, Mona is simply the host of a party which Lolita abandons early in the story. Mona is a friend of Lolita's in Beardsley (the second half of the story) in the novel. In the novel Mona is active in the school play, Lolita tells Humbert stories about Mona's love life, and Humbert notes Mona had "long since ceased" to be (if ever she was) a "nymphet". Mona has already had an affair with a Marine and appears to be flirting with Humbert. She keeps Lolita's secrets and helps Lolita lie to Humbert when Humbert discovers that Lolita has been missing her piano lessons. In the film, Mona in the second half seems to have been replaced by a "Michele" who is also in the play and having an affair with a Marine and backs up Lolita's fibs to Humbert. Film critic Greg Jenkins claims that Mona has simply been entirely eliminated from the film.


title: Lolita (1962 film)

text: Humbert is suspicious that Lolita is developing an interest in boys at various times throughout the story. He suspects no one in particular in the novel. In the film, he is twice suspicious of a pair of boys, Rex and Roy, who hang out with Lolita and her friend Michele. In the novel, Mona has a friend named Roy.


title: Lolita (1962 film)

text: In the novel, the first mutual attraction between Humbert and Lolita begins because Humbert resembles a celebrity she likes. In the film, it occurs at a drive-in horror film when she grabs his hand. The scene is from Christopher Lee's "The Curse of Frankenstein" when the monster removes his mask. Christine Lee Gengaro proposes that this suggests that Humbert is a monster in a mask, and the same theory is developed at greater length by Jason Lee. As in the novel, Lolita shows affection for Humbert before she departs for summer camp.


title: Lolita (1962 film)

text: In the novel, both the hotel at which Humbert and Dolores first have relations and the stage-play by Quilty for which Dolores prepares to perform in at her high school is called "The Enchanted Hunter". However, in the novel school headmistress Pratt erroneously refers to the play as "The Hunted Enchanter". In Kubrick's film, the hotel bears the same name as in the novel, but now the play really is called "The Hunted Enchanter". Both names are established only through signage – the banner for the police convention at the hotel and the marquee for the play – the names are never mentioned in dialogue.


title: Lolita (1962 film)

text: The relationships between Humbert and other women before and after Lolita are omitted from the film. Greg Jenkins sees this as part of Kubrick's general tendency to simplify his narratives, also noting that the novel therefore gives us a more "seasoned" view of Humbert's taste in women.


title: Lolita (1962 film)

text: Only the film has a police convention at the hotel where Humbert’s moral crisis comes to a head: whether to allow Lolita to seduce him, or to instead reject her advances and choose to behave as best he can as her stepfather. Kubrick scholar Michel Ciment sees this as typical of Kubrick's general tendency to assail authority figures.


title: Lolita (1962 film)

text: Lolita completes the school play (written by Clare Quilty) in the film, but drops out prior to finishing it in the novel. In the film, we see that Quilty's play has suggestive symbolism, and Humbert's confrontation with Lolita over her missing her piano lessons occurs after her triumphal debut in the play's premiere.


title: Lolita (1962 film)

text: The music for the film was composed by Nelson Riddle (the main theme was by Bob Harris). The recurring dance number first heard on the radio when Humbert meets Lolita in the garden later became a hit single under the name "Lolita Ya Ya" with Sue Lyon credited with the singing on the single version. The flip side was a 60s-style light rock song called "Turn off the Moon" also sung by Sue Lyon. "Lolita Ya Ya" was later recorded by other bands; it was also a hit single for The Ventures, reaching 61 on the "Billboard" Hot 100. A review in "Billboard" stated, "There've been a number of versions of the title tune from the hit film "Lolita" but this figures the strongest to date. The usual Ventures guitar sound is neatly augmented with voices."


title: Lolita (1962 film)

text: "Lolita" premiered on June 13, 1962, in New York City (the copyright date onscreen is 1961). It performed fairly well with little advertising, relying mostly on word-of-mouth; many critics seemed uninterested or dismissive of the film while others gave it glowing reviews. However, the film was very controversial, due to the hebephilia-related content.


title: Lolita (1962 film)

text: Among the positive reviews, Bosley Crowther of "The New York Times" wrote that the film was "conspicuously different" from the novel and had "some strange confusions of style and mood", but nevertheless had "a rare power, a garbled but often moving push toward an off-beat communication." Richard L. Coe of "The Washington Post" called it "a peculiarly brilliant film", with a tone "not of hatred, but of mocking true. Director and author have a viewpoint on modern life that is not flattering but it is not despising, either. It is regret for the human comedy." Philip K. Scheuer of the "Los Angeles Times" declared that the film "manages to hit peaks of comedy shrilly dissonant but on an adult level, that are rare indeed, and at the same time to underline the tragedy in human communication, human communion, between people who've got their signals hopelessly crossed." "The Monthly Film Bulletin" wrote that the primary themes of the film were "obsession and incongruity", and since Kubrick was "an intellectual director with little feeling for erotic tension ... one is the more readily disposed to accept Kubrick's alternative approach as legitimate." In a generally positive review for "The New Yorker", Brendan Gill wrote that "Kubrick is wonderfully self-confident; his camera having conveyed to us within the first five minutes that it can perform any wonders its master may require of it, he proceeds to offer us a succession of scenes broadly sketched and broadly acted for laughs, and laugh we do, no matter how morbid the circumstances." Arlene Croce in "Sight & Sound" wrote that ""Lolita" is—in its way—a good film." She found Nabokov's screenplay "a model of adaptation" and the cast "near-perfect", though she described Kubrick's attempts at eroticism as "perfunctory and misguided" and thought his "gift for visual comedy is as faint as his depiction of sensuality."


title: Lolita (1962 film)

text: "Variety" had a mixed assessment, calling the film "occasionally amusing but shapeless", and likening it to "a bee from which the stinger has been removed. It still buzzes with a sort of promising irreverence, but it lacks the power to shock and eventually makes very little point either as comedy or satire." "Harrison's Reports" was negative, writing, "You don't have to be an emulating, prissyish uncle from Dubuque to say that the film leaves you with a feeling that is repulsively disgusting in much of its telling," adding that "even if the exhibitor makes a dollar on the booking, he may feel a sense of shame as he plods his weary way down to the bank." Stanley Kauffmann of "The New Republic" called Lolita "tantalizingly unsatisfactory".


title: Lolita (1962 film)

text: The film has been re-appraised by critics over time, and currently has a score of 91% on review aggregator website Rotten Tomatoes based on 43 reviews and with an average rating of 7.81/10. The critical consensus reads: "Kubrick's "Lolita" adapts its seemingly unadaptable source material with a sly comedic touch and a sterling performance by James Mason that transforms the controversial novel into something refreshingly new without sacrificing its essential edge." Metacritic gives the film a score of 79 out of 100, based on reviews by 14 critics, indicating "generally favorable reviews". Filmmaker David Lynch has said that "Lolita" is his favourite Kubrick film.


title: Lolita (1962 film)

text: The film was a commercial success. Produced on a budget of around $2 million, "Lolita" grossed $9,250,000 domestically. During its initial run, the movie earned an estimated $4.5 million in North American rentals.


title: Lolita (1962 film)

text: Years after the film's release it has been re-released on VHS, Laserdisc, DVD, and Blu-ray. It earned $3.7 million in rentals in the US on VHS.


title: Lolita (1962 film)

text: "Lolita" was filmed again in 1997, directed by Adrian Lyne, starring Jeremy Irons as Humbert, Melanie Griffith as Charlotte and Dominique Swain as Lolita. The film was widely publicized as being more faithful to Nabokov than the Kubrick film. Although many observed this was the case (such as Erica Jong writing in "The New York Observer"), the film was not as well received as Kubrick's version, and was a major box office bomb, first shown on the Showtime cable network, then released theatrically, grossing only $1 million at the US box office based on a $62 million budget.


title: The Lincoln Lawyer (TV series)

text: The Lincoln Lawyer is an American legal drama streaming television series created for television by David E. Kelley and developed by Ted Humphrey, based on the 2008 novel "The Brass Verdict" by Michael Connelly, a sequel to his novel "The Lincoln Lawyer". It stars Manuel Garcia-Rulfo as Mickey Haller, a defense attorney in Los Angeles who works out of a chauffeur-driven Lincoln Navigator rather than an office. Neve Campbell, Becki Newton, Jazz Raycole, Angus Sampson, and Christopher Gorham also star.


title: The Lincoln Lawyer (TV series)

text: It premiered on Netflix on May 13, 2022. It received generally positive reviews from critics. In June 2022, the series was renewed for a second season which has been reported to be based upon Connelly's 2011 novel, "The Fifth Witness" (the fourth book in "The Lincoln Lawyer" series of books); it is expected to be available to stream in 2023.


title: The Lincoln Lawyer (TV series)

text: In 2018, David E. Kelley wrote a spec script for a television series set up at Epix by A+E Studios. When the script failed to move forward, he decided to work on a different project with A+E, ultimately adapting "The Lincoln Lawyer" after sharing his interests in working on legal dramas. In June 2019, the project was given a series production commitment by CBS. In February 2020, Ted Humphrey came aboard as showrunner and Kiele Sanchez joined the cast as Lorna, with Angus Sampson and Jazz Raycole joining a few weeks later as Cisco and Izzy, respectively. In May 2020, it was reported that the series would not be going forward at CBS due to the COVID-19 pandemic in the United States.


title: The Lincoln Lawyer (TV series)

text: At the time of the decision, which CBS Entertainment President Kelly Kahl called a "tough call," two scripts for the series had been written, with two more in development, and Logan Marshall-Green had been in negotiations to star as main character Mickey Haller. On January 11, 2021, Netflix picked up the series with a 10-episode order, down from the original 13-episode plan, and announced that Manuel Garcia-Rulfo would star as Haller. In February 2021, Neve Campbell and Becki Newton joined the cast, with Raycole and Sampson returning to the series. Christopher Gorham was cast in March. In April, Ntare Guma Mbaho Mwine was cast in a role created specifically for the series, with LisaGay Hamilton, Jamie McShane, and Reggie Lee joining the cast in recurring roles. Krista Warner was cast in May.


title: The Lincoln Lawyer (TV series)

text: On June 14, 2022, Netflix renewed the series for a second season, which will be based on "The Fifth Witness".


title: The Lincoln Lawyer (TV series)

text: "The Lincoln Lawyer" began filming in Los Angeles on March 30, 2021. That same day, author Michael Connelly revealed on social media that the COVID-19 pandemic had previously delayed principal photography for around a year. On June 8, 2021, Connelly said in an interview that six out of the ten episodes had been filmed, of which three of them had been edited completely, while also confirming that characters in the Amazon Prime Video series "Bosch", including Haller's half-brother Harry Bosch (portrayed by Titus Welliver), would not be making appearances as both shows are from different networks. Filming concluded on August 3, 2021. Notable filming locations included Admiralty Way in Marina del Rey, Spring Street in Downtown Los Angeles, Grand Avenue, the Wilshire Ebell Theatre, and Wilshire Boulevard.


title: The Lincoln Lawyer (TV series)

text: In August 2021, A+E Studios subsidiary Frankl & Bob Films II, LLC filed a lawsuit against ViacomCBS for "millions of dollars" in losses after it decided to not move forward with the series the previous year. Citing the company's creation on December 4, 2019, the documents state that "after the merger, ViacomCBS's new leadership, led by [George Cheeks] had second-guessed CBS Network's decision to enter into the 13-episode series commitment," and that after finding it "was not valuable to ViacomCBS ... Mr. Cheeks and his fellow ViacomCBS executives decided that it would be better for ViacomCBS as a whole if CBS Network breached that commitment." The documents also claim that ViacomCBS rejected the series because the first episode had not been filmed and said "that breach ensured that the series would never make it onto broadcast television."


title: The Lincoln Lawyer (TV series)

text: By its first three days of release, the series finished #2 on Netflix's weekly ratings. In its first full week of streaming, it was the platform's most-watched English-language series globally, with over 108 million viewing hours, more than three times the second-place show. Between May 8 and June 5, 2022 the series was watched 260.53 million hours globally.


title: The Lincoln Lawyer (TV series)

text: Metacritic, which uses a weighted average, assigned a score of 62 out of 100 based on 16 critics, indicating "generally favorable reviews".


title: Steam engine

text: A steam engine is a heat engine that performs mechanical work using steam as its working fluid. The steam engine uses the force produced by steam pressure to push a piston back and forth inside a cylinder. This pushing force can be transformed, by a connecting rod and crank, into rotational force for work. The term "steam engine" is generally applied only to reciprocating engines as just described, not to the steam turbine. Steam engines are external combustion engines, where the working fluid is separated from the combustion products. The ideal thermodynamic cycle used to analyze this process is called the Rankine cycle. In general usage, the term "steam engine" can refer to either complete steam plants (including boilers etc.), such as railway steam locomotives and portable engines, or may refer to the piston or turbine machinery alone, as in the beam engine and stationary steam engine.


title: Steam engine

text: Although steam-driven devices were known as early as the aeolipile in the first century AD, with a few other uses recorded in the 16th century, in 1606 Jerónimo de Ayanz y Beaumont patented his invention of the first steam-powered water pump for draining mines. Thomas Savery is considered the inventor of the first commercially used steam powered device, a steam pump that used steam pressure operating directly on the water. The first commercially successful engine that could transmit continuous power to a machine was developed in 1712 by Thomas Newcomen. James Watt made a critical improvement in 1764, by removing spent steam to a separate vessel for condensation, greatly improving the amount of work obtained per unit of fuel consumed. By the 19th century, stationary steam engines powered the factories of the Industrial Revolution. Steam engines replaced sails for ships on paddle steamers, and steam locomotives operated on the railways.


title: Steam engine

text: Reciprocating piston type steam engines were the dominant source of power until the early 20th century, when advances in the design of electric motors and internal combustion engines resulted in the gradual replacement of steam engines in commercial usage. Steam turbines replaced reciprocating engines in power generation, due to lower cost, higher operating speed, and higher efficiency.


title: Steam engine

text: One recorded rudimentary steam-powered "engine" was the aeolipile described by Hero of Alexandria, a Greek mathematician and engineer in Roman Egypt in the first century AD. In the following centuries, the few steam-powered "engines" known were, like the aeolipile, essentially experimental devices used by inventors to demonstrate the properties of steam.


title: Steam engine

text: A rudimentary steam turbine device was described by Taqi al-Din in Ottoman Egypt in 1551 and by Giovanni Branca in Italy in 1629. The Spanish inventor Jerónimo de Ayanz y Beaumont received patents in 1606 for 50 steam-powered inventions, including a water pump for draining inundated mines. Denis Papin, a Huguenot, did some useful work on the steam digester in 1679, and first used a piston to raise weights in 1690.


title: Steam engine

text: The first commercial steam-powered device was a water pump, developed in 1698 by Thomas Savery. It used condensing steam to create a vacuum which raised water from below and then used steam pressure to raise it higher. Small engines were effective though larger models were problematic. They had a very limited lift height and were prone to boiler explosions. Savery's engine was used in mines, pumping stations and supplying water to water wheels powering textile machinery. Savery's engine was of low cost. Bento de Moura Portugal introduced an improvement of Savery's construction "to render it capable of working itself", as described by John Smeaton in the Philosophical Transactions published in 1751. It continued to be manufactured until the late 18th century. At least one engine was still known to be operating in 1820.


title: Steam engine

text: The first commercially successful engine that could transmit continuous power to a machine was the atmospheric engine, invented by Thomas Newcomen around 1712. It improved on Savery's steam pump, using a piston as proposed by Papin. Newcomen's engine was relatively inefficient, and mostly used for pumping water. It worked by creating a partial vacuum by condensing steam under a piston within a cylinder. It was employed for draining mine workings at depths originally impractical using traditional means, and for providing reusable water for driving waterwheels at factories sited away from a suitable "head". Water that passed over the wheel was pumped up into a storage reservoir above the wheel.


title: Steam engine

text: In 1780 James Pickard patented the use of a flywheel and crankshaft to provide rotative motion from an improved Newcomen engine.


title: Steam engine

text: In 1720, Jacob Leupold described a two-cylinder high-pressure steam engine. The invention was published in his major work "Theatri Machinarum Hydraulicarum". The engine used two heavy pistons to provide motion to a water pump. Each piston was raised by the steam pressure and returned to its original position by gravity. The two pistons shared a common four-way rotary valve connected directly to a steam boiler.


title: Steam engine

text: The next major step occurred when James Watt developed (1763–1775) an improved version of Newcomen's engine, with a separate condenser. Boulton and Watt's early engines used half as much coal as John Smeaton's improved version of Newcomen's. Newcomen's and Watt's early engines were "atmospheric". They were powered by air pressure pushing a piston into the partial vacuum generated by condensing steam, instead of the pressure of expanding steam. The engine cylinders had to be large because the only usable force acting on them was atmospheric pressure.


title: Steam engine

text: Watt developed his engine further, modifying it to provide a rotary motion suitable for driving machinery. This enabled factories to be sited away from rivers, and accelerated the pace of the Industrial Revolution.


title: Steam engine

text: The meaning of high pressure, together with an actual value above ambient, depends on the era in which the term was used. For early use of the term Van Reimsdijk refers to steam being at a sufficiently high pressure that it could be exhausted to atmosphere without reliance on a vacuum to enable it to perform useful work. states that Watt's condensing engines were known, at the time, as low pressure compared to high pressure, non-condensing engines of the same period.


title: Steam engine

text: Watt's patent prevented others from making high pressure and compound engines. Shortly after Watt's patent expired in 1800, Richard Trevithick and, separately, Oliver Evans in 1801 introduced engines using high-pressure steam; Trevithick obtained his high-pressure engine patent in 1802, and Evans had made several working models before then. These were much more powerful for a given cylinder size than previous engines and could be made small enough for transport applications. Thereafter, technological developments and improvements in manufacturing techniques (partly brought about by the adoption of the steam engine as a power source) resulted in the design of more efficient engines that could be smaller, faster, or more powerful, depending on the intended application.


title: Steam engine

text: The Cornish engine was developed by Trevithick and others in the 1810s. It was a compound cycle engine that used high-pressure steam expansively, then condensed the low-pressure steam, making it relatively efficient. The Cornish engine had irregular motion and torque through the cycle, limiting it mainly to pumping. Cornish engines were used in mines and for water supply until the late 19th century.


title: Steam engine

text: Early builders of stationary steam engines considered that horizontal cylinders would be subject to excessive wear. Their engines were therefore arranged with the piston axis in vertical position. In time the horizontal arrangement became more popular, allowing compact, but powerful engines to be fitted in smaller spaces.


title: Steam engine

text: The acme of the horizontal engine was the Corliss steam engine, patented in 1849, which was a four-valve counter flow engine with separate steam admission and exhaust valves and automatic variable steam cutoff. When Corliss was given the Rumford Medal, the committee said that "no one invention since Watt's time has so enhanced the efficiency of the steam engine". In addition to using 30% less steam, it provided more uniform speed due to variable steam cut off, making it well suited to manufacturing, especially cotton spinning.


title: Steam engine

text: The first experimental road-going steam-powered vehicles were built in the late 18th century, but it was not until after Richard Trevithick had developed the use of high-pressure steam, around 1800, that mobile steam engines became a practical proposition. The first half of the 19th century saw great progress in steam vehicle design, and by the 1850s it was becoming viable to produce them on a commercial basis. This progress was dampened by legislation which limited or prohibited the use of steam-powered vehicles on roads. Improvements in vehicle technology continued from the 1860s to the 1920s. Steam road vehicles were used for many applications. In the 20th century, the rapid development of internal combustion engine technology led to the demise of the steam engine as a source of propulsion of vehicles on a commercial basis, with relatively few remaining in use beyond the Second World War. Many of these vehicles were acquired by enthusiasts for preservation, and numerous examples are still in existence. In the 1960s, the air pollution problems in California gave rise to a brief period of interest in developing and studying steam-powered vehicles as a possible means of reducing the pollution. Apart from interest by steam enthusiasts, the occasional replica vehicle, and experimental technology, no steam vehicles are in production at present.


title: Steam engine

text: Near the end of the 19th century, compound engines came into widespread use. Compound engines exhausted steam into successively larger cylinders to accommodate the higher volumes at reduced pressures, giving improved efficiency. These stages were called expansions, with double- and triple-expansion engines being common, especially in shipping where efficiency was important to reduce the weight of coal carried. Steam engines remained the dominant source of power until the early 20th century, when advances in the design of the steam turbine, electric motors and internal combustion engines gradually resulted in the replacement of reciprocating (piston) steam engines, with merchant shipping relying increasingly upon diesel engines, and warships on the steam turbine.


title: Steam engine

text: As the development of steam engines progressed through the 18th century, various attempts were made to apply them to road and railway use. In 1784, William Murdoch, a Scottish inventor, built a model steam road locomotive. An early working model of a steam rail locomotive was designed and constructed by steamboat pioneer John Fitch in the United States probably during the 1780s or 1790s.


title: Steam engine

text: The first full-scale working railway steam locomotive was built by Richard Trevithick in the United Kingdom and, on 21 February 1804, the world's first railway journey took place as Trevithick's unnamed steam locomotive hauled a train along the tramway from the Pen-y-darren ironworks, near Merthyr Tydfil to Abercynon in south Wales. The design incorporated a number of important innovations that included using high-pressure steam which reduced the weight of the engine and increased its efficiency. Trevithick visited the Newcastle area later in 1804 and the colliery railways in north-east England became the leading centre for experimentation and development of steam locomotives.


title: Steam engine

text: Trevithick continued his own experiments using a trio of locomotives, concluding with the Catch Me Who Can in 1808. Only four years later, the successful twin-cylinder locomotive "Salamanca" by Matthew Murray was used by the edge railed rack and pinion Middleton Railway. In 1825 George Stephenson built the "Locomotion" for the Stockton and Darlington Railway. This was the first public steam railway in the world and then in 1829, he built "The Rocket" which was entered in and won the Rainhill Trials. The Liverpool and Manchester Railway opened in 1830 making exclusive use of steam power for both passenger and freight trains.


title: Steam engine

text: Steam locomotives continued to be manufactured until the late twentieth century in places such as China and the former East Germany (where the DR Class 52.80 was produced).


title: Steam engine

text: The final major evolution of the steam engine design was the use of steam turbines starting in the late part of the 19th century. Steam turbines are generally more efficient than reciprocating piston type steam engines (for outputs above several hundred horsepower), have fewer moving parts, and provide rotary power directly instead of through a connecting rod system or similar means. Steam turbines virtually replaced reciprocating engines in electricity generating stations early in the 20th century, where their efficiency, higher speed appropriate to generator service, and smooth rotation were advantages. Today most electric power is provided by steam turbines. In the United States, 90% of the electric power is produced in this way using a variety of heat sources. Steam turbines were extensively applied for propulsion of large ships throughout most of the 20th century.


title: Steam engine

text: Although the reciprocating steam engine is no longer in widespread commercial use, various companies are exploring or exploiting the potential of the engine as an alternative to internal combustion engines.


title: Steam engine

text: There are two fundamental components of a steam plant: the boiler or steam generator, and the "motor unit", referred to itself as a "steam engine". Stationary steam engines in fixed buildings may have the boiler and engine in separate buildings some distance apart. For portable or mobile use, such as steam locomotives, the two are mounted together.


title: Steam engine

text: The widely used reciprocating engine typically consisted of a cast-iron cylinder, piston, connecting rod and beam or a crank and flywheel, and miscellaneous linkages. Steam was alternately supplied and exhausted by one or more valves. Speed control was either automatic, using a governor, or by a manual valve. The cylinder casting contained steam supply and exhaust ports.


title: Steam engine

text: Other components are often present; pumps (such as an injector) to supply water to the boiler during operation, condensers to recirculate the water and recover the latent heat of vaporisation, and superheaters to raise the temperature of the steam above its saturated vapour point, and various mechanisms to increase the draft for fireboxes. When coal is used, a chain or screw stoking mechanism and its drive engine or motor may be included to move the fuel from a supply bin (bunker) to the firebox.


title: Steam engine

text: The heat required for boiling the water and raising the temperature of the steam can be derived from various sources, most commonly from burning combustible materials with an appropriate supply of air in a closed space (e.g., combustion chamber, firebox, furnace). In the case of model or toy steam engines and a few full scale cases, the heat source can be an electric heating element.


title: Steam engine

text: Boilers are pressure vessels that contain water to be boiled, and features that transfer the heat to the water as effectively as possible.


title: Steam engine

text: Fire-tube boilers were the main type used for early high-pressure steam (typical steam locomotive practice), but they were to a large extent displaced by more economical water tube boilers in the late 19th century for marine propulsion and large stationary applications.


title: Steam engine

text: Many boilers raise the temperature of the steam after it has left that part of the boiler where it is in contact with the water. Known as superheating it turns 'wet steam' into 'superheated steam'. It avoids the steam condensing in the engine cylinders, and gives a significantly higher efficiency.


title: Steam engine

text: In a steam engine, a piston or steam turbine or any other similar device for doing mechanical work takes a supply of steam at high pressure and temperature and gives out a supply of steam at lower pressure and temperature, using as much of the difference in steam energy as possible to do mechanical work.


title: Steam engine

text: These "motor units" are often called 'steam engines' in their own right. Engines using compressed air or other gases differ from steam engines only in details that depend on the nature of the gas although compressed air has been used in steam engines without change.


title: Steam engine

text: As with all heat engines, the majority of primary energy must be emitted as waste heat at relatively low temperature.


title: Steam engine

text: The simplest cold sink is to vent the steam to the environment. This is often used on steam locomotives to avoid the weight and bulk of condensers. Some of the released steam is vented up the chimney so as to increase the draw on the fire, which greatly increases engine power, but reduces efficiency.


title: Steam engine

text: Sometimes the waste heat from the engine is useful itself, and in those cases, very high overall efficiency can be obtained.


title: Steam engine

text: Steam engines in stationary power plants use surface condensers as a cold sink. The condensers are cooled by water flow from oceans, rivers, lakes, and often by cooling towers which evaporate water to provide cooling energy removal. The resulting condensed hot water ("condensate"), is then pumped back up to pressure and sent back to the boiler. A dry-type cooling tower is similar to an automobile radiator and is used in locations where water is costly. Waste heat can also be ejected by evaporative (wet) cooling towers, which use a secondary external water circuit that evaporates some of flow to the air.


title: Steam engine

text: River boats initially used a jet condenser in which cold water from the river is injected into the exhaust steam from the engine. Cooling water and condensate mix. While this was also applied for sea-going vessels, generally after only a few days of operation the boiler would become coated with deposited salt, reducing performance and increasing the risk of a boiler explosion. Starting about 1834, the use of surface condensers on ships eliminated fouling of the boilers, and improved engine efficiency.


title: Steam engine

text: Evaporated water cannot be used for subsequent purposes (other than rain somewhere), whereas river water can be re-used. In all cases, the steam plant boiler feed water, which must be kept pure, is kept separate from the cooling water or air.


title: Steam engine

text: Most steam boilers have a means to supply water whilst at pressure, so that they may be run continuously. Utility and industrial boilers commonly use multi-stage centrifugal pumps; however, other types are used. Another means of supplying lower-pressure boiler feed water is an injector, which uses a steam jet usually supplied from the boiler. Injectors became popular in the 1850s but are no longer widely used, except in applications such as steam locomotives. It is the pressurization of the water that circulates through the steam boiler that allows the water to be raised to temperatures well above boiling point of water at one atmospheric pressure, and by that means to increase the efficiency of the steam cycle.


title: Steam engine

text: For safety reasons, nearly all steam engines are equipped with mechanisms to monitor the boiler, such as a pressure gauge and a sight glass to monitor the water level.


title: Steam engine

text: Many engines, stationary and mobile, are also fitted with a governor to regulate the speed of the engine without the need for human interference.


title: Steam engine

text: The most useful instrument for analyzing the performance of steam engines is the steam engine indicator. Early versions were in use by 1851, but the most successful indicator was developed for the high speed engine inventor and manufacturer Charles Porter by Charles Richard and exhibited at London Exhibition in 1862. The steam engine indicator traces on paper the pressure in the cylinder throughout the cycle, which can be used to spot various problems and calculate developed horsepower. It was routinely used by engineers, mechanics and insurance inspectors. The engine indicator can also be used on internal combustion engines. See image of indicator diagram below (in "Types of motor units" section).


title: Steam engine

text: The centrifugal governor was adopted by James Watt for use on a steam engine in 1788 after Watt's partner Boulton saw one on the equipment of a flour mill Boulton & Watt were building. The governor could not actually hold a set speed, because it would assume a new constant speed in response to load changes. The governor was able to handle smaller variations such as those caused by fluctuating heat load to the boiler. Also, there was a tendency for oscillation whenever there was a speed change. As a consequence, engines equipped only with this governor were not suitable for operations requiring constant speed, such as cotton spinning. The governor was improved over time and coupled with variable steam cut off, good speed control in response to changes in load was attainable near the end of the 19th century.


title: Steam engine

text: In a simple engine, or "single expansion engine" the charge of steam passes through the entire expansion process in an individual cylinder, although a simple engine may have one or more individual cylinders. It is then exhausted directly into the atmosphere or into a condenser. As steam expands in passing through a high-pressure engine, its temperature drops because no heat is being added to the system; this is known as adiabatic expansion and results in steam entering the cylinder at high temperature and leaving at lower temperature. This causes a cycle of heating and cooling of the cylinder with every stroke, which is a source of inefficiency.


title: Steam engine

text: The dominant efficiency loss in reciprocating steam engines is cylinder condensation and re-evaporation. The steam cylinder and adjacent metal parts/ports operate at a temperature about halfway between the steam admission saturation temperature and the saturation temperature corresponding to the exhaust pressure. As high-pressure steam is admitted into the working cylinder, much of the high-temperature steam is condensed as water droplets onto the metal surfaces, significantly reducing the steam available for expansive work. When the expanding steam reaches low pressure (especially during the exhaust stroke), the previously deposited water droplets that had just been formed within the cylinder/ports now boil away (re-evaporation) and this steam does no further work in the cylinder.


title: Steam engine

text: There are practical limits on the expansion ratio of a steam engine cylinder, as increasing cylinder surface area tends to exacerbate the cylinder condensation and re-evaporation issues. This negates the theoretical advantages associated with a high ratio of expansion in an individual cylinder.


title: Steam engine

text: A method to lessen the magnitude of energy loss to a very long cylinder was invented in 1804 by British engineer Arthur Woolf, who patented his "Woolf high-pressure compound engine" in 1805. In the compound engine, high-pressure steam from the boiler expands in a high-pressure (HP) cylinder and then enters one or more subsequent lower-pressure (LP) cylinders. The complete expansion of the steam now occurs across multiple cylinders, with the overall temperature drop within each cylinder reduced considerably. By expanding the steam in steps with smaller temperature range (within each cylinder) the condensation and re-evaporation efficiency issue (described above) is reduced. This reduces the magnitude of cylinder heating and cooling, increasing the efficiency of the engine. By staging the expansion in multiple cylinders, variations of torque can be reduced. To derive equal work from lower-pressure cylinder requires a larger cylinder volume as this steam occupies a greater volume. Therefore, the bore, and in rare cases the stroke, are increased in low-pressure cylinders, resulting in larger cylinders.


title: Steam engine

text: Double-expansion (usually known as compound) engines expanded the steam in two stages. The pairs may be duplicated or the work of the large low-pressure cylinder can be split with one high-pressure cylinder exhausting into one or the other, giving a three-cylinder layout where cylinder and piston diameter are about the same, making the reciprocating masses easier to balance.


title: Steam engine

text: With two-cylinder compounds used in railway work, the pistons are connected to the cranks as with a two-cylinder simple at 90° out of phase with each other ("quartered"). When the double-expansion group is duplicated, producing a four-cylinder compound, the individual pistons within the group are usually balanced at 180°, the groups being set at 90° to each other. In one case (the first type of Vauclain compound), the pistons worked in the same phase driving a common crosshead and crank, again set at 90° as for a two-cylinder engine. With the three-cylinder compound arrangement, the LP cranks were either set at 90° with the HP one at 135° to the other two, or in some cases, all three cranks were set at 120°.


title: Steam engine

text: The adoption of compounding was common for industrial units, for road engines and almost universal for marine engines after 1880; it was not universally popular in railway locomotives where it was often perceived as complicated. This is partly due to the harsh railway operating environment and limited space afforded by the loading gauge (particularly in Britain, where compounding was never common and not employed after 1930). However, although never in the majority, it was popular in many other countries.


title: Steam engine

text: It is a logical extension of the compound engine (described above) to split the expansion into yet more stages to increase efficiency. The result is the multiple-expansion engine. Such engines use either three or four expansion stages and are known as "triple-" and "quadruple-expansion engines" respectively. These engines use a series of cylinders of progressively increasing diameter. These cylinders are designed to divide the work into equal shares for each expansion stage. As with the double-expansion engine, if space is at a premium, then two smaller cylinders may be used for the low-pressure stage. Multiple-expansion engines typically had the cylinders arranged inline, but various other formations were used. In the late 19th century, the Yarrow-Schlick-Tweedy balancing "system" was used on some marine triple-expansion engines. Y-S-T engines divided the low-pressure expansion stages between two cylinders, one at each end of the engine. This allowed the crankshaft to be better balanced, resulting in a smoother, faster-responding engine which ran with less vibration. This made the four-cylinder triple-expansion engine popular with large passenger liners (such as the "Olympic" class), but this was ultimately replaced by the virtually vibration-free turbine engine. It is noted, however, that triple-expansion reciprocating steam engines were used to drive the World War II Liberty ships, by far the largest number of identical ships ever built. Over 2700 ships were built, in the United States, from a British original design.


title: Steam engine

text: The image in this section shows an animation of a triple-expansion engine. The steam travels through the engine from left to right. The valve chest for each of the cylinders is to the left of the corresponding cylinder.


title: Steam engine

text: Land-based steam engines could exhaust their steam to atmosphere, as feed water was usually readily available. Prior to and during World War I, the expansion engine dominated marine applications, where high vessel speed was not essential. It was, however, superseded by the British invention steam turbine where speed was required, for instance in warships, such as the dreadnought battleships, and ocean liners. of 1905 was the first major warship to replace the proven technology of the reciprocating engine with the then-novel steam turbine.


title: Steam engine

text: In most reciprocating piston engines, the steam reverses its direction of flow at each stroke (counterflow), entering and exhausting from the same end of the cylinder. The complete engine cycle occupies one rotation of the crank and two piston strokes; the cycle also comprises four "events" – admission, expansion, exhaust, compression. These events are controlled by valves often working inside a "steam chest" adjacent to the cylinder; the valves distribute the steam by opening and closing steam "ports" communicating with the cylinder end(s) and are driven by valve gear, of which there are many types.


title: Steam engine

text: The simplest valve gears give events of fixed length during the engine cycle and often make the engine rotate in only one direction. Many however have a reversing mechanism which additionally can provide means for saving steam as speed and momentum are gained by gradually "shortening the cutoff" or rather, shortening the admission event; this in turn proportionately lengthens the expansion period. However, as one and the same valve usually controls both steam flows, a short cutoff at admission adversely affects the exhaust and compression periods which should ideally always be kept fairly constant; if the exhaust event is too brief, the totality of the exhaust steam cannot evacuate the cylinder, choking it and giving excessive compression (""kick back"").


title: Steam engine

text: In the 1840s and 1850s, there were attempts to overcome this problem by means of various patent valve gears with a separate, variable cutoff expansion valve riding on the back of the main slide valve; the latter usually had fixed or limited cutoff. The combined setup gave a fair approximation of the ideal events, at the expense of increased friction and wear, and the mechanism tended to be complicated. The usual compromise solution has been to provide "lap" by lengthening rubbing surfaces of the valve in such a way as to overlap the port on the admission side, with the effect that the exhaust side remains open for a longer period after cut-off on the admission side has occurred. This expedient has since been generally considered satisfactory for most purposes and makes possible the use of the simpler Stephenson, Joy and Walschaerts motions. Corliss, and later, poppet valve gears had separate admission and exhaust valves driven by trip mechanisms or cams profiled so as to give ideal events; most of these gears never succeeded outside of the stationary marketplace due to various other issues including leakage and more delicate mechanisms.


title: Steam engine

text: Before the exhaust phase is quite complete, the exhaust side of the valve closes, shutting a portion of the exhaust steam inside the cylinder. This determines the compression phase where a cushion of steam is formed against which the piston does work whilst its velocity is rapidly decreasing; it moreover obviates the pressure and temperature shock, which would otherwise be caused by the sudden admission of the high-pressure steam at the beginning of the following cycle.


title: Steam engine

text: The above effects are further enhanced by providing "lead": as was later discovered with the internal combustion engine, it has been found advantageous since the late 1830s to advance the admission phase, giving the valve "lead" so that admission occurs a little before the end of the exhaust stroke in order to fill the "clearance volume" comprising the ports and the cylinder ends (not part of the piston-swept volume) before the steam begins to exert effort on the piston.


title: Steam engine

text: Uniflow engines attempt to remedy the difficulties arising from the usual counterflow cycle where, during each stroke, the port and the cylinder walls will be cooled by the passing exhaust steam, whilst the hotter incoming admission steam will waste some of its energy in restoring the working temperature. The aim of the uniflow is to remedy this defect and improve efficiency by providing an additional port uncovered by the piston at the end of each stroke making the steam flow only in one direction. By this means, the simple-expansion uniflow engine gives efficiency equivalent to that of classic compound systems with the added advantage of superior part-load performance, and comparable efficiency to turbines for smaller engines below one thousand horsepower. However, the thermal expansion gradient uniflow engines produce along the cylinder wall gives practical difficulties..


title: Steam engine

text: A steam turbine consists of one or more "rotors" (rotating discs) mounted on a drive shaft, alternating with a series of "stators" (static discs) fixed to the turbine casing. The rotors have a propeller-like arrangement of blades at the outer edge. Steam acts upon these blades, producing rotary motion. The stator consists of a similar, but fixed, series of blades that serve to redirect the steam flow onto the next rotor stage. A steam turbine often exhausts into a surface condenser that provides a vacuum. The stages of a steam turbine are typically arranged to extract the maximum potential work from a specific velocity and pressure of steam, giving rise to a series of variably sized high- and low-pressure stages. Turbines are only efficient if they rotate at relatively high speed, therefore they are usually connected to reduction gearing to drive lower speed applications, such as a ship's propeller. In the vast majority of large electric generating stations, turbines are directly connected to generators with no reduction gearing. Typical speeds are 3600 revolutions per minute (RPM) in the United States with 60 Hertz power, and 3000 RPM in Europe and other countries with 50 Hertz electric power systems. In nuclear power applications, the turbines typically run at half these speeds, 1800 RPM and 1500 RPM. A turbine rotor is also only capable of providing power when rotating in one direction. Therefore, a reversing stage or gearbox is usually required where power is required in the opposite direction.


title: Steam engine

text: Steam turbines provide direct rotational force and therefore do not require a linkage mechanism to convert reciprocating to rotary motion. Thus, they produce smoother rotational forces on the output shaft. This contributes to a lower maintenance requirement and less wear on the machinery they power than a comparable reciprocating engine.


title: Steam engine

text: The main use for steam turbines is in electricity generation (in the 1990s about 90% of the world's electric production was by use of steam turbines) however the recent widespread application of large gas turbine units and typical combined cycle power plants has resulted in reduction of this percentage to the 80% regime for steam turbines. In electricity production, the high speed of turbine rotation matches well with the speed of modern electric generators, which are typically direct connected to their driving turbines. In marine service, (pioneered on the "Turbinia"), steam turbines with reduction gearing (although the Turbinia has direct turbines to propellers with no reduction gearbox) dominated large ship propulsion throughout the late 20th century, being more efficient (and requiring far less maintenance) than reciprocating steam engines. In recent decades, reciprocating Diesel engines, and gas turbines, have almost entirely supplanted steam propulsion for marine applications.


title: Steam engine

text: Virtually all nuclear power plants generate electricity by heating water to provide steam that drives a turbine connected to an electrical generator. Nuclear-powered ships and submarines either use a steam turbine directly for main propulsion, with generators providing auxiliary power, or else employ turbo-electric transmission, where the steam drives a turbo generator set with propulsion provided by electric motors. A limited number of steam turbine railroad locomotives were manufactured. Some non-condensing direct-drive locomotives did meet with some success for long haul freight operations in Sweden and for express passenger work in Britain, but were not repeated. Elsewhere, notably in the United States, more advanced designs with electric transmission were built experimentally, but not reproduced. It was found that steam turbines were not ideally suited to the railroad environment and these locomotives failed to oust the classic reciprocating steam unit in the way that modern diesel and electric traction has done.


title: Steam engine

text: An oscillating cylinder steam engine is a variant of the simple expansion steam engine which does not require valves to direct steam into and out of the cylinder. Instead of valves, the entire cylinder rocks, or oscillates, such that one or more holes in the cylinder line up with holes in a fixed port face or in the pivot mounting (trunnion). These engines are mainly used in toys and models, because of their simplicity, but have also been used in full-size working engines, mainly on ships where their compactness is valued.


title: Steam engine

text: It is possible to use a mechanism based on a pistonless rotary engine such as the Wankel engine in place of the cylinders and valve gear of a conventional reciprocating steam engine. Many such engines have been designed, from the time of James Watt to the present day, but relatively few were actually built and even fewer went into quantity production; see link at bottom of article for more details. The major problem is the difficulty of sealing the rotors to make them steam-tight in the face of wear and thermal expansion; the resulting leakage made them very inefficient. Lack of expansive working, or any means of control of the cutoff, is also a serious problem with many such designs.


title: Steam engine

text: By the 1840s, it was clear that the concept had inherent problems and rotary engines were treated with some derision in the technical press. However, the arrival of electricity on the scene, and the obvious advantages of driving a dynamo directly from a high-speed engine, led to something of a revival in interest in the 1880s and 1890s, and a few designs had some limited success..


title: Steam engine

text: Of the few designs that were manufactured in quantity, those of the Hult Brothers Rotary Steam Engine Company of Stockholm, Sweden, and the spherical engine of Beauchamp Tower are notable. Tower's engines were used by the Great Eastern Railway to drive lighting dynamos on their locomotives, and by the Admiralty for driving dynamos on board the ships of the Royal Navy. They were eventually replaced in these niche applications by steam turbines.


title: Steam engine

text: The aeolipile represents the use of steam by the rocket-reaction principle, although not for direct propulsion.


title: Steam engine

text: In more modern times there has been limited use of steam for rocketry – particularly for rocket cars. Steam rocketry works by filling a pressure vessel with hot water at high pressure and opening a valve leading to a suitable nozzle. The drop in pressure immediately boils some of the water and the steam leaves through a nozzle, creating a propulsive force.


title: Steam engine

text: Steam engines possess boilers and other components that are pressure vessels that contain a great deal of potential energy. Steam escapes and boiler explosions (typically BLEVEs) can and have in the past caused great loss of life. While variations in standards may exist in different countries, stringent legal, testing, training, care with manufacture, operation and certification is applied to ensure safety.


title: Steam engine

text: Steam engines frequently possess two independent mechanisms for ensuring that the pressure in the boiler does not go too high; one may be adjusted by the user, the second is typically designed as an ultimate fail-safe. Such safety valves traditionally used a simple lever to restrain a plug valve in the top of a boiler. One end of the lever carried a weight or spring that restrained the valve against steam pressure. Early valves could be adjusted by engine drivers, leading to many accidents when a driver fastened the valve down to allow greater steam pressure and more power from the engine. The more recent type of safety valve uses an adjustable spring-loaded valve, which is locked such that operators may not tamper with its adjustment unless a seal is illegally broken. This arrangement is considerably safer.


title: Steam engine

text: Lead fusible plugs may be present in the crown of the boiler's firebox. If the water level drops, such that the temperature of the firebox crown increases significantly, the lead melts and the steam escapes, warning the operators, who may then manually suppress the fire. Except in the smallest of boilers the steam escape has little effect on dampening the fire. The plugs are also too small in area to lower steam pressure significantly, depressurizing the boiler. If they were any larger, the volume of escaping steam would itself endanger the crew.


title: Steam engine

text: The Rankine cycle is the fundamental thermodynamic underpinning of the steam engine. The cycle is an arrangement of components as is typically used for simple power production, and uses the phase change of water (boiling water producing steam, condensing exhaust steam, producing liquid water)) to provide a practical heat/power conversion system. The heat is supplied externally to a closed loop with some of the heat added being converted to work and the waste heat being removed in a condenser. The Rankine cycle is used in virtually all steam power production applications. In the 1990s, Rankine steam cycles generated about 90% of all electric power used throughout the world, including virtually all solar, biomass, coal and nuclear power plants. It is named after William John Macquorn Rankine, a Scottish polymath.


title: Steam engine

text: The Rankine cycle is sometimes referred to as a practical Carnot cycle because, when an efficient turbine is used, the TS diagram begins to resemble the Carnot cycle. The main difference is that heat addition (in the boiler) and rejection (in the condenser) are isobaric (constant pressure) processes in the Rankine cycle and isothermal (constant temperature) processes in the theoretical Carnot cycle. In this cycle, a pump is used to pressurize the working fluid which is received from the condenser as a liquid not as a gas. Pumping the working fluid in liquid form during the cycle requires a small fraction of the energy to transport it compared to the energy needed to compress the working fluid in gaseous form in a compressor (as in the Carnot cycle). The cycle of a reciprocating steam engine differs from that of turbines because of condensation and re-evaporation occurring in the cylinder or in the steam inlet passages.


title: Steam engine

text: The working fluid in a Rankine cycle can operate as a closed loop system, where the working fluid is recycled continuously, or may be an "open loop" system, where the exhaust steam is directly released to the atmosphere, and a separate source of water feeding the boiler is supplied. Normally water is the fluid of choice due to its favourable properties, such as non-toxic and unreactive chemistry, abundance, low cost, and its thermodynamic properties. Mercury is the working fluid in the mercury vapor turbine. Low boiling hydrocarbons can be used in a binary cycle.


title: Steam engine

text: The steam engine contributed much to the development of thermodynamic theory; however, the only applications of scientific theory that influenced the steam engine were the original concepts of harnessing the power of steam and atmospheric pressure and knowledge of properties of heat and steam. The experimental measurements made by Watt on a model steam engine led to the development of the separate condenser. Watt independently discovered latent heat, which was confirmed by the original discoverer Joseph Black, who also advised Watt on experimental procedures. Watt was also aware of the change in the boiling point of water with pressure. Otherwise, the improvements to the engine itself were more mechanical in nature. The thermodynamic concepts of the Rankine cycle did give engineers the understanding needed to calculate efficiency which aided the development of modern high-pressure and -temperature boilers and the steam turbine.


title: Steam engine

text: The efficiency of an engine cycle can be calculated by dividing the energy output of mechanical work that the engine produces by the energy put into the engine by the burning fuel.


title: Steam engine

text: The historical measure of a steam engine's energy efficiency was its "duty". The concept of duty was first introduced by Watt in order to illustrate how much more efficient his engines were over the earlier Newcomen designs. Duty is the number of foot-pounds of work delivered by burning one bushel (94 pounds) of coal. The best examples of Newcomen designs had a duty of about 7 million, but most were closer to 5 million. Watt's original low-pressure designs were able to deliver duty as high as 25 million, but averaged about 17. This was a three-fold improvement over the average Newcomen design. Early Watt engines equipped with high-pressure steam improved this to 65 million.


title: Steam engine

text: No heat engine can be more efficient than the Carnot cycle, in which heat is moved from a high-temperature reservoir to one at a low temperature, and the efficiency depends on the temperature difference. For the greatest efficiency, steam engines should be operated at the highest steam temperature possible (superheated steam), and release the waste heat at the lowest temperature possible.


title: Steam engine

text: The efficiency of a Rankine cycle is usually limited by the working fluid. Without the pressure reaching supercritical levels for the working fluid, the temperature range over which the cycle can operate is small; in steam turbines, turbine entry temperatures are typically 565 °C (the creep limit of stainless steel) and condenser temperatures are around 30 °C. This gives a theoretical Carnot efficiency of about 63% compared with an actual efficiency of 42% for a modern coal-fired power station. This low turbine entry temperature (compared with a gas turbine) is why the Rankine cycle is often used as a bottoming cycle in combined-cycle gas turbine power stations.


title: Steam engine

text: One principal advantage the Rankine cycle holds over others is that during the compression stage relatively little work is required to drive the pump, the working fluid being in its liquid phase at this point. By condensing the fluid, the work required by the pump consumes only 1% to 3% of the turbine (or reciprocating engine) power and contributes to a much higher efficiency for a real cycle. The benefit of this is lost somewhat due to the lower heat addition temperature. Gas turbines, for instance, have turbine entry temperatures approaching 1500 °C. Nonetheless, the efficiencies of actual large steam cycles and large modern simple cycle gas turbines are fairly well matched.


title: Steam engine

text: In practice, a reciprocating steam engine cycle exhausting the steam to atmosphere will typically have an efficiency (including the boiler) in the range of 1–10%. However, with the addition of a condenser, Corliss valves, multiple expansion, and high steam pressure/temperature, it may be greatly improved. Historically into the range of 10–20%, and very rarely slightly higher.


title: Steam engine

text: A modern, large electrical power station (producing several hundred megawatts of electrical output) with steam reheat, economizer etc. will achieve efficiency in the mid 40% range, with the most efficient units approaching 50% thermal efficiency.


title: Steam engine

text: It is also possible to capture the waste heat using cogeneration in which the waste heat is used for heating a lower boiling point working fluid or as a heat source for district heating via saturated low-pressure steam.


title: Magic Mike

text: Magic Mike is a 2012 American comedy-drama film directed by Steven Soderbergh and starring Channing Tatum, Alex Pettyfer, Matt Bomer, Joe Manganiello, and Matthew McConaughey. The plot revolves around Adam, a 19-year-old who enters the world of male stripping, guided by Mike Lane, who has been in the business for six years.


title: Magic Mike

text: The film is loosely based on the experiences of Tatum, who was an 18-year-old male stripper in Tampa, Florida. "Magic Mike" was filmed in several locations around west central Florida. The film premiered as the closing film for the 2012 Los Angeles Film Festival on June 24, 2012, and was widely released by Warner Bros. on June 29, 2012, and was a critical and commercial success.


title: Magic Mike

text: Mike Lane has big plans for a business of his own but pays his bills through a series of odd jobs, most notably performing as the star stripper at Xquisite Strip Club in Tampa, a club owned by Dallas, who has dreams of creating an "empire" of strip clubs.


title: Magic Mike

text: Mike soon meets 19-year-old Adam, a recent college dropout looking for a construction job. Mike takes Adam under his wing and encourages him to begin stripping at Xquisite. Mike is introduced to Adam's sister Brooke. Despite his on-and-off relationship with a woman named Joanna, Mike finds himself attracted to Brooke and promises to look after Adam.


title: Magic Mike

text: Adam falls further into the excessive lifestyle of the Xquisite dancers, using drugs and having sexual encounters with many clients. When Dallas announces he has a plan to move their act to Miami, Mike confides in Brooke that he is tiring of the lifestyle and wants to get a small business loan to pursue his dream of opening a custom furniture business. The bank declines his loan application and Mike realizes that he has to stay in the business to continue to pay his bills. Mike later attends a hurricane party at Dallas' house, where Adam becomes part of a scheme created by Tobias, Xquisite's DJ, to sell drugs to Xquisite's clients, and is eventually given a package of ecstasy. Adam begins using drugs regularly, and Mike notices more of Adam's reckless behavior, to the chagrin of Brooke, who is relying on Mike to protect him.


title: Magic Mike

text: A few days later, Mike and Adam perform for a private party at a sorority house where Adam brings the package of drugs with him. At the party, Adam gives a young woman an ecstasy pill, causing a brawl between Adam and the woman's boyfriend. Mike and Adam are forced to flee without the drugs, which Adam says were worth $1,000. They also do not collect their payment, which infuriates Dallas. After the next night's show, Mike and Adam take drugs and go to a club. Adam vomits and passes out; Brooke finds him on Mike's floor the next morning. Brooke angrily confronts Mike about his lifestyle, and ends her friendship with him. Tobias and his suppliers break into Mike's house looking for Adam, revealing that the drugs were actually worth $10,000. Mike gives up most of his life savings to pay Adam's debt in full.


title: Magic Mike

text: Later, before the dancers' final performance at Xquisite, Mike decides he has had enough. Knowing that Dallas has no loyalty to any of them and is driven by greed, Mike leaves the club through the back. After realizing Mike is not coming back, Dallas promotes Adam to replace Mike as lead dancer. Mike drives to Brooke's apartment and tells her he has quit stripping. She has learned what he did for Adam, and she invites him to join her for breakfast. She playfully asks what they can do until morning, and then kisses him.


title: Magic Mike

text: "Magic Mike" is directed by Steven Soderbergh based on a screenplay by Reid Carolin, who is also one of the film's producers. The screenplay is in part inspired by Channing Tatum's experiences as a male stripper in Tampa, Florida, when he was 18 years old. Tatum said that he wanted to capture the atmosphere and energy of his past as a male stripper, but that the film is fictional, which allowed them to create their own scenarios. The project, announced in April 2011 was co-financed by Soderbergh and Tatum. In 2010, Tatum told an Australian newspaper that he would like to make a movie about his experiences as a male stripper, saying, "I've already got the director picked out. I'd like Nicolas Refn, who did the film "Bronson", to do it because he's insane for it." Refn initially agreed on doing the film because Tatum and he were going to do another movie together. However, since that project did not get off the ground and due to his busy schedule, Tatum, who was then working with Soderbergh on "Haywire," brought him the idea. After Soderbergh cast Tatum and Pettyfer in the lead roles, Carolin spent time revising the screenplay. He wrote the first draft in a month. Soderbergh suggested showing two points of view in the film: seeing through the eyes of young Adam and of his mentor Mike.


title: Magic Mike

text: The dance numbers were choreographed by Alison Faulk, while Christopher Peterson was in charge of the costumes design and Frankie Pine supervised the music. Over the film, several dance numbers were performed. Music producer Jack Rayner created a special dubstep version of the song "It's Raining Men" sung by Countré Black for the dance sequence that features the ensemble for the first time together without The Kid. For that sequence, Peterson chose to use spray glitter on the umbrellas and raincoats to give them a wet effect. The Kid's first strip did not purposely have any choreography and it was Pettyfer's idea to show his bottom. Before doing his moves, Pettyfer did not know the song that was going to be played which ended up being Madonna's "Like a Virgin" performed by Nashville recording artist Chris Mitchell. The five-stripper group performed the song "Sound Off (The Duckworth Chant)" with lyric changes on the military-themed number. The scene during which Mike and Adam arrive at a sorority house dressed as cops was not in the original script but was Peterson's idea. Music supervisor Pine initially planned to use Kid Rock's "Cowboy" for the cowboy-themed number featuring The Kid. When it was not possible, she chose Big & Rich's "Save a Horse (Ride a Cowboy)" instead. Knowing Tatum's dance skills, Faulk gave him the permission to freestyle for Mike's last solo dance on the dubstep song "Calypso" by Excision and Datsik. McConaughey who had no stripping scene in the original script requested to have one which became the last dance number during which he first sings "Ladies of Tampa" and then strips. The song was written in three hours by music supervisor Frankie Pine, Matthew McConaughey and Martin Blasick, McConaughey's guitar coach. The thongs were made by company Pistol Pete.


title: Magic Mike

text: On August 16, 2011, it was reported that Matthew McConaughey had landed a role in the film. He was the first person cast, aside from Tatum. McConaughey revealed that Soderbergh called him to offer him the role of Dallas. After Soderbergh pitched him the story, McConaughey laughed and in 10 minutes he accepted the role. It was the second time he accepted a role over the phone; the first time was for a Richard Linklater film. Commenting on the role, the actor said: "I knew that I was just going to be able to fly. It was really fun to play someone so committed, in many ways." Joe Manganiello accepted the role of Big Dick Richie after talking to "What to Expect When You're Expecting" co-star Chris Rock who convinced him to do it. Cody Horn gave her insight on how she got the part of Brooke:


title: Magic Mike

text: The cast visited a strip club to see what this world was like and the dance routines and to get information on the backstage life. To prepare for the role, McConaughey went in a Los Angeles strip mall to get used to regular waxing. Matt Bomer had to put on about 15 pounds for his part. Adam Rodriguez went through a cardio and weights training.


title: Magic Mike

text: Principal photography commenced in Playa del Rey, Los Angeles in September 2011 and concluded in Tampa by late October. The scenes that took place in the fictional club Xquisite were filmed in Studio City, Los Angeles. Locations in Florida included the Fort Desoto Bridge, the Dunedin coast, the Gulf of Mexico, Tampa, Ybor City, St. Petersburg, Tarpon Springs, and Tierra Verde. Soderbergh chose to shoot the entirety of the film with a double straw camera filter, except the interior of the club.


title: Magic Mike

text: The soundtrack was released on June 28, 2012, through WaterTower Music. Other songs featured in the film include Cobra Starship's "#1Nite", Sean Paul's "Got 2 Luv U", and Ginuwine's "Pony".


title: Magic Mike

text: Warner Bros. Pictures acquired US distribution rights to the independently produced film on October 27, 2011. "Magic Mike" was first screened at the Los Angeles Film Festival as the closing film on June 24, 2012, and was widely released on June 29, 2012, in the United States.


title: Magic Mike

text: The first full-length trailer for "Magic Mike" was released on iTunes on April 18, 2012 with a poster indicating the film's name. The first poster featuring the cast was released on June 1, 2012, along with a new trailer. A second poster followed on June 4, 2012, and a fourth trailer was released on June 13, 2012. To promote the film, Channing Tatum, Matthew McConaughey, Joe Manganiello and Matt Bomer participated in a photo shoot for "Entertainment Weekly" that came out in the May 25, 2012, issue. On June 3, 2012, Tatum, McConaughey, and Manganiello attended the MTV Movie Awards where they presented the award for Best On-Screen Transformation. During the presentation, Manganiello arrived dressed as a fireman stripper.