title: Thatcherism

text: Reduction in the power of the trades unions was made gradually, unlike the approach of the Edward Heath government and the greatest single confrontation with the unions was the National Union of Mineworkers (NUM) strike of 1984–1985, in which the miners' union was eventually defeated. There is evidence that this confrontation with the trade unions was anticipated by both the Conservative Party and the NUM. The outcome contributed to the resurgence of the power of capital over labour.


title: Thatcherism

text: Thatcherism is associated with a conservative stance on morality. argues that Thatcherism married conservatism with free-market economics. Thatcherism did not propose dramatic new panaceas such as Milton Friedman's negative income tax. Instead the goal was to create a rational tax-benefit economic system that would increase British efficiency while supporting a conservative social system based on traditional morality. There would still be a minimal safety net for the poor, but major emphasis was on encouraging individual effort and thrift. Thatcherism sought to minimise the importance of welfare for the middle classes, and reinvigorate Victorian bourgeois virtues. Thatcherism was family centred, unlike the extreme individualism of most neoliberal models. It had its roots in that historical experiences such as Methodism, as well as the fear of the too-powerful state that had troubled Hayek.


title: Thatcherism

text: Norman Tebbit, a close ally of Thatcher, laid out in a 1985 lecture what he thought to be the permissive society that conservatives should oppose:


title: Thatcherism

text: Despite her association with social conservatism, Thatcher voted in 1966 to legalise homosexuality, one of the few Conservative MPs to do so. That same year, she also voted in support of legal abortion. However, in the 1980s during her time as Prime Minister, the Thatcher government enacted Section 28, a law that opposed the "intentional promotion" of homosexuality by local authorities and "promotion" of the teaching of "the acceptability of homosexuality as a pretended family relationship" in schools. In her 1987 speech to the Conservative Party conference, Thatcher stated:


title: Thatcherism

text: The law was opposed by many gay rights advocates such as Stonewall and OutRage! and was later repealed by Tony Blair's Labour government in 2000 (in Scotland) and 2003. Conservative Prime Minister David Cameron later issued an official apology for previous Conservative policies on homosexuality, specifically the introduction of the controversial Section 28 laws from the 1980s, viewing past ideological views as "a mistake" with his own ideological direction.


title: Thatcherism

text: In May 1988, Thatcher gave an address to the General Assembly of the Church of Scotland. In the address, Thatcher offered a theological justification for her ideas on capitalism and the market economy. She said "Christianity is about spiritual redemption, not social reform" and she quoted St. Paul by saying "If a man will not work he shall not eat". Choice played a significant part in Thatcherite reforms and Thatcher said that choice was also Christian, stating that Jesus Christ chose to lay down his life and that all individuals have the God-given right to choose between good and evil.


title: Thatcherism

text: Whilst Thatcher was Prime Minister, she greatly embraced transatlantic relations with the U.S. President Ronald Reagan. She often publicly supported Reagan's policies even when other Western allies were not as vocal. For example, she granted permission for American planes to use British bases for raids, such as the 1986 United States bombing of Libyan Arab Jamahiriya, and allowed American cruise missiles and Pershing missiles to be housed on British soil in response to Soviet deployment of SS-20 nuclear missiles targeting Britain and other Western European nations.


title: Thatcherism

text: While Euroscepticism has for many become a characteristic of Thatcherism, Thatcher was far from consistent on the issue, only becoming truly Eurosceptic in the last years of her time as Prime Minister. Thatcher supported Britain's entry into the European Economic Community in 1973, campaigned for a "Yes" vote in the 1975 referendum and signed the Single European Act in 1986.


title: Thatcherism

text: Towards the end of the 1980s, Thatcher (and so Thatcherism) became increasingly vocal in its opposition to allowing the European Community to supersede British sovereignty. In a famous 1988 Bruges speech, Thatcher declared: "We have not successfully rolled back the frontiers of the state in Britain, only to see them reimposed at a European level, with a European superstate exercising a new dominance from Brussels".


title: Thatcherism

text: It is often claimed that the word "Thatcherism" was coined by cultural theorist Stuart Hall in a 1979 "Marxism Today" article. However, this is not true as the term was first used by Tony Heath in an article he wrote that appeared in "Tribune" on 10 August 1973. Writing as "Tribune"s education correspondent, Heath wrote: "It will be argued that teachers are members of a profession which must not be influenced by political considerations. With the blight of Thatcherism spreading across the land that is a luxury that only the complacent can afford". Although the term had in fact been widely used before then, not all social critics have accepted the term as valid, with the High Tory journalist T. E. Utley believing "There is no such thing as Thatcherism".


title: Thatcherism

text: Utley contended that the term was a creation of Thatcher's enemies who wished to damage her by claiming that she had an inflexible devotion to a certain set of principles and also by some of her friends who had little sympathy for what he called "the English political tradition" because it facilitated "compromise and consensus". Utley argued that a free and competitive economy, rather than being an innovation of Thatcherism, was one "more or less permanent ingredient in modern Conservative philosophy":


title: Thatcherism

text: It was on that principle that Churchill fought the 1945 election, having just read Hayek's "Road to Serfdom". [...] What brought the Tories to 13 years of political supremacy in 1951 was the slogan 'Set the people free'. [...] There is absolutely nothing new about the doctrinal front that she presents on these matters. [...] As for 'privatisation', Mr. Powell proposed it in [...] 1968. As for 'property-owning democracy', I believe it was Anthony Eden who coined the phrase.


title: Thatcherism

text: In foreign policy, Utley claimed Thatcher's desire to restore British greatness did not mean "primarily a power devoted to the preservation of its own interests", but that she belonged "to that militant Whig branch of English Conservatism...her view of foreign policy has a high moral content". In practical terms, he claimed this expressed itself in her preoccupation in "the freedom of Afghanistan rather than the security of Ulster".


title: Thatcherism

text: Such leftist critics as Anthony Giddens claim that Thatcherism was purely an ideology and argue that her policies marked a change which was dictated more by political interests than economic reasons:


title: Thatcherism

text: The Conservative historian of Peterhouse, Maurice Cowling, also questioned the uniqueness of "Thatcherism". Cowling claimed that Thatcher used "radical variations on that patriotic conjunction of freedom, authority, inequality, individualism and average decency and respectability, which had been the Conservative Party's theme since at least 1886". Cowling further contended that the "Conservative Party under Mrs Thatcher has used a radical rhetoric to give intellectual respectability to what the Conservative Party has always wanted".


title: Thatcherism

text: Historians Emily Robinson, Camilla Schofield, Florence Sutcliffe-Braithwaite and Natalie Thomlinson have argued that by the 1970s Britons were keen about defining and claiming their individual rights, identities and perspectives. They demanded greater personal autonomy and self-determination and less outside control. They angrily complained that the establishment was withholding it. They argue this shift in concerns helped cause Thatcherism and was incorporated into Thatcherism's appeal.


title: Thatcherism

text: Critics of Thatcherism claim that its successes were obtained only at the expense of great social costs to the British population. There were nearly 3.3 million unemployed in Britain in 1984, compared to 1.5 million when she first came to power in 1979, though that figure had reverted to some 1.6 million by the end of 1990.


title: Thatcherism

text: While credited with reviving Britain's economy, Thatcher also was blamed for spurring a doubling in the relative poverty rate. Britain's childhood-poverty rate in 1997 was the highest in Europe. When she resigned in 1990, 28% of the children in Great Britain were considered to be below the poverty line, a number that kept rising to reach a peak of nearly 30% during the government of Thatcher's successor, John Major. During her government, Britain's Gini coefficient reflected this growing difference, going from 0.25 in 1979 to 0.34 in 1990, at about which value it remained for the next 20 years, under both Conservative and Labour governments.


title: Thatcherism

text: The extent to which one can say Thatcherism has a continuing influence on British political and economic life is unclear. In reference to modern British political culture, it could be said that a "post-Thatcherite consensus" exists, especially in regard to economic policy. In the 1980s, the now defunct Social Democratic Party adhered to a "tough and tender" approach in which Thatcherite reforms were coupled with extra welfare provision. Neil Kinnock, leader of the Labour Party from 1983 to 1992, initiated Labour's rightward shift across the political spectrum by largely concurring with the economic policies of the Thatcher governments. The New Labour governments of Tony Blair and Gordon Brown were described as "neo-Thatcherite" by some on the left, since many of their economic policies mimicked those of Thatcher.


title: Thatcherism

text: In 1999, twenty years after Thatcher had come to power, the Conservative Party held a dinner in London Hilton to honour the anniversary. During the dinner several speeches were given. To Thatcher's astonishment, the Conservatives had decided that it was time to shelve the economic policies of the 1980s. The Conservative Party leader at the time William Hague said that the party had learnt its lesson from the 1980s and called it a "great mistake to think that all Conservatives have to offer is solutions based on free markets". His deputy at the time Peter Lilley elaborated and said, "belief in the free market has only ever been part of Conservatism".


title: Thatcherism

text: In 2002, Peter Mandelson, who had served in Blair's Cabinet, famously declared that "we are all Thatcherites now".


title: Thatcherism

text: Most of the major British political parties today accept the trade union legislation, privatisations and general free market approach to government that Thatcher's governments installed. Before 2010, no major political party in the United Kingdom had committed to reversing the Thatcher government's reforms of the economy, although in the aftermath of the Great Recession from 2007 to 2012, the then Labour Party leader Ed Miliband had indicated he would support stricter financial regulation and industry-focused policy in a move to a more mixed economy. Although Miliband was said by the "Financial Times" to have "turned his back on many of New Labour's tenets, seeking to prove that an openly socialist party could win the backing of the British electorate for the first time since the 1970s", in 2011 Miliband had declared his support for Thatcher's reductions in income tax on top earners, her legislation to change the rules on the closed shop and strikes before ballots, as well as her introduction of Right to Buy, saying Labour had been wrong to oppose these reforms at the time.


title: Thatcherism

text: Moreover, the UK's comparative macroeconomic performance has improved since the implementation of Thatcherite economic policies. Since Thatcher resigned as British Prime Minister in 1990, British economic growth was on average higher than the other large European economies (i.e. Germany, France and Italy). Such comparisons have been controversial for decades.


title: Thatcherism

text: Tony Blair wrote in his 2010 autobiography "A Journey" that "Britain needed the industrial and economic reforms of the Thatcher period". He described Thatcher's efforts as "ideological, sometimes unnecessarily so" while also stating that "much of what she wanted to do in the 1980s was inevitable, a consequence not of ideology but of social and economic change." Blair additionally labeled these viewpoints as a matter of "basic fact".


title: Thatcherism

text: On the occasion of the 25th anniversary of Thatcher's 1979 election victory, the BBC conducted a survey of opinions which opened with the following comments:


title: Thatcherism

text: From the viewpoint of late 2019, the state of British politics showed that Thatcherism had suffered a "sad fate," according to "The Economist" Bagehot column. As a political-economic philosophy Thatcherism was originally built upon four components: commitment to free enterprise; British nationalism; a plan to strengthen the state by improving efficiency; and a belief in traditional Victorian values especially hard work and civic responsibility. The tone of Thatcherism was establishment bashing, with intellectuals a prime target, and that tone remains sharp today. Bagehot argues that some Thatcherisms have become mainstream, such as a more efficient operation of the government. Others have been sharply reduced, such as insisting that deregulation is always the answer to everything. The dream of restoring traditional values by creating a property-owning democracy has failed in Britain – ownership in the stock market has plunged, as has the proportion of young people who are homebuyers. Her program of privatisation became suspect when it appeared to favour investors rather than customers.


title: Thatcherism

text: Recent developments in Britain reveal a deep conflict between Thatcherite free enterprise and Thatcherite nationalism. She wanted to reverse Britain's decline by fostering entrepreneurship – but immigrants have often played an important role as entrepreneurial leaders in Britain. Bagehot says Britain is "more successful at hosting world-class players than producing them." In the course of the Brexit process, nationalists have denounced European controls over Britain's future, while business leaders often instead prioritise maintenance of their leadership of the European market. Thatcher herself showed a marked degree of Euroscepticism, as when she warned against a "European superstate."


title: Thatcherism

text: Evaluating whether or not political conservatives of the 2020s continue the neoliberal legacy of prior years, stateswoman Theresa May's Conservative Party election manifesto has attracted attention due to its inclusion of the lines: "We do not believe in untrammelled free markets. We reject the cult of selfish individualism. We abhor social division, injustice, unfairness and inequality." Journalists such as Ross Gittins of "The Sydney Morning Herald" have cited this as a move away from the standard arguments made historically by Thatcherites and related advocates.


title: Cash Money Records

text: Cash Money Records is an American record label founded in 1991 by brothers Ronald "Slim" Williams and Bryan "Birdman" Williams. Distributed by Republic, formerly known as Universal Republic, the label has been home to a roster of mostly hip hop artists, including Juvenile, Lil Wayne, Drake, and Nicki Minaj, and is regarded as the most successful record label in hip-hop history.


title: Cash Money Records

text: Artists signed to Cash Money Records have achieved a combined 12 number one albums on the "Billboard" 200 chart and 7 number one singles on the "Billboard" Hot 100 chart (Juvenile's "Slow Motion", Lil Wayne's "Lollipop", Jay Sean's "Down" and Drake's "One Dance", "God's Plan", "Nice for What", and "In My Feelings".


title: Cash Money Records

text: The label's name alludes to the Cash Money Brothers, drug kingpin Nino Brown's gang from the 1991 crime film "New Jack City".


title: Cash Money Records

text: I was hoping it would get us out of the projects and into a positive way of life. And we wanted to help other people get out of this poverty...


title: Cash Money Records

text: Starting in 1996, Cash Money signed a slew of new artists such as Lil Wayne, B.G., & Juvenile, who already had a buzz in the streets in the mid-1990s. At this time, Turk and another local rapper by the name of Bulletproof (aka Lil Derrick) joined the roster. In May 1997, Birdman organized a rap group that included Juvenile, B.G., Turk and Bulletproof. After his father's death, Lil Wayne joined the group, which became known as the Hot Boys. Shortly before the Hot Boys took off, Bulletproof left the group and was later killed in 2002. Cash Money's big break came in 1998 when the Hot Boys, B.G. and Juvenile in particular, caught the attention of Universal Records executives.


title: Cash Money Records

text: Cash Money signed a three-year, $30 million distribution deal with Universal Records in March 1998, under which the Williams brothers were given a $2 million advance each year and a credit of $1.5 million for each of the six artists that they had at the time. After recouping, Universal Records would retain 15% of profits from album sales, while Cash Money retained 85%, as well as 50% of their publishing royalties and ownership of all master recordings. Dino Delvaille, who orchestrated the deal, later told HitQuarters: "I made certain they retained (the rights) of their work. They deserve it." Cash Money's first success under Universal was Juvenile's November 1998 release, "400 Degreez". The album peaked at number 9 on the "Billboard" Top 200 and would ultimately go on to sell over five million copies worldwide. The success of 400 Degreez solidified Cash Money as a powerhouse label in the national hip-hop scene. The album featured guest appearances from Cash Money artists Turk, Lil Wayne, B.G., Baby, and Mannie Fresh (both individually and as their groups the Hot Boys and Big Tymers), as well as a guest appearance from Jay-Z, the first time an East Coast rapper collaborated with Cash Money. The appearance helped Cash Money gain more exposure on the East Coast.


title: Cash Money Records

text: After the deal, Cash Money achieved a new level of success. Later albums in 1999 such as the Hot Boys' "Guerrilla Warfare", B.G.'s "Chopper City in the Ghetto", and Lil Wayne's "Tha Block Is Hot" also saw great chart success, were all certified Platinum by the RIAA, and furthered the label's reputation. These albums contained major Billboard hits such as Juvenile's "Back That Azz Up" (#19 on the "Billboard" Hot 100), B.G.'s "Bling Bling" (#36), and the Hot Boys' "I Need a Hot Girl" (#65). All of Cash Money's albums and singles in this period were solely produced by the label's in-house producer, Mannie Fresh. Their A&R at Universal, Dino Delvaille, said:


title: Cash Money Records

text: When they first came into the business, they were very reluctant to make records with other people. They probably felt that people would steal their style or flavor, and I had to work hard to get them to open up to making records with Cam'ron, Puffy, and Clipse, among others.


title: Cash Money Records

text: The label's success continued into the 2000s. Between 2001 and 2003, the label sold 7 million albums. The song "Still Fly" by the Big Tymers was nominated for two Grammy Awards. However, B.G. and Juvenile left the label in 2002, claiming financial mismanagement. In April 2003, Juvenile returned to the label for a reported $4 million deal, and in return, he signed over the rights to "Juve The Great", an album which sold over a million copies and contained the "Billboard" Hot 100 No. 1 hit "Slow Motion". In 2007, former Hot Boys member Lil Wayne was named president of Cash Money Records and CEO of Young Money Entertainment. Later that year, Lil Wayne stepped down as president to focus on his career, especially "Tha Carter III". In 2008, Lil Wayne re-signed with Cash Money, ensuring that his next few albums will be produced by the label.


title: Cash Money Records

text: In September 2008, Cash Money released rocker Kevin Rudolf's smash-hit debut single "Let It Rock" featuring label-mate Lil Wayne. On October 15, 2008 at the MOBO Awards, British R&B singer Jay Sean announced that he had signed with Cash Money Records. In February 2009, the Williams brothers were featured in CNBC's "Newbos: The Rise of America's New Black Overclass", a documentary show profiling several black multi-millionaires. In early 2009 former Roc-A-Fella Records artist Freeway signed with the label. On August 16, 2009, Bow Wow announced that he signed with Cash Money Records.


title: Cash Money Records

text: In 2009, they took part in a major label bidding war for Queens native rapper Nicki Minaj. Eventually, they won the bidding war and Nicki Minaj was signed to them exclusively for Young Money. Cash Money Records popularity grew after signing Minaj and Canadian rapper Drake. On August 5, 2010, production group Cool & Dre signed with Cash Money Records. The production group announced the news via Twitter. They are the first in house producer Cash Money has had since Mannie Fresh.


title: Cash Money Records

text: On August 19, 2010, Birdman signed DJ Khaled to the label also signing his label We the Best Music Group as a subsidiary of Cash Money. On February 24, 2012, Cash Money Records signed the nu metal band Limp Bizkit. Wayne said the same day they were close to signing Ashanti.


title: Cash Money Records

text: In 2011, Cash Money Records signed a co-publishing venture with the Atria Publishing Group called Cash Money Content.


title: Cash Money Records

text: In February 2013, Birdman released a compilation mixtape with Cash Money and Young Money, entitled "Rich Gang: All Stars". Shortly afterwards, he announced a compilation album entitled "Rich Gang: Flashy Lifestyle" that was due to be released on May 21, 2013—it featured members of Cash Money, Young Money, and various collaborators. The first single from the project, "Tapout" was released on March 19, 2013, and features Lil Wayne, Future, Mack Maine, and Nicki Minaj, with production by 808 Mafia's Southside and TM88. "Fly Rich" featuring Stevie J, Future, Tyga, Meek Mill and Mystikal was also released as a promotional single.


title: Cash Money Records

text: The album's release date was then pushed back to July 23, 2013, while the title was also shortened to just "Rich Gang". The album garnered a mixed critical reception and debuted at number 7 on the "Billboard" 200.


title: Cash Money Records

text: On December 4, 2014, just five days before "Tha Carter V" was due to be released, Wayne issued a statement saying the album would not be released on its expected release date due to his displeasure with Birdman refusing to release the album, although it had been completed. Wayne also expressed his feelings by stating he felt he and his creative partner were being held "prisoner". Lil Wayne filed a lawsuit. On January 20, 2015, Wayne self-released "Sorry 4 the Wait 2", a sequel to his 2011 mixtape, to compensate for the continued delay of "Tha Carter V". Upon "Sorry for the Wait 2"s release, it was noted that Wayne disses Birdman and Cash Money Records several times throughout. Birdman was reported to be upset with this. In late January 2015, Lil Wayne filed a $51 million lawsuit against Birdman and Cash Money over the delay of "Tha Carter V".


title: Cash Money Records

text: In January 2015, Wayne stated that when he leaves Cash Money, he would take Drake and Nicki Minaj with him. On June 22, TMZ reported new details on the lawsuit. According to documents filed by Lil Wayne, Birdman and Cash Money have mismanaged Young Money, including Drake and Minaj. The documents allege that Birdman and Cash Money haven't paid people. In June 2015, Wayne joined Jay-Z's Tidal as an artist owner and exclusively released a single on the service titled "Glory." On July 4, 2015, Wayne released "Free Weezy Album" exclusively through Tidal under Young Money and Republic Records. On July 15, prosecutors allege Birdman and Young Thug conspired to murder Lil Wayne and were involved in the April 26 shooting. On July 16, Birdman filed a $50 million lawsuit against Jay Z's Tidal streaming service over Lil Wayne's "Free Weezy Album". The lawsuit claims that Cash Money Records exclusively owns the rights to Lil Wayne's music, although he is now independent and the label no longer owns these rights.


title: Cash Money Records

text: On April 12, 2017, Birdman accepted a plaque in honor of Cash Money Records having sold one billion units. On September 13, 2018, it was announced that Young Money was no longer a joint business venture with Cash Money. Ownership of the imprint was granted entirely to Lil Wayne as part of the legal settlements with Birdman that were finalized.


title: Cash Money Records

text: Rich Gang is a hip hop collective and side project introduced by Birdman in 2013, initially composed of members from the Cash Money Records roster. The group's debut single, "Tapout" (featuring Future) was released in March 2013. Rappers Young Thug and Rich Homie Quan to were later added to the Rich Gang roster, debuting with guest appearances on the group's 2014 single "Lifestyle". The duo were also the primary artists on "Rich Gang Allstars" (2013) and "" (2014). Later "Rich Gang" members were a part of the group despite not being signed to Cash Money as solo artists.


title: Cash Money Records

text: From its founding until 2005, Mannie Fresh was the well-known production head of all Cash Money releases, as the label's resident producer. The label would be without a proper in-house producer until August 2010, when production duo Cool & Dre signed to the label. Since then, the label has grown its production division by signing more producers.


title: Cash Money Records

text: In October 2009, Cash Money Records, Birdman, Lil Wayne and various music distribution outlets were sued for copyright infringement by Thomas Marasciullo, who claims his voice was used without permission. The rappers asked him to record some "Italian-styled spoken word recordings" in 2006. The lyrics were allegedly used on "Respect" and other tracks from the rappers' collaboration album "Like Father, Like Son" and Birdman's "5 * Stunna".


title: Cash Money Records

text: In 2011, Cash Money Records, Lil Wayne, Universal Music Group, and Young Money Entertainment were sued for by Done Deal Enterprises, who claim Lil Wayne's song "BedRock" was stolen from Done Deal.


title: Magda Goebbels

text: Johanna Maria Magdalena "Magda" Goebbels (née Ritschel; 11 November 1901 – 1 May 1945) was the wife of Nazi Germany's Propaganda Minister Joseph Goebbels. A prominent member of the Nazi Party, she was a close ally, companion, and political supporter of Adolf Hitler. Some historians refer to her as the unofficial "first lady" of Nazi Germany, while others give that title to Emmy Göring.


title: Magda Goebbels

text: With defeat imminent during the Battle of Berlin at the end of World War II in Europe, she and her husband murdered their six children before committing suicide in the Reich Chancellery gardens. Her eldest son, Harald Quandt, from a previous marriage, survived her.


title: Magda Goebbels

text: Magda was born in 1901 in Berlin, Germany to an unwed couple, Auguste Behrend and building contractor and engineer Oskar Ritschel. The couple were married later that year and divorced in either 1904 or 1905. There are some sources that claim the marriage took place before Magda's birth, although there is no evidence to support the occurrence of a prior wedding. When Magda was five, her mother sent her to Cologne to stay with her ex-husband. In 1908, her mother married Richard Friedländer, a wealthy Jewish merchant who worked in Brussels, who adopted Magda and whose surname she adopted. In Brussels, Magda was enrolled at the Ursuline Convent in Vilvoorde where she was remembered as "an active and intelligent little girl". Further contacts with Ritschel, a member of the Krefeld Masonic Lodge in Duisburg, suggest that Magda may have been introduced there to Buddhism.


title: Magda Goebbels

text: In 2016, it was reported that Friedländer may have been Magda's biological father, as stated in his residency card, found in the Berlin archives by writer and historian Oliver Hilmes. Magda's adoption may have been required for her parents' delayed marriage, to update the girl's 'illegitimate child' status.


title: Magda Goebbels

text: From 1908 until the outbreak of World War I, the family remained in Brussels. In 1914, all Germans were forced to leave Belgium as refugees to avoid repercussions from the Belgian people after the German invasion. The family moved to Berlin where Magda attended the high school Kolmorgen Lycée. Behrend divorced Friedländer in 1914, and in 1919, Magda was enrolled in the prestigious 'Töchternheim Holzhausen' (Ladies' College Holzhausen) near Goslar. While in Berlin, Magda befriended Lisa Arlosoroff and later became intimate with her brother Haim, an ardent Zionist. During her relationship with Haim, she briefly wore a Star of David he had given her and accompanied him to Jewish youth club meetings. The relationship did not last but the two remained in contact during the 1920s until Haim's migration to (British ruled) Palestine, where he later headed the Political Department of the Jewish Agency. Haim was assassinated in June 1933.


title: Magda Goebbels

text: In 1920, while returning to school on a train, she met Günther Quandt, a rich German industrialist twice her age. Thereafter, he courted her with courtesy and grand gestures. He demanded that she change her surname back to Ritschel (after having for many years borne the surname of Friedländer), when converting from Catholicism to Quandt's Protestantism. They were married on 4 January 1921, and their first child, Harald, was born on 1 November 1921.


title: Magda Goebbels

text: Magda soon grew frustrated in her marriage; Quandt spent little time with her, as his main interest was the expansion of his business empire. The couple had six children – Harald, Quandt's two sons from a prior marriage, and three children of a deceased friend.


title: Magda Goebbels

text: In October 1927, the couple went on a two-month visit to the United States, to conduct business with the Lloyd Electric Storage Battery Co. of Philadelphia. In 1929, Quandt discovered that Magda was having an affair, so they separated and divorced later in the year. The terms of the divorce were quite generous to Magda.


title: Magda Goebbels

text: In 1930, Magda attended a meeting of the Nazi Party where she was impressed by one of the speakers, Joseph Goebbels, then the Gauleiter of Berlin. She joined the party on 1 September 1930, and did some volunteer work, although she has not been characterized as politically active. From the local branch, Magda moved to the party headquarters in Berlin and for a brief period became secretary to Hans Meinshausen, Goebbels' deputy, before being invited to take charge of Goebbels' own private papers. She and Goebbels became romantically involved while on a short trip with friends to Weimar in February 1931. A relationship began and by April they began making plans for their future together. Goebbels wrote in his diary, "We have made a solemn vow to each other: When we have conquered the Reich, we will become man and wife. I am very happy." Her flat on Theodor-Heuss-Platz (then named the "Reichskanzlerplatz") soon became a favourite meeting place for Adolf Hitler and other NSDAP officials.


title: Magda Goebbels

text: By September, the Goebbels relationship was experiencing problems. Goebbels was often jealous, and had some concern over the fact that Hitler had grown fond of Magda. Magda decided to advance their wedding date, and the couple were married on 19 December 1931, with Hitler as a witness. Otto Wagener claims that Magda's marriage to Goebbels was somewhat arranged; since Hitler intended to remain unmarried, it was suggested that as the wife of a leading and highly visible Nazi official she might eventually act as "first lady of the Third Reich". Magda was an ambitious woman with social connections and upper class bearing that may have influenced Goebbels' own enthusiasm. Goebbels biographer Peter Longerich concurred with this "plausible" conclusion as well. Meissner contends that Hitler (though undoubtedly impressed by Magda) was an exceptionally close friend of the couple in the early days. Hitler grew very fond of the Goebbels' six children and enjoyed staying at their Berlin apartment, where he could relax and would often arrive there late at night, sitting and talking with Goebbels, with their baby Helga (born 1932) on his lap. Magda had thus a close relationship with Hitler, and became a member of his small coterie of female friends. She acted as an unofficial representative of the regime, receiving letters from all over Germany from women with questions about domestic matters or child custody issues. After 1933, the Goebbels family became accustomed to the luxurious lifestyle which went with their high social position. Their Berlin home on Göringstrasse was remodeled by Albert Speer and they spent the spring and summers in Kladow. In 1936, they bought a villa on Schwanenwerder island and later another at Bogensee near Wandlitz in Brandenburg.


title: Magda Goebbels

text: Joseph and Magda Goebbels had six children: Helga Susanne (1932), Hildegard "Hilde" Traudel (1934), Helmut Christian (1935), Holdine "Holde" Kathrin (1937), Hedwig "Hedda" Johanna (1938), and Heidrun "Heide" Elisabeth (1940). Joseph Goebbels had many affairs during the marriage. In 1936, Goebbels met the Czech actress Lída Baarová and by the winter of 1937 began an intense affair with her. Magda had a long conversation with Hitler about the situation on 15 August 1938. Unwilling to put up with a scandal involving one of his top ministers, Hitler demanded that Goebbels break off the relationship. Thereafter, Goebbels and Magda seemed to reach a truce until the end of September. The couple had another falling out at that point, and once again Hitler became involved, insisting the couple stay together. Hitler arranged for publicity photos to be taken of himself with the reconciled couple in October 1938. Magda also had affairs, including relationships with Kurt Ludecke in 1933 and Karl Hanke in 1938.


title: Magda Goebbels

text: At the outbreak of war, Magda's son by her first marriage, Harald Quandt, became a Luftwaffe pilot and fought at the front, while, at home, she lived up to the image of a patriotic mother by training as a Red Cross nurse and working with the electronics company Telefunken, and travelled to work on a bus, like her colleagues. She was also involved with entertaining the wives of foreign heads of state, supporting the troops and comforting war widows.


title: Magda Goebbels

text: Both Goebbels and Magda derived personal benefits and social status from their close association with Hitler, and the couple remained loyal to Hitler and publicly supported him. Privately, however, Magda expressed doubts, especially after the war began to go badly on the Eastern Front. On 9 November 1942, during a gathering with friends listening to a speech by Hitler, she switched off the radio exclaiming, "My God, what a lot of rubbish." In 1944, she reportedly said of Hitler, "He no longer listens to voices of reason. Those who tell him what he wants to hear are the only ones he believes." There is no evidence that Magda attempted to intervene to save her Jewish stepfather from the Holocaust. Though his fate has not been established, it is widely assumed that he perished in the camps. Asked about her husband's antisemitism, she answered: "The Führer wants it thus, and Joseph must obey."


title: Magda Goebbels

text: Felix Franks, a German Jew who later became a British soldier, claimed that his grandparents got an exit visa from Germany with the help of Magda Goebbels:


title: Magda Goebbels

text: Afflicted with a weak heart and "delicate health", Magda would have extended periods of illness. Towards the end of the war, she is known to have also suffered from severe depression and trigeminal neuralgia. This condition affects a nerve in the face, and although usually harmless is considered to cause intense pain and can be notoriously hard to treat. This often left her bedridden and led to bouts of hospitalization as late as August 1944.


title: Magda Goebbels

text: In late April 1945, the Soviet Red Army entered Berlin, and the Goebbels family moved into the "Vorbunker", connected to the lower "Führerbunker" under the Reich Chancellery garden. Magda wrote a farewell letter to her son Harald, who was in a POW camp in North Africa:


title: Magda Goebbels

text: Goebbels added a postscript to Hitler's last will and testament of 29 April stating that he would disobey the order to leave Berlin, "[f]or reasons of humanity and personal loyalty". Further, he stated that Magda and their children supported his refusal to leave Berlin and his resolution to die in the bunker. He later qualified this by stating that the children would support the decision [to commit suicide] if they were old enough to speak for themselves.


title: Magda Goebbels

text: Magda was among the last to see both Hitler and Eva Braun before they committed suicide on the afternoon of 30 April. On the following day, 1 May, Magda and Joseph arranged for SS dentist Helmut Kunz to inject their six children with morphine so that when they were unconscious, an ampule of cyanide could be then crushed in each of their mouths. Kunz later stated he gave the children morphine injections, but it was Magda and SS-"Obersturmbannführer" Ludwig Stumpfegger (Hitler's personal doctor) who administered the cyanide. Author James P. O'Donnell concluded that although Stumpfegger was probably involved in drugging the children, Magda killed them herself. He surmises that witnesses blamed the deaths on Stumpfegger because he was a convenient target, having died the following day. Moreover, as O'Donnell states, Stumpfegger may have been too intoxicated at the time of the deaths to have played a reliable role.


title: Magda Goebbels

text: Magda appears to have contemplated and talked about killing her children a month in advance. According to her friend and sister-in-law (from her first marriage) Ello Quandt, she told her that they were all going to take poison.


title: Magda Goebbels

text: Magda appears to have refused several offers, such as one by Albert Speer, to have the children smuggled out of Berlin and insisted that the family must stay at her husband's side. In the "Führerbunker" she confided to Hitler's secretary Traudl Junge, that "I would rather have my children die, than live in disgrace, jeered at. My children stand no chance in Germany after the war". The last survivor of Hitler's bunker, Rochus Misch, gave this account of the events to the BBC:


title: Magda Goebbels

text: Magda helped the girls change into long white nightgowns. She then softly combed their hair. Misch tried to concentrate on his work, but he knew what was going to happen. Magda then went back up to the "Vorbunker" with the children. Shortly thereafter, Werner Naumann came down to the "Führerbunker" and told Misch that he had seen Hitler's personal physician, Dr Stumpfegger, give the children something "sweetened" to drink. About two hours later, Magda came back down to the "Führerbunker", alone. She looked very pale, her eyes very red and her face was "frozen". She sat down at a table and began playing patience. Goebbels then came over to her, but did not say a word at that time.


title: Magda Goebbels

text: After their children were dead, Magda and Joseph Goebbels walked up to the garden of the Chancellery, where they committed suicide. There are several different accounts of this event. One account was that they each bit on a cyanide ampule near where Hitler had been buried, and were given a coup de grâce immediately afterwards. Goebbels' SS adjutant Günther Schwägermann testified in 1948 that they walked ahead of him up the stairs and out into the Chancellery garden. He waited in the stairwell and heard the shots sound. Schwägermann then walked up the remaining stairs and, once outside, saw their lifeless bodies. Following Goebbels' prior order, Schwägermann had an SS soldier fire several shots into Goebbels' body, which did not move. The bodies were then doused with petrol, but the remains were only partially burned and not buried.


title: Magda Goebbels

text: The charred corpses were found on the afternoon of 2 May 1945 by Soviet troops. Magda's face was unrecognizable compared to that of her husband. According to the purported Soviet autopsy of her body, her jawbones and dental remains were found "detached in the oral cavity". The children were found in the "Vorbunker" dressed in their nightclothes, with ribbons tied in the girls' hair. The remains of the Goebbels' family, General Hans Krebs, and Hitler's dogs were repeatedly buried and exhumed. The last burial was at the SMERSH facility in Magdeburg on 21 February 1946. In 1970, KGB director Yuri Andropov authorised an operation to destroy the remains. On 4 April 1970, a Soviet KGB team used detailed burial charts to exhume five wooden boxes at the Magdeburg facility. The remains from the boxes were burned, crushed, and scattered into the Biederitz river, a tributary of the nearby Elbe.


title: Carlos Hathcock

text: Carlos Norman Hathcock II (May 20, 1942 – February 22, 1999) was a United States Marine Corps (USMC) sniper with a service record of 93 confirmed kills. Hathcock's record and the extraordinary details of the missions he undertook made him a legend in the U.S. Marine Corps. He was honored by having a rifle named after him: a variant of the M21 dubbed the Springfield Armory M25 White Feather, for the nickname "White Feather" given to Hathcock by the North Vietnamese People's Army of Vietnam (PAVN).


title: Carlos Hathcock

text: Hathcock was born in Little Rock, Arkansas, on May 20, 1942. He grew up in Wynne, Arkansas, living with his grandmother for the first 12 years of his life after his parents separated. While visiting relatives in Mississippi, he took to shooting and hunting at an early age, partly out of necessity to help feed his poor family. He would go into the woods with his dog and pretend to be a soldier and hunt imaginary Japanese soldiers with the old Mauser his father, Carlos Norman Hathcock (1919–1985), brought back from World War II. He hunted at that early age with a .22-caliber J. C. Higgins single-shot rifle. Hathcock dreamed of being a Marine throughout his childhood, and so on May 20, 1959, at the age of 17, he enlisted in the United States Marine Corps. Hathcock married Josephine "Jo" Bryan ("née" Broughton; 1930–2016) on the date of the Marine Corps birthday, November 10, 1962. Jo gave birth to a son, whom they named Carlos Norman Hathcock III.


title: Carlos Hathcock

text: Before deploying to South Vietnam, Hathcock had won shooting championships, including matches at Camp Perry and the Wimbledon Cup. In 1966, Hathcock started his deployment in the Vietnam War as a military policeman and later became a sniper after Captain Edward James Land pushed the Marines into raising snipers in every platoon. Land later recruited Marines who had set their own records in sharpshooting; he quickly found Hathcock, who had won the Wimbledon Cup, the most prestigious prize for long-range shooting, at Camp Perry in 1965.


title: Carlos Hathcock

text: During the Vietnam War, Hathcock had 93 confirmed kills of People's Army of Vietnam (PAVN) and Viet Cong personnel. In the Vietnam War, kills had to be confirmed by the sniper's spotter and a third party, who had to be an officer. Snipers often did not have a third party present, making confirmation difficult, especially if the target was behind enemy lines, as was usually the case. Hathcock himself estimated that he had killed between 300 and 400 enemy personnel during the Vietnam War.


title: Carlos Hathcock

text: The PAVN placed a bounty of US$30,000 on Hathcock's life for killing so many of its soldiers. Rewards put on U.S. snipers by the PAVN typically ranged from $8 to $2,000. Hathcock held the record for the highest bounty and killed every known Vietnamese marksman who sought him to try to collect it. The Viet Cong and PAVN called Hathcock "Lông Trắng", translated as "White Feather", because of the white feather he kept in a band on his bush hat. After a platoon of Vietnamese snipers was sent to hunt down "White Feather", many Marines in the same area donned white feathers to deceive the enemy. These Marines were aware of the impact Hathcock's death would have and took it upon themselves to make themselves targets in order to confuse the counter-snipers.


title: Carlos Hathcock

text: One of Hathcock's most famous accomplishments was shooting an enemy sniper through the enemy's own rifle scope, hitting him in the eye and killing him. Hathcock and John Roland Burke, his spotter, were stalking the enemy sniper in the jungle near Hill 55, the firebase from which Hathcock was operating, southwest of Da Nang. The sniper, known only as the "Cobra," had already killed several Marines and was believed to have been sent specifically to kill Hathcock. When Hathcock saw a glint (light reflecting off the enemy sniper's scope) in the bushes, he fired at it, shooting through the scope and killing the sniper. Hathcock took possession of the dead sniper's rifle, hoping to bring it home as a "trophy", but after he turned it in and tagged it, it was stolen from the armory.


title: Carlos Hathcock

text: Hathcock stated in interviews that he killed a female Viet Cong platoon leader called "the Apache woman," with a reputation for torturing captive U.S. Marines, around the firebase at Hill 55. However scholars such as Jerry Lembcke have cast doubt on Hathcock's account and questioned the existence of "Apache".


title: Carlos Hathcock

text: Hathcock only once removed the white feather from his bush hat while deployed in Vietnam. During a volunteer mission days before the end of his first deployment, he crawled over 1,500 yards of field to shoot a PAVN general. He was not informed of the details of the mission until he accepted it. This effort took four days and three nights without sleep and with constant inch-by-inch crawling. Hathcock said he was almost stepped on as he lay camouflaged with grass and vegetation in a meadow shortly after sunset. At one point he was nearly bitten by a bamboo viper, but had the presence of mind to avoid moving and giving up his position. As the general exited his encampment, Hathcock fired a single shot that struck the general in the chest, killing him.


title: Carlos Hathcock

text: After this mission, Hathcock returned to the United States in 1967. He missed the Marine Corps, however, and returned to Vietnam in 1969, where he took command of a platoon of snipers.


title: Carlos Hathcock

text: On September 16, 1969, Hathcock's career as a sniper came to a sudden end along Highway 1, north of Landing Zone Baldy, when the LVTP-5 he was riding on struck an anti-tank mine. Hathcock pulled seven Marines from the flame-engulfed vehicle, suffering severe burns (some third-degree) to his face, arms, and legs, before someone pulled him away and placed him in water because he was unaware of how badly he had been burnt. While recovering, Hathcock received the Purple Heart. Nearly 30 years later, he received a Silver Star for this action. Hathcock and the seven marines he pulled from the vehicle were evacuated by helicopter to hospital ship , then to a naval hospital in Tokyo, and ultimately to the burn center at Brooke Army Medical Center in San Antonio, Texas.


title: Carlos Hathcock

text: After returning to active duty, Hathcock helped establish the Marine Corps Scout Sniper School at the Marine base in Quantico, Virginia. Due to the extreme injuries he suffered in Vietnam, he was in nearly constant pain, but continued to dedicate himself to teaching snipers. In 1975, Hathcock's health began to deteriorate, and he was diagnosed with multiple sclerosis. He stayed in the Marine Corps, but his health continued to decline. Just 55 days short of the 20 years that would have made him eligible for regular retirement pay, he received a permanent disability separation. Being medically discharged, he received 100 percent disability pay. He would have received only 50 percent of his final pay grade had he retired after 20 years. He fell into a state of depression when he was forced out of the Marines because he felt as if the service had kicked him out. During this depression, his wife Jo nearly left him but decided to stay. Hathcock eventually picked up the hobby of shark fishing, which helped him to overcome his depression.


title: Carlos Hathcock

text: Hathcock provided sniper instruction to police departments and select military units, such as SEAL Team Six.


title: Carlos Hathcock

text: Hathcock once said that he survived in his work because of an ability to "get in the bubble", to put himself into a state of "utter, complete, absolute concentration", first with his equipment, then his environment, in which every breeze and every leaf meant something, and finally on his quarry. After the war, a friend showed Hathcock a passage written by Ernest Hemingway: "Certainly there is no hunting like the hunting of man, and those who have hunted armed men long enough and like it, never really care for anything else thereafter." He copied Hemingway's words on a piece of paper. "He got that right," Hathcock said. "It was the hunt, not the killing." Hathcock said in a book written about his career as a sniper: "I like shooting, and I love hunting. But I never did enjoy killing anybody. It's my job. If I don't get those bastards, then they're gonna kill a lot of these kids dressed up like Marines. That's the way I look at it."


title: Carlos Hathcock

text: Hathcock's son, Carlos Hathcock III, later enlisted in the U.S. Marine Corps; he retired from the Marine Corps as a Gunnery Sergeant after following in his father's footsteps as a shooter and became a member of the Board of Governors of the Marine Corps Distinguished Shooters Association.


title: Carlos Hathcock

text: Hathcock died on February 22, 1999, in Virginia Beach, Virginia, aged 56, from complications resulting from multiple sclerosis. He is buried at Woodlawn Memorial Gardens in Norfolk, Virginia.


title: Carlos Hathcock

text: The President of the United States of America takes pleasure in presenting the Silver Star to Staff Sergeant Carlos N. Hathcock, II (MCSN: 1873109), United States Marine Corps, for conspicuous gallantry and intrepidity in action while serving as a Sniper, Seventh Marines, FIRST Marine Division, in connection with military operations against the enemy in the Republic of Vietnam on 16 September 1969. Staff Sergeant Hathcock was riding on an Assault Amphibious Vehicle which ran over and detonated an enemy anti-tank mine, disabling the vehicle which was immediately engulfed in flames. He and other Marines who were riding on top of the vehicle were sprayed with flaming gasoline caused by the explosion. Although suffering from severe burns to his face, trunk, and arms and legs, Staff Sergeant Hathcock assisted the injured Marines in exiting the burning vehicle and moving to a place of relative safety. With complete disregard for his own safety and while suffering excruciating pain from his burns, he bravely ran back through the flames and exploding ammunition to ensure that no Marines had been left behind in the burning vehicle. His heroic actions were instrumental in saving the lives of several Marines. By his courage, aggressive leadership, and total devotion to duty in the face of extreme personal danger, Staff Sergeant Hathcock reflected great credit upon himself and the Marine Corps and upheld the highest traditions of the United States Naval Service.


title: Carlos Hathcock

text: Hathcock remains a legend in the U.S. Marine Corps. The Gunnery Sergeant Carlos Hathcock Award is presented annually by the National Defense Industrial Association "to recognize an individual who ... has made significant contributions in operational employment and tactics of small arms weapons systems which have impacted the readiness and capabilities of the U.S. military or law enforcement." The Marine Corps League (MCL) sponsors an annual program with 12 award categories, which includes the Gunnery Sergeant Carlos N. Hathcock II Award presented "to an enlisted Marine who has made an outstanding contribution to the improvement of marksmanship training." A sniper range named for Hathcock is at Camp Lejeune, North Carolina.


title: Carlos Hathcock

text: In 1967, Hathcock set the record for the longest sniper kill. He used an M2 .50 Cal Browning machine gun mounted with a telescopic sight at a range of , killing a Vietcong guerrilla. In 2002, this record was broken by Canadian snipers (Rob Furlong and Arron Perry) from the third battalion of Princess Patricia's Canadian Light Infantry during the War in Afghanistan. Hathcock was one of several individuals to utilize the M2 Browning machine gun in the sniping role. This success led to the adoption of the .50 BMG cartridge as a viable sniper round. Springfield Armory designed a highly accurized version of their M1A Supermatch rifle with a McMillan Stock and match grade barrel and dubbed it the "M-25 White Feather". The rifle had a likeness of Hathcock's signature and his "white feather logo" marked on the receiver. Turner Saddlery similarly honored Hathcock by producing a line of leather rifle slings based on his design. The slings are embossed with Hathcock's signature. On March 9, 2007, the rifle and pistol complex at Marine Corps Air Station Miramar was officially renamed the Carlos Hathcock Range Complex.


title: Carlos Hathcock

text: Hathcock generally used the standard sniper rifle: the Winchester Model 70 chambered for .30-06 Springfield cartridges, with the standard 8-power Unertl scope. On some occasions, however, he used a different weapon: the M2 Browning machine gun, on which he mounted an 8X Unertl scope, using a bracket made by metalworkers of the SeaBees. Hathcock made a number of kills with this weapon in excess of 1,000 yards, including his record for the longest confirmed kill at 2,500 yards (since surpassed). Hathcock carried a Colt M1911A1 pistol as a sidearm.


title: Carlos Hathcock

text: Hathcock's career as a sniper has been used as a basis for a variety of fictional snipers, from the "shooting through the scope incident" to the number of kills he made.


title: The Cure discography

text: The English rock band The Cure have released thirteen studio albums, six live albums, two remix albums, seven compilation albums, eight box sets, twelve extended plays, and forty-six singles on Fiction Records and Geffen Records. They have also released twelve video albums and forty-four music videos.


title: The Cure discography

text: the Cure grew out of a band known as Malice. Malice formed in January 1976 and underwent several line-up changes and a name change to Easy Cure before The Cure was founded in May 1978. The Cure's original line-up consisted of Robert Smith (vocals, guitars), Laurence "Lol" Tolhurst (drums) and Michael Dempsey (bass guitar). The band has continued through various line-ups; Smith is the group's only remaining original member. The line-up of the band for their most recent album, "" (2008), consisted of Smith, Porl Thompson (guitar), Simon Gallup (bass guitar) and Jason Cooper (drums).


title: The Cure discography

text: The Cure's debut album, "Three Imaginary Boys" (1979), reached number 44 on the UK Albums Chart. The next two albums, "Seventeen Seconds" (1980) and "Faith" (1981), were top 20 hits in the UK, reaching number 20 and number 14 respectively. Between 1982 and 1996, The Cure released seven studio albums, all of which reached the Top 10 in the UK. The most successful of these was "Wish" (1992) which reached number one in the UK and number two on the US "Billboard" 200. The last three studio albums – "Bloodflowers" (2000), "The Cure" (2004) and "" (2008) – have had mixed success, reaching numbers 14, 8 and 33 in the UK respectively.


title: Serpico

text: Serpico is a 1973 American biographical crime drama film directed by Sidney Lumet and starring Al Pacino. The screenplay was adapted by Waldo Salt and Norman Wexler from the book of the same name written by Peter Maas with the assistance of its subject, Frank Serpico. The story details Serpico's struggle with corruption within the New York City Police Department during his eleven years of service, and his work as a whistleblower that led to the investigation by the Knapp Commission.


title: Serpico

text: Producer Dino De Laurentiis purchased the rights from Maas. Agent Martin Bregman joined the film as co-producer. Bregman suggested Pacino for the main part, and John G. Avildsen was hired to direct the film. Pacino met with Serpico to prepare for the role early in the summer of 1973. After Avildsen was dismissed, Lumet was hired as his replacement. On a short notice, he selected the shooting locations and organized the scenes; the production was filmed in July and August.


title: Serpico

text: Upon its release, "Serpico" became a critical and commercial success. At the same time, the film drew criticism from police officers. It received nominations for the Academy Awards and BAFTA Awards. Pacino earned the Golden Globe Award for Best Actor – Motion Picture Drama, while Salt and Wexler received the Writers Guild of America Award for Best Adapted Screenplay.


title: Serpico

text: NYPD Officer Frank Serpico is rushed to the hospital, having been shot in the face. Chief Sidney Green fears that Serpico was shot by another cop. The rest of the film is shown as a long flashback.


title: Serpico

text: Serpico graduates from the police academy with big ideas for improving the police force's community relations. He dresses like an actual civilian instead of wearing the department's standard plainclothes dress, which is easily recognizable. While he is chasing a burglar, other officers fail to recognize him as one of their own, and shoot at him. He realizes that deviating from protocols can be dangerous.


title: Serpico

text: Serpico reports an attempted bribe to a high-ranking investigator, who chuckles and advises him to keep the money. Serpico soon learns that corruption is rampant in the police department. Forced to accompany officers as they collect payoffs from criminals and small businesses, Serpico refuses to accept his share of the money. He makes several attempts to alert superiors to the corruption but is rebuffed every time. Other officers learn that he is reporting them and he begins to fear for his life.


title: Serpico

text: Serpico and his well-connected friend Blair go to the mayor's assistant, who promises a real investigation and support but is stymied by political pressure. Ostracized, frustrated, and fearful, Serpico sinks into depression, which ruins his relationship with his girlfriend. He begins brutalizing well-connected suspects who had been bribing other officers and thought themselves protected. Finally, Serpico informs McClain that he has reported his experiences to oversight agencies outside the police force. Furious, McClain informs the other officers.


title: Serpico

text: Blair uses his connections to arrange a personal interview with the district attorney, who tell Serpico that if he testifies to a grand jury, a major investigation will follow. The DA limits his questions and prevents Serpico from revealing the ubiquity of corruption in the police force. Serpico and Blair take their story to "The New York Times". After his allegations are printed, his superiors retaliate by assigning him to a dangerous narcotics squad in Brooklyn.


title: Serpico

text: During a raid on a drug trafficker's apartment, Serpico's partners hold back at a critical moment and Serpico gets shot in the face. After a long, painful recovery, he testifies before the Knapp Commission, a government inquiry into NYPD corruption. An epilogue states that Frank Serpico resigned from the NYPD on June 15, 1972, was awarded the NYPD Medal of Honor for "conspicuous bravery in action", and moved to Switzerland.


title: Serpico

text: After Frank Serpico recovered from being shot, he helped Peter Maas write "Serpico". Detective David Durk, who also appeared in front of the Knapp Commission, planned to sell the rights of their story for a film adaptation. Early negotiations included Paul Newman in the role of Durk, and Robert Redford as Serpico. Serpico distanced himself from the project, as he felt that he would be merely portrayed as a sidekick. Script writer John Gregory Dunne turned down the project, as he felt "there was no story". Director Sam Peckinpah, as well as Newman and Redford left the project.


title: Serpico

text: After the success of several of his films in the 1960s, and the first years of the 1970s, producer Dino De Laurentiis decided to move from Italy to the United States. The change in financing laws further regulated the Italian film industry, and the producer settled in New York City. Following their collaboration on "The Valachi Papers", De Laurentiis purchased the rights to Maas' book. Maas received US$400,000 (equivalent to $ million in ) and participation in the film, while the rights for his work were secured before the March 1973 publication of the book. Initially, De Laurentiis' found resistance to the project from Paramount Pictures. The studio considered that "enough cop movies" had been made. In turn, De Laurentiis was supported by Charles Bluhdorn, president of Gulf+Western who wanted the film to be made. De Laurentiis later declared that "no American producer would have had the courage" to depict police corruption in a motion picture.


title: Serpico

text: Maas' agent, Sam Cohn, was approached by agent Martin Bregman. Bregman expressed his interest to also produce the film after reading an article in "New York" magazine about the book. Bregman proposed one of his signed actors, Al Pacino to play the lead. Waldo Salt was chosen to write the screenplay adaptation. The first draft did not impress Maas, De Laurentiis, nor Bregman. Bregman felt that the result was "very political", and that the story did not reflect what the producers desired to portray on the film. Bregman and Maas then directed Salt to the parts of the book they envisioned to be reflected on the screenplay. The second draft was considered a substantial improvement by the production team. Bregman took the treatment to Pacino, who initially did not find the film interesting. Salt then visited Pacino with the re-worked script, that convinced him to consider the part. A meeting with Serpico, Maas and Pacino was then arranged for the actor to meet the subject of the film. Upon meeting him, Pacino was fully convinced to accept the part. John G. Avildsen was then chosen to direct the film.


title: Serpico

text: Salt's work did not satisfy Avildsen, who threatened to leave the project unless he could bring Norman Wexler to write the screenplay. They had previously worked together in Avildsen's "Joe". Both then traveled to Switzerland, to visit Serpico at home, and work the details. Time to work on the production was constricted due to Pacino's commitment to "The Godfather Part II". Further disagreement arose between Avildsen and Bregman regarding the script, and then the selection of the filming locations. Upon finding resistance to his plans, Avildsen threatened Bregman of quitting multiple times. An aggravated Bregman then called for a meeting with the production team, in order to cause the director to quit in front of witnesses. Avildsen had insisted on a meeting with Bregman and De Laurentiis to shoot a scene in the real home of Serpico's parents for authenticity. The producers felt that the structure could not accommodate the production team and equipment efficiently. The escalating tension on the meeting resulted in De Laurentiis firing Avildsen, and the director quit in return. Avildsen's account for the reason of his dismissal was refusing to cast Cornelia Sharpe as Leslie. Sharpe was at the time dating Bregman. Avildsen would later declare that he should have treated the situation "with more finesse". Sidney Lumet was then hired to complete the job for his reputation as an effective director under a tight schedule.


title: Serpico

text: Pacino was shortly distracted from the project by an offer to play the lead in "Lenny", but ultimately he turned it down. To prepare for "Serpico", he rode with police officers for a night, but he decided it was not enough. A method actor, he felt that he needed to spend time with Serpico. Pacino and Serpico met several times in Montauk, New York, where the actor rented a house for the summer season. Pacino was moved by Serpico's conviction to reform the NYPD, and became more committed to the project. In character, Pacino often walked through areas of the city that were considered dangerous at the time. While waiting in traffic, he attempted to arrest a truck driver, as he was enraged by the exhaust fumes. He was refused service at a Manhattan restaurant for the appearance he kept for the film.


title: Serpico

text: Lumet organized the 107 speaking parts that took place in 104 different locations. The longest scenes took up two-and-a-half pages of the screenplay, while the average was one page. A budget of $3.3 million (equivalent to $ million in ) was assigned. Two weeks of rehearsal were held. Pacino had learned Salt's screenplay, and he agreed with Lumet that Wexler's revised version improved the structure, but that the dialogue was impoverished. Lumet allowed the actors to improvise certain dialogues, and he also allowed their creative input for the scenes. The cast selected dialogues from both scripts as the filming progressed. Though he had already a good knowledge of New York locations, Lumet considered the work "physically brutal, and emotionally tough". The principal photography on "Serpico" began in early July 1973. The film was planned to be released before Christmas, with four-and-a-half months for the crew to complete the movie. Filming took place in July and August. The story of the film encompassed eleven years, from 1960 through 1971.


title: Serpico

text: To accommodate the scenes around Pacino's facial hair, the film was shot in reverse. Pacino started with long beard and hair. He was shaved to a mustache, and then eventually his hair was cut, and he was clean-shaven for the beginning of the film. Lumet decided each day if Pacino was to be further shaven, and the crew prepared fake beards in case they were required. Winter conditions were simulated, as the team had to defoliate trees and cut shrubs. Special make-up was used to absorb the sweat, and to keep the actors' skin dry. The cast wore winter coats, and their skin was made to look bluish, while their breath had to be visible. The director followed Serpico's desire for the winter to look "cold and heavy", and the summer "idyllic and hazy". The team had difficulty to find locations suitable for the scenes set in the 1960s, since graffiti did not become common until 1970. Lumet shot up to thirty-five different setups daily. The team had to move three times a day on an average. Each location had to be cleared of cars that did not belong to the particular period, and extras could not feature long hair, or non-period wardrobe. Hairdressers were present with the crew. Multiple locations in the city including Harlem, South Bronx, Bedford–Stuyvesant, Brooklyn and Astoria, Queens were used. Lewisohn Stadium was featured shortly before its demolition. The party scene was shot at Sidney Kingsley's fifth avenue loft. The NYPD cooperated with the director, and allowed him to film in four active police stations.


title: Serpico

text: Serpico's apartment had to be built by the crew. It featured a fixed ceiling, and movable walls. As Serpico's original apartment, it was located in Greenwich Village. Through lighting, Lumet and cinematographer Arthur Ornitz chose to maintain a "warm look" on the location. Different techniques were used to reflect moods, and the changes that the character went through the years. Lumet focused on portraying Serpico's struggle to balance his work and personal life, and his increased isolation and alienation, as his efforts produced slow results. The director decided to portray him "darker and darker". As the film progressed, the cast costumes became darker in color, until the courtroom scene, where all the actors wore dark tones. Lumet told Charles Champlin: "I was trying to negate color, to make a picture in color that was not colorful". Meanwhile, he desired Serpico's fellow officers to be "men with charm, who were all the more evil for being human and understandable". Lumet finished shooting the film in fifty-one days, on budget.


title: Serpico

text: The film was edited by Dede Allen. Allen received the scenes from Lumet directly after they were shot. She had a limit of forty-eight hours to finish her work for its delivery to the sound department. Lumet did not want to add a score to the picture, but he decided he would do it before De Laurentiis commissioned one. He learned that Mikis Theodorakis was released from prison in Greece. He was able to locate him in Paris, as the composer quickly left his country of origin. Theodorakis accepted Lumet's offer, and flew to New York City the next day. He met with the director, who played the movie for him the day of his arrival. Theodorakis agreed that it should not have a soundtrack, but he offered a composition of his to add to the film. Theodorakis had arranged a tour of the United States with a Greek orchestra and told Lumet that he could not be present for the spotting session. Lumet offered the help of Bob James, who would sit with the director for the spotting. To inform of the progress of the sessions and possible changes on the arrangements, James flew to the cities where Theodorakis appeared in order to work the details together.


title: Serpico

text: The film was released on December 5, 1973 in New York, and on December 18 in Los Angeles. The opening week in New York garnered $123,000. "Serpico" was released nationwide on February 6, 1974. The film was a critical and commercial success. It grossed between $23.4 million and $29.8 million.


title: Serpico

text: Serpico attended the premiere of the film, but he did not finish watching it. Serpico felt "distant" from the end results. On an interview with Pauline Kael for "The New Yorker", he concluded that it "didn't give a sense of frustration you feel when you're not able to do anything". According to Lumet's account, he met Serpico shortly before the production. The director asked him to stay clear of the set, to not make Pacino "self-conscious" regarding his portrayal. Serpico watched the film in its entirety for the first time in 2010. In a later interview, he declared that Lumet barred him from the set after he interrupted the shooting of a scene that "never happened". Serpico also criticized the dismissal of Avildsen by the production team. Serpico and Avildsen remained friends, and shared a property on Long Island for three years in the 1980s. New York City Police Commissioner Michael Codd stated that the film "tends to imply that Serpico was the only honest cop in the whole department". Detective Durk was not pleased with "Serpico". Durk, who was depicted in the character of Bob Blair, felt that the movie would deter other policemen to denounce corruption. On an interview with "The New York Times", he considered that the movie was unfair to honest police officers. Durk stated that the end of the film conveyed that "the cost of honesty is martyrdom", and Serpico's departure for Switzerland showed him "wounded and frustrated". Meanwhile, Bronx district attorney Burton B. Roberts declared that it "bears absolutely no relationship to the truth". Lumet defended his artistic license on the portrayal of the story, as he felt he desired to make a film that "people believed in". Bregman dismissed the critics, as he felt that the real names were not relevant for viewers in cities outside New York. Maas dismissed Durk's claims regarding honest policemen and asked "where were they?"


title: Serpico

text: "The New York Times" felt that the film was "galvanizing" for Pacino's performance, and by the "tremendous intensity" of Lumet's direction. The publication considered the film at the same time "disquieting" for its use of fictional names, as the reviewer felt that it diminished the role of Durk. Meanwhile, it called Theodorakis' soundtrack "redundant and dumb". The "New York Daily News" delivered a favorable review of the film. It rated it four stars out of five, and called it "a triumph of intelligence, compassion and style". A follow-up critic by the publication deemed Pacino's acting a "masterful performance", as the reviewer remarked "he walks like a cop. He talks like a cop. He even seems to think as a cop". The review also praised Lumet and his "talent for achieving social realism". "The Record" considered it "one of the finest films of the year". While it felt that the portrayal of Serpico was "too righteous and obsessive", the review favored Pacino, but felt that his performance was "sometimes a little too intense". It praised the photography of New York City as authentic, and credited Ornitz and Allen's work for it. "The Village Voice" wrote a mixed review. It criticized the focus of the film on Serpico, and the minor role the screenplay writers gave to the character that represented Durk. The reviewer considered that Serpico was "worth seeing" for Pacino's performance. "Variety" deemed Pacino's acting "outstanding", and Lumet's a combination of "gritty action and thought-provoking comment".


title: Serpico

text: For "Newhouse News Services" it was an "exciting movie", but the review remarked that it was "weakened" by its focus on Serpico. The news agency attributed the minimization of the other characters to avoid "possible lawsuits". The "Los Angeles Times" acclaimed "Serpico". Charles Champlin called Pacino "one of the handful of genuine star actors in American films". Salt and Wexler's screenplay was hailed as "almost documentary reality", and its treatment of the main character "a complex and evolving portrait". The reviewer also remarked that the romances and break-ups were presented with "unhackneyed honesty". The contributions of the supporting cast were well noted. Champlin felt that Allen's work was considered to be "high on the list" for an Academy Award nomination and deemed Theodorakis' music "effective".


title: Serpico

text: The "Chicago Tribune" rated the film with two-and-a-half stars. The critic expressed that its treatment of corruption is its "principal strength and weakness", and added that "Serpico" "loses the perspective" that "corruption ... begins and ends with individuals making active and passive decisions". "The Philadelphia Inquirer" celebrated the film's critic of police corruption, despite its "embellishments and omissions" on the story. Pacino's performance was called "riveting", and the piece praised the "sharply individualized characterizations" by Tony Roberts, Jack Kehoe, John Randolph, Biff McGuire, Barbara Eda-Young and Cornelia Sharpe. Meanwhile, also for "Philadelphia Inquirer", investigative journalist Greg Walter lamented its portrayal of police officers as "snarling, insipid ass(es)". Walter felt that Maas' book was "coldly objective", but that the director's work delivered characters that were "one-dimensional caricatures". "The Boston Globe" welcomed Lumet's "melodramatic efficiency". The publication considered the story "heavily repetitious", but favored its "quick pace". It regarded Ornitz's camerawork as "the right documentary look", while it lamented Theodorakis' score as "disruptive" and "out of character". "Esquire" further criticized Theodorakis, as the reviewer opined that his "composing voice ought to be silenced". Meanwhile, the piece praised Allen's work.


title: Serpico

text: The "Miami Herald" hailed the use of "street talk" instead of the "language of actors and actresses" by Salt, Wexler and Maas. It praised Lumet and Ornitz's photography that "generate the smells, sounds and styles of the city". It considered Pacino's acting "predictably excellent", and it favored Theodorakis' music. The "Detroit Free Press" suggested that "Serpico" would be a breakthrough role for Pacino as an actor, and called his work "fascinating". The newspaper defined the film as an "encouraging morality tale". Meanwhile, "San Francisco Examiner" observed Pacino's acting to be "a brilliant, solidly thought out performance". The publication added that the supporting cast's contributions "never satisfactorily fleshed out". Regarding Lumet, the reviewer felt that he directed the film with "skill and vigor". "The Cincinnati Enquirer" attributed the commercial success of the film to Pacino's acting, and to the film's depiction of "hard, cold, grit and grime reality".


title: Serpico

text: For "The Evening Sun" reviewer Lou Cedrone expressed his doubts about Durk's "gratis talk of defamation of the police image". Cedrone considered that Durk "comes off very nicely" on the film, and defended Lumet's choice to "emphasize the action rather than the definition". Meanwhile, it viewed the use of "Neapolitan" music as "foolish perhaps, but not touching". It declared Pacino's contribution "a magnificent performance". The "Pittsburgh Post-Gazette" found "Serpico" to be "meticulously crafted, intelligently written, unflinchingly honest". The publication noted the "fidelity" with which the director captured New York, and that the city "becomes more than just a background". It summed Pacino's acting as "naturalistic, flawlessly convincing". The "Honolulu Advertiser" attributed Pacino's "brilliant portrayal" to turn an "ordinary cop movie" into "extraordinary". The review favored Lumet, the writers and the supporting cast.


title: Serpico

text: The "Austin American-Statesman" highlighted realism in producing a "fascinating film". The "Fort Worth Star-Telegram" celebrated Pacino's "towering performance". Roberts' performance was noted as a "standout". Sharpe and Eda Young's appearances as Serpico's love interests were deemed to be "played with restrained excellence". The newspaper opined that the film was "15 minutes too long", but that viewers would not "realize the length until you're outside looking at your watch". The "Kansas City Star" detailed the criticism the film received from police officers, and Serpico's discontent with the production. The piece noted that despite the fictional additions, "Serpico" was a "superrealistic dramatization". Meanwhile, Wexler and Salt were praised for the authentic use of profanity in the dialogues. "The Times" opened its review applauding Serpico's denunciation of police corruption, while it pointed that the film "exceeds (the) expectations" of the viewers for it to be "powerfully dramatic". Lumet's "accurate eye for surroundings" was remarked, and the reviewer hailed Pacino and the supporting cast.


title: Serpico

text: On the review aggregator Metacritic the movie garnered a score of 87 out of 100, based on 7 reviews from mainstream critics. The result indicated "universal acclaim". Rotten Tomatoes rated it 91% "Fresh" with an average score of 8.1/10, based on reviews from forty-four critics. The website remarked Pacino's "ferocious performance".


title: Serpico

text: AllMovie gave "Serpico" five stars out of five. The review described the situation in the United States following the Watergate scandal, and how the "bureaucratic depravity touched a cultural nerve". It welcomed the film's "documentary-style realism". "The A.V. Club" received it positively, the reviewer felt that "Serpico" expressed "artful, character-driven slices of life". In its later review, "The Village Voice" declared that the "Watergate-era time capsule of hippie fashions" that the film presented "ought to look pretty dated", but that the story "feels depressingly relevant".


title: Serpico

text: On September 21, 1975, "Serpico" was premiered on television on "The ABC Sunday Night Movie". It was released on VHS in 1991, and on DVD in 2002. The film was then made available in Blu-ray in 2013. Masters of Cinema released "Serpico" in the United Kingdom on Blu-ray in 2014. It contained three video documentaries about the film, a photo gallery with an audio commentary by Lumet and a forty-four page booklet.


title: Serpico

text: A television series based on Maas' book and the motion picture was broadcast on NBC between September 1976 and January 1977, with David Birney playing the role of Serpico. Fourteen episodes were broadcast, and one was never aired. The series was preceded by a pilot film, "Serpico: The Deadly Game", which was broadcast in April 1976.


title: Serpico

text: The 1976 Italian film "The Cop in Blue Jeans"' main character was inspired by "Serpico". In the 1977 film "Saturday Night Fever", a poster of "Serpico" is featured in the room of its main character, Tony Manero. The film is referenced in 1994's "Natural Born Killers" by the character Dwight McClusky. The poster of the film is featured in the room of the main character of 1997's "Boogie Nights". Serpico was mentioned in the 1995 film "Get Shorty". In a 2004 "Corner Gas" episode, "The Taxman", local cops Davis and Karen talk about the film and Karen tries to rent it at the video store. In a 2007 episode of "It’s Always Sunny in Philadelphia", "Bums: Making a Mess All Over the City", Charlie imitates Pacino’s performance after the gang buys an out of commission police car. The film was referenced in a 2016 episode of "El ministerio del tiempo" as the reason for the nickname of one of its main characters, "Pacino". Among other police films, "Serpico" influenced the Hong Kong action cinema.


title: Serpico

text: The film received Academy Awards nominations for Best Actor (Al Pacino) and Best Adapted Screenplay. The script won the Writers Guild of America Award for Best Adapted Screenplay. Theodorakis was nominated for both the Grammy Award for Best Score Soundtrack for Visual Media and the BAFTA Award for Best Film Music. Sidney Lumet was nominated for the BAFTA Award for Best Direction and the Directors Guild of America Award. The film was nominated for the Golden Globe Award for Best Motion Picture – Drama. Pacino won his first Golden Globe award for Best Actor in 1974. For his performance, he also received a BAFTA nomination for Best Actor in a Leading Role.


title: Serpico

text: Pacino's role as Frank Serpico ranked at number forty on the American Film Institute's "AFI's 100 Years...100 Heroes & Villains". Meanwhile, "Serpico" also ranked at number eighty-four on AFI's "AFI's 100 Years...100 Cheers", a list of America's most inspiring films.


title: On the Waterfront

text: On the Waterfront is a 1954 American crime drama film, directed by Elia Kazan and written by Budd Schulberg. It stars Marlon Brando and features Karl Malden, Lee J. Cobb, Rod Steiger, Pat Henning, and Eva Marie Saint in her film debut. The musical score was composed by Leonard Bernstein. The film was inspired by "Crime on the Waterfront" by Malcolm Johnson, a series of articles published in November–December 1948 in the "New York Sun" which won the 1949 Pulitzer Prize for Local Reporting, but the screenplay by Budd Schulberg is directly based on his own original story. The film focuses on union violence and corruption amongst longshoremen, while detailing widespread corruption, extortion, and racketeering on the waterfronts of Hoboken, New Jersey.


title: On the Waterfront

text: "On the Waterfront" was a critical and commercial success. It received twelve Academy Award nominations and won eight, including Best Picture, Best Actor for Brando, Best Supporting Actress for Saint, and Best Director for Kazan. In 1997, it was ranked by the American Film Institute as the eighth-greatest American movie of all time; in AFI's 2007 list, it was ranked 19th. It is Bernstein's only original film score not adapted from a stage production with songs.


title: On the Waterfront

text: In 1989, "On the Waterfront" was one of the first 25 films to be deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry.


title: On the Waterfront

text: Terry Malloy is a former prize fighter coerced by corrupt union boss Johnny Friendly into luring fellow dockworker Joey Doyle onto a rooftop. Joey is pushed off the roof, and Terry is visibly upset because he believed that the union thugs were merely going to talk with Joey about his rumored plan to testify against Friendly to the Waterfront Crime Commission. The other dockworkers remain silent, in fear for their lives. Terry reconnects with Joey's sister Edie, who shames the local priest Father Barry into calling the dockworkers to a meeting. Barry tries to persuade them to stand together, but Friendly has sent Terry to report on what is said. Terry is mocked by the other dockworkers before the meeting is broken up by Friendly's men. Terry helps Edie escape while Timothy "Kayo" Dugan is persuaded by Father Barry to testify. Friendly reveals to Terry that Dugan testified behind closed doors, and the next day Dugan is killed by a load of whiskey barrels set loose by Friendly's men.


title: On the Waterfront

text: Father Barry makes an impassioned speech reminding the longshoremen that Christ walks among them, saying that every murder is a crucifixion. Terry is still unwilling to testify, even after he is subpoenaed, while the other dockworkers also refuse to testify. Terry's guilt and regret grow along with his feelings for Edie as he sees her relentless pursuit of justice. He confesses his role in Joey's death to Father Barry who persuades him to confess to Edie. Horrified, Edie runs away. A crime commission investigator reminds Terry of his last great fight, which he threw for a bet after Johnny Friendly "bought a piece" of him. Friendly's men witness Terry's conversation with the investigator and Friendly tells Charley, Terry's brother, to persuade Terry to keep quiet by offering him a cushy job. Terry resists and Charley pulls a gun, which Terry gently waves away. Terry expresses regret about throwing his best fight, and blames Charley for having set up the fix, ruining his career. Charley gives Terry the gun and tells him to run. Terry goes to Edie's apartment, where she refuses to let him in. He breaks in and insists she loves him and they kiss, before Terry's name is called through the open window. The men down on the street shout that his brother is waiting and Terry runs out to help him, with Edie following.


title: On the Waterfront

text: After nearly being run down by a truck, Edie and Terry find Charley's body hung on a hook in the alley. Terry goes to a bar to shoot Friendly but Father Barry distracts him while he is waiting and the other union men run out to warn Friendly. Barry persuades Terry to fight Friendly by testifying in court. Terry gives damning testimony to the commission, and Friendly is cut off from his powerful friends while facing indictment. Friendly bars Terry from any union jobs. Refusing to leave the city with Edie, Terry appears at the dock for the daily ritual where workers are chosen from the assembled longshoremen. Everyone is called to work except Terry, who taunts Friendly outside the nearby shack, shouting that he is proud of testifying. Friendly goads Terry into attacking and is getting beaten until he calls for help from his thugs, who stop just shy of killing Terry. The longshoremen refuse to work unless Terry is allowed to work as well, and Joey's father pushes Friendly into the river when he tries to bully the men. Father Barry tells a badly injured Terry that he lost the battle but has a chance to win the war if he can walk into the warehouse. Father Barry and Edie get him on his feet and Terry stumbles up the gangway to stand before the warehouse, where the boss nods to Terry and tells them to get to work. The men follow Terry inside, ignoring Friendly as he lashes out with empty threats and his fists. The door closes behind them, leaving Friendly out in the cold.


title: On the Waterfront

text: The film is widely considered to be Elia Kazan's answer to those who criticized him for identifying eight (former) Communists in the film industry before the House Committee on Un-American Activities (HUAC) in 1952. One of Kazan's critics was his friend and collaborator, the noted playwright Arthur Miller, who had earlier written the first version of the script, originally titled "The Hook". Kazan had agreed to direct it, and in 1951 they met with Harry Cohn at Columbia Pictures about making the picture. Cohn agreed in principle to make "The Hook", but there were concerns about the portrayal of corrupt union officials. When Cohn asked the antagonists be changed to Communists, Miller refused. Cohn sent a letter telling Miller it was interesting he had resisted Columbia's desire to make the movie "pro-American". Kazan asked Miller to rewrite the script; Miller declined due to his disenchantment with Kazan's friendly testimony before the HUAC. Kazan then replaced Miller with Budd Schulberg.


title: On the Waterfront

text: Cobb's character of Johnny Friendly was partly modeled on Johnny Dio, a real-life mobster known for involvement in labor racketeering.


title: On the Waterfront

text: According to Richard Schickel in his biography of Kazan, Marlon Brando initially refused the role of Terry Malloy, and Frank Sinatra (a native of Hoboken, where the film was being made) then had "a handshake deal"but no formally signed contractto play the part, even attending an initial costume fitting. But Kazan still favored Brando for the role, partly because casting Brando would assure a larger budget for the picture. While Brando's agent, Jay Kanter, attempted to persuade Brando to change his mind, Kazan enlisted actor Karl Malden, whom Kazan considered more suited to a career as a director than as an actor, to direct and film a screen test of a "more Brando-like" actor as Terry Malloy, in an effort to persuade producer Sam Spiegel that "an actor like Marlon Brando" could perform the role more forcefully than Sinatra. To that end, Malden filmed a screen test of Actors Studio members Paul Newman and Joanne Woodward performing the love scene between Terry and Edie. Persuaded by the Newman/Woodward screen test, Spiegel agreed to reconsider Brando for the role, and shortly afterward, Kanter convinced Brando to reconsider his refusal. Within a week, Brando signed a contract to perform in the film. At that point, a furious Sinatra demanded to be cast in the role of Father Barry, the waterfront priest. It was left to Spiegel to break the news to Sinatra that Malden had been signed for this role.


title: On the Waterfront

text: "On the Waterfront" was filmed over 36 days on location in various places in Hoboken, New Jersey, including the docks, workers' slum dwellings, bars, littered alleys, and rooftops. The church used for exterior scenes in the film was the historic Our Lady of Grace, built in 1874, while the interiors were shot at the Church of St. Peter and St. Paul at 400 Hudson Street.


title: On the Waterfront

text: Upon its release, the film received positive reviews from critics, and was a commercial success, earning an estimated $4.2 million at the North American box office in 1954. In his July 29, 1954, review, "New York Times" critic A. H. Weiler called the film "an uncommonly powerful, exciting, and imaginative use of the screen by gifted professionals".


title: On the Waterfront

text: On Rotten Tomatoes, the film has a critical score of 99% from 99 reviews with an average rating of 9.2/10 and a critical consensus of "With his electrifying performance in Elia Kazan's thought-provoking, expertly constructed melodrama, Marlon Brando redefined the possibilities of acting for film and helped permanently alter the cinematic landscape". Gaining the Academy Award for Best Actor and being named the greatest and second-greatest film performance of all time by Aaron West of Criterion and by "Premiere" respectively, Brando's performance is regarded as one of the watershed moments in the history of movies.


title: On the Waterfront

text: Through his portrayal of Terry Malloy, Brando popularized method acting and conclusively exemplified the power of Stanislavski-based approach in cinema. Praising Brando in 2004, director Martin Scorsese noted that "[w]hen you watch his work in "On the Waterfront" ... you’re watching the purest poetry imaginable, in dynamic motion". Kazan, the director of the film, would later write in his book, "If there is a better performance by a man in the history of film in America, I don't know what it is."


title: On the Waterfront

text: Al Pacino, recounting his own memories on first seeing "On the Waterfront", told "Playboy" in a 1979 interview that he concentrated more on the lead actor than the film itself, "I couldn't move. I couldn't leave the theatre. I’d never seen the like of it." Anthony Hopkins said, "When you see Brando in the famous cab scene in "On the Waterfront", it's still breathtaking." In a eulogy for Brando, Jack Nicholson described his display "probably the height of any age", and added that, "You just couldn’t take your eyes off the guy. He was spellbinding."


title: On the Waterfront

text: In 1989, the film was deemed "culturally, historically, or aesthetically significant" by the Library of Congress, and selected for preservation in the United States National Film Registry.


title: On the Waterfront

text: The first home video release of the film was by Columbia Pictures Home Entertainment in 1982, on VHS and Beta. RCA/Columbia Pictures Home Video later re-released it in 1984, 1986, and 1990, respectively, the latter being a part of the Columbia Classics line-up. Columbia TriStar later reissued the film on VHS in 1995 as part of the line-up's "Studio Heritage Collection", and the first DVD version was released in 2001. Among the special features is the featurette "Contender: Mastering the Method", a video photo gallery, an interview with Elia Kazan, an audio commentary, filmographies, production notes, and theatrical trailers. The film has been added to the Criterion Collection.


title: On the Waterfront

text: The 2013 Criterion Collection release presents the film in three aspect ratios: 1.66:1, 1.85:1, and 1.33:1. The accompanying booklet explains the reasoning behind this choice: "In 1953, Columbia Pictures was transitioning to the new widescreen format and declared that all its upcoming films, including "On The Waterfront", would be suitable for projection in any aspect ratio from the full frame of 1.33:1 to the then widest standard of 1.85:1. The customary frame of European cinematographer Boris Kaufman ("Twelve Angry Men", "Baby Doll") split the difference at 1.66:1, so that all that was required was for him to leave extra room at the top and bottom of the frame and make sure that nothing essential would be lost in the widescreen presentation. At its premiere in 1954, "On The Waterfront" was projected at 1.85:1. Over subsequent decades, millions of television viewers became accustomed to seeing the film with the open-matte 1.33:1 framing, a presentation that has carried over into the home video era. Here, for the first time, Criterion is presenting the film in all three aspect ratios so that viewers can compare and choose the version they prefer."


title: On the Waterfront

text: The film script was adapted to stage by Schulberg. It opened on Broadway in November 1984. It included technical innovations for the time, including lasers, filmlike scenic dissolves and sounds that enveloped the audience. The story is a little different, with the motivations of Father Barry made more explicit, and the ending is less happy and more realistic. It was revised in 1995 and lasted for only 8 performances, losing $2.6 million, a record on Broadway for a non-musical at the time.


title: Taken 3

text: Taken 3 (sometimes stylized as TAK3N) is a 2014 English-language French action-thriller film directed by Olivier Megaton and written by Luc Besson and Robert Mark Kamen. It is the third and final installment in the "Taken" trilogy. A co-production between France, Spain and the United States, the film stars Liam Neeson, Forest Whitaker, Maggie Grace and Famke Janssen.


title: Taken 3

text: The film was released in Germany in late 2014, and then in the United States on 9 January 2015 by 20th Century Fox and in France on 21 January 2015 by EuropaCorp Distribution. It grossed $326 million worldwide, but received generally unfavorable reviews from critics.


title: Taken 3

text: Retired CIA officer Bryan Mills, visits his daughter, Kim, to deliver an early birthday gift. After an awkward visit, he invites his former wife, Lenore, to dinner. Although she declines, she later shows up at his apartment and tells him about her marital problems, but says she wants to make it work. Later, her husband, Stuart, tells Bryan never to see his wife again. Stuart secretly uses Bryan's phone to arrange a meeting with Lenore, making it appear that Bryan sent it and then deletes the message afterwards. Lenore is kidnapped when she arrives for the bogus meeting.


title: Taken 3

text: The next morning, Bryan receives a text from Lenore asking to meet for breakfast. When Bryan returns home, he discovers Lenore's body. Two LAPD officers immediately appear to arrest him, but Bryan subdues two officers, leads other officers on a chase through the neighborhood, disappears into the sewer system, and escapes. Meanwhile, LAPD Detective Frank Dotzler reviews Bryan's background.