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Which country does the airline Gulf Air come from?

Which Is The Safest Airline In The Middle East? Which Is The Safest Airline In The Middle East? {{article.article.images.featured.caption}} Opinions expressed by Forbes Contributors are their own. Full Bio The author is a Forbes contributor. The opinions expressed are those of the writer. Loading ... This story appears in the {{article.article.magazine.pretty_date}} issue of {{article.article.magazine.pubName}}. Subscribe Threat Of Anti-Chinese Riots Grows In An Angry Indonesia Planes from Emirates Airline (left) and Iraqi Airlines on the tarmac at Rafik Hariri International airport in Beirut, on November 21, 2015. (Photo: ANWAR AMRO/AFP/Getty Images) In the wake of the EgyptAir crash on May 19, the safety record of Middle East airlines is again under scrutiny. So if you’re flying in the region, which carrier might give you the greatest peace of mind? EgyptAir is probably not the answer. It has one of the worst fatality records among Middle East airlines. Some 502 people have lost their lives on board its planes in 11 separate fatal incidents, according to the Aviation Safety Network (ASN). That isn’t the highest figure though. Some 549 people have died on Iran Air planes and 645 have died on Saudi Arabian Airlines (Saudia) flights. These are absolute numbers, of course, and don’t take into account the number of flights or the number of passengers carried. Overall, there have been 93 fatal accidents involving major Middle East carriers, with a total death toll of 4,692, according to the ASN. 14 images The high death toll for some airlines is often due to a small number of horrific incidents. In 1988, for example, an Iran Air Airbus A300 was shot down by a surface-to-air missile fired by the US Navy’s cruiser, the USS Vincennes. All 290 passengers and crew were killed. An even more deadly accident happened in November 1996, when a Saudia Boeing 747 that had just taken off from New Delhi airport collided in mid-air with a Kazakhstan Airlines cargo jet. All 312 passengers and crew on board the Saudia flight were killed, as were the 37 people on the Kazakh plane. Other airlines which have suffered high tolls include Royal Jordanian (464 deaths), Libyan Airlines (324), Air Algeria (309) and Bahrain’s Gulf Air (255). On the other hand, some airlines have never suffered a fatality, including Emirates, Etihad, Qatar Airways and Tunisair. Of course, the past is not necessarily a good indicator of where things might go wrong in the future. Training, maintenance and security standards continue to improve in most countries, which lessens the chance of accidents happening. But the political turmoil in the region does increase the risk of terrorism and the authorities have not always been equal to the challenge. In October 2015, a MetroJet plane was blown up soon after it left Sharm el-Sheikh airport in Egypt’s Sinai Peninsula. Some international airlines have avoided the airport ever since. So which airline is the safest? The AirlineRatings site grades carriers on a seven-star scale, with seven being the safest. Those with the top score include two of the three big Gulf carriers, Emirates and Etihad. Others such as Kuwait Airways, Saudia, Jazeera Airways, and Air Arabia also score the full seven stars, as does Israeli flag carrier El Al.

Bahrain

What is Alistair Cooke's real first name?

Gulf Air Flight Information 13 Travelers Photos Airline Overview Bahrain's flag carrier, Gulf Air (GF) was founded in 1950 as Gulf Aviation. It is headquartered in Muharraq and operates from a hub at Bahrain International Airport (BAH). Gulf Air flies to more than 40 destinations in the Middle East, Asia, Africa and Europe. These include Egypt, Germany, India, Pakistan, Russia, Saudi Arabia and the United Kingdom. The airline also has codeshare agreements with nine other carriers. Gulf Air's fleet consists of 16 Airbus A320-200, six Airbus A321-200 and six Airbus A320-200 planes configured with two cabins, Falcon Gold (Business Class) and Economy Class. Aircraft Summary Cheap Flights to Los Angeles $88 Cheap Flights to Las Vegas $91 Cheap Flights to New York City $227 Cheap Flights to Dominican Republic $576 Cheap Flights to St. Maarten/St. Martin $769 Cheap Flights to Cabo San Lucas $376 Cheap Flights to Costa Rica $478

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How is seriously rich Percy Miller better known?

stumbleupon More StatsView More About Master P American rapper, entertainer, investor and entrepreneur, Percy Robert “Master P” Miller, has an estimated net worth of $350 million. Percy Miller, best known in the hip hop world as Master P is the president-CEO , founder of No Limit Records, also the founder of P. Miller Enterprises, an entertainment and financial conglomerate and Better Black Television.Like Jay-z, Master P got superb business skills, he built a well diversified empire that includes several rap labels, a clothing line, a management company, a high end travel agency, a film production company, a video game company and even a phone sex line.His most notable and likely most successful endeavor was his No Limit record company which pioneered the Southern Rap sound. Once a top company, housing the likes of Mystikal, Silk the Shocker and even Snoop Dogg at one point, the label has since fallen on hard times. Numerous lawsuits forced P to shut the label down and file for bankruptcy in 2003, but it appears as if No Limit is looking to bounce back, announcing a relaunch in 2011, helmed by Master P’s oldest son, Romeo. The young rapper revealed to the Boombox that he has been working on his solo project as well as cultivating new talent for the label. Miller’s financial status has been brought to light as the rapper and his ex-wife are engaged in a heated battle over child support. The millionaire mogul, whose net worth was once estimated at $600 million, has only been ordered to pay $271 a month in child support for each of his four minor children. Master P with son,Rapper Romeo Miller and daughter, singer Cymphonique Miller and father rapperattend the 10th Annual BMI Urban Awards at the Pantages Theatre on September 10, 2010 in Los Angeles, California. Earnings & Financial Data The below financial data is gathered and compiled by TheRichest analysts team to give you a better understanding of Master P's net worth by breaking down the most relevant financial events such as yearly salaries, contracts, earn outs, endorsements, stock ownership and much more. ?

Master P

How old was Laurel and Hardy producer Hal Roach when he died in 1992?

Master P Net Worth - biography, quotes, wiki, assets, cars, homes and more Master P Net Worth Estates and Homes Autos and Cars About Quotes Trivia Born on: 29th Apr 70 Born in: United States Marital status: Married Occupation: American Rapper, Actor, Entrepreneur, Investor and Producer Master P net worth is estimated at $56.5 million. Known as Percy Robert Miller, Master P is the president-CEO and founder of No Limit Records and Better Black Television. Add to that, he is also the founder of P. Miller Enterprises, which is an entertainment as well as financial conglomerate which is one sources of Master P net worth. Just like any other businessman, Master P invested his money on several things including a number of rap labels, clothing line, travel agency, video game company, film production company plus a phone sex line. He became even more known thanks to his record company No Limit because it introduced what Southern Rap sound is all about. During its peak, the company was able to house Snoop Dogg, Mystikal and Silk the Shocker. However, things started to breakdown and eventually Master P had to file bankruptcy in 2003 and even shutting the label. The business seemed to be in luck’s side as it relaunched itself in 2011 headed by Master P’s oldest son, Romeo. Just like that, the business opened its doors once again and their revenue has been better than ever. Having a net worth of $600 million, it went down to roughly $350 million. Financial problems arose when he and his ex-wife had a heated discussion over child support wherein Master P had to pay $271 million a month as his child support share for his four minor children. Adding to Master P net worth are the DVD films and television shows that he was able to star in. Because of the countless businesses his music mogul has, it does come as a surprise that he ranked tenth on the 1998 Forbes’ list of America’s 40 highest paid entertainers. Since Master P has a soft spot for charities, he dedicates his time helping others through the P. Miller Youth Centers as well as the P. Miller Food Foundation of the Homeless, this added a charisma Master P net worth. His daughter Cymphonique who is a singer/actress, his son Romeo who is a rapper/actor/singer also seeks some advice from their father when it comes to decision making. His brothers, C-Murder and Silk the Shocker, are also in the entertainment industry. You can clearly see that this rap tycoon has so much to offer and perhaps in the future, he will be adding new ventures under his name thus making Master P net worth grow even more. Family & relationships

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Who was West German Chancellor from 1969 to 1974? Willy Brandt.

BBC - History - Willy Brandt z Willy Brandt, May 1971   © Brandt was a German politician, and chancellor from 1969 to 1974. He won the Nobel Prize for Peace in 1971. Willy Brandt was born Karl Herbert Frahm on 18 December 1913 in Lübeck, northern Germany. He became a socialist in the late 1920s. In 1933, he changed his name and fled to Norway to avoid arrest by the Nazis. After the German occupation of Norway in 1940, he escaped to Sweden where he lived until 1945. Brandt returned to Germany after World War Two. In 1948, he started his political career, holding various offices within the Social Democratic Party (SPD) and becoming a member of the German parliament. Brandt first became well known outside Germany when he took the position of mayor of West Berlin, which he held from 1957 until 1966. This was a particularly tense time for the city with the building of the Berlin Wall in 1961. By the early 1960s, Brandt was the leading figure in the Social Democratic Party and its candidate for chancellor. He was unsuccessful in the 1961 and 1965 elections, but became vice chancellor and foreign minister in the coalition government of 1966. In 1969, Brandt was elected chancellor and retained the post in the general election of 1972. His main policy was that of 'Ostpolitik', as he tried to create closer ties between West and East Germany and improve relations with Poland and the Soviet Union. In Germany, Brandt's 'Ostpolitik' was controversial, but in 1971 he was awarded the Nobel Prize for Peace for his work. In April 1974, one of Brandt's personal assistants was arrested for being an East German spy. Brandt took responsibility and resigned the following month. Brandt remained head of the SPD until 1987 and was honorary chairman until his death. He was a member of the European Parliament from 1979 to 1983. In 1977, he was appointed chair of an international commission that produced the Brandt Report, calling for drastic changes in the international community's attitude to development in the Third World. In late 1989, Brandt was one of the first leaders on the left in German politics to publicly favour reunification of the two halves of Germany. Brandt died near Bonn on 8 October 1992.

Willy Brandt

What sort of Menace was the 1999 Star Wars movie?

Brandt - definition of Brandt by The Free Dictionary Brandt - definition of Brandt by The Free Dictionary http://www.thefreedictionary.com/Brandt Also found in: Thesaurus , Encyclopedia , Wikipedia . Brandt  (brănt, bränt), Willy Originally Karl Herbert Frahm (främ) 1913-1992. German political leader. He served as chancellor of West Germany (1969-1974) and won the 1971 Nobel Peace Prize for his efforts to reduce tension between the East and the West. Brandt (brænt) n 1. (Biography) Bill, full name William Brandt. 1905–83, British photographer. His photographic books include The English at Home (1936) and Perspectives of Nudes (1961) 2. (Biography) Georg (ˈɡeɪɔːɡ). 1694–1768, Swedish chemist, who isolated cobalt (1742) and exposed fraudulent alchemists 3. (Biography) Willy (ˈvɪli). 1913–92, German statesman; socialist chancellor of West Germany (1969–74); chairman of the Social Democratic party (1964–87). His policy of détente and reconciliation with E Europe brought him international acclaim. Nobel peace prize 1971 Brandt Willy, 1913–92, chancellor of West Germany 1969–74: Nobel peace prize 1971. ThesaurusAntonymsRelated WordsSynonymsLegend: Noun 1. Brandt - German statesman who as chancellor of West Germany worked to reduce tensions with eastern Europe (1913-1992) Want to thank TFD for its existence? Tell a friend about us , add a link to this page, or visit the webmaster's page for free fun content . Link to this page: Willy Brandt References in classic literature ? Toward the middle of April we sailed in the HOLSATIA, Captain Brandt, and had a very peasant trip, indeed. View in context The person who thus associated himself with the Dermodys in the time of their trouble was a Dutch gentleman, named Ernest Van Brandt. Van Brandt had every personal advantage that a woman could desire; he was devotedly in love with her; and he felt a grateful affection for her father as the man to whom he owed his life. Van Brandt to say whether he really believed that he would be consulting his own happiness in marrying her on these terms. Van Brandt accepted the terms without a moment's hesitation. Van Brandt waited, delicately and considerately, until the first violence of the girl's grief had worn itself out, and then he pleaded irresistibly for a husband's claim to console her. Van Brandt (even if I had heard it) appeals to no familiar association in my mind.

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What was the name of Drew Barrymore's character in E.T.?

Drew Barrymore's Baby: Potential Girl Names Tweets Her due date is just days away, but Drew Barrymore — who, along with hubby Will Kopelman, is expecting a baby girl — has kept her daughter’s name under lock and key, despite going public with her first child’s gender way back in April. So what’s a gossip-loving entertainment writer to do? Come up with a list of potential baby names for Barrymore’s first child. The Contenders Charlie – Sure, it’s technically a boy’s name, but Charlie ranked 376th on the Social Security Administration ‘s list of top 1,000 baby names of 2011. Barrymore starred in the 2000 and 2003 Charlie’s Angels films; she also played a character named Charlie in one of her first movie roles (1984’s Firestarter) Blyth – Not only is this old-fashioned name Barrymore’s middle name, but it’s also a family name; Drew’s great-grandfather Maurice Barrymore actually changed his last name from Blyth to Barrymore. Ethel – Another family name, Ethel Barrymore is one of the most famous members of the Barrymore clan … she’s also Drew’s great-aunt Elliott – It’s unlikely Barrymore would choose Gertie — the name of the character she played in her first hit, E.T. — but she could opt to steal the name of her on-screen brother, Elliott; when spelled with just one “t,” the name ranks 875th on the SSA’s 2011 girl names list Sophia – Drew’s Godmother is actress Sophia Loren, and with Sophia reaching the top spot on the SSA’s 2011 rankings for girl names, it would be an obvious choice Chanel – Naming children after products is all the rage (ever met a Mercedes?), but naming her daughter after this world famous designer would be appropriate, given her father-in-law is a former Chanel CEO Casey – Barrymore has been in three movies in which her character was named Casey: 1984’s Irreconcilable Differences, 1995’s Mad Love, 1996’s Scream Josie – When Barrymore took on the role of Josie Geller in 1999’s Never Been Kissed, it not only marked her return to blockbuster movies, but also her debut as an executive producer for a film Arielle – In honor of her new father-in-law, Arielle — or Ariella — are female versions of Arie; the girl names also are of Hebrew origin, harkening to Kopelman’s Jewish faith Do you have any predictions for baby names for Drew Barrymore’s daughter?  

Gertie

Which ER star played opposite Jenny Seagrove in Don' Go Breaking My Heart?

Drew Barrymore | E.T. The Extra Terrestrial Wiki | Fandom powered by Wikia E.T. The Extra Terrestrial Wiki Share Drew Barrymore (born February 22, 1975) is an American actress, film director, screenwriter, producer, and model. She is a descendant of the Drew family and Barrymore family of iconic American stage and cinema actors, and she is the granddaughter of film legend John Barrymore. She is best known to this wiki for portraying Elliot's five year old sister, Gertie .

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Who played Rick Deckard in Blade Runner?

Rick Deckard | Off-world: The Blade Runner Wiki | Fandom powered by Wikia Harrison Ford Rick Deckard is the protagonist in Ridley Scott 's 1982 science-fiction film, Blade Runner . The character originally appeared in Philip K Dick 's novel, " Do Androids Dream of Electric Sheep? " on which the movie is based. Rick Deckard was played by Harrison Ford. Biography Edit Rick Deckard is a Blade Runner , a special member of the L.A police department who is employed to hunt down and "retire" replicants (genetically manufactured humanoids). Since they were declared illegal on Earth , it is up to the Blade Runners to "retire" any that find their way to Earth. At the beginning of the film, Deckard is called out of retirement after a group of six clever and brutal replicants hijack a shuttle to Earth, intending to pass themselves off as normal humans. Deckard is reluctant to resume work, but is told he has no choice and must use some of "the old blade runner magic" to succeed. There are lengthy debates among the movie's fandom on whether Deckard is a replicant himself. The Director's Cut DVD of the movie seems to lean towards the fact that Deckard is a replicant, as new footage was added that supports that side of the argument.

Harrison Ford

What was the fourth Alien film called?

Blade Runner / Characters - TV Tropes Played by: Harrison Ford "I've had people walk out on me before, but not when I was being so charming." He is a "Blade Runner", a special member of the Los Angeles Police Department whose job is to hunt and "retire" replicants which have been declared illegal on Earth. Action Survivor : While Deckard has the definite reputation of a Memetic Badass , he shows monumental difficulty in his fights against the replicants. A Justified Trope , as they are top of the line, highly advanced Cyborgs, with two designed for military use. The Alcoholic : It's much faster to count the scenes in which Deckard isn't drinking. Anti-Hero : Deckard isn't the most likeable of guys, and his job of executing the Ambiguously Human replicants is ambiguously moral. Artificial Human : Maybe. Still widely discussed even today. Badass Longcoat : Deckard's single-breasted brown trenchcoat, which he wears in almost every scene he's in, has become so iconic you can easily find replicas of it online. As well as giving him the classic Hardboiled Detective look, it's practical in a city where it never stops raining. Born Lucky : Luck is what ultimately saves him from the replicants: he would have been killed by Zhora had witnesses not stepped in, by Leon had Rachel not intervened , and Roy if he hadn't taken pity on him . Cool Guns : Which is both futuristically devastating and old-school looking. Defective Detective : Not only is he plagued with self-loathing and doubt, he becomes increasingly unsure that his role as Blade Runner is ethical, and eventually becomes a fugitive with Rachael. Hardboiled Detective : He is more of a deconstruction, being an Anti-Hero with some serious psychological conflicts. Informed Ability : Despite being described by Bryant as pretty much the ultimate Blade Runner, Deckard doesn't look particularly competent nor proficient, and much less a badass by any stretch of the term. His two kills in the entire movie are women that he shot in the back, including one who was fleeing from him, and his fights with Leon and Roy involve him getting curbstomped until Rachael saves him or his opponent discovers his humanity, respectively. An arguably Justified Trope , as Deckard is said to have been in retirement before the movie begins. Played by: Sean Young "It seems you feel our work is not a benefit to the public." Rachael is the latest experiment of Eldon Tyrell. Tyrell believes that as the replicants have such a limited lifespan, they have little time to develop control of their emotions, causing difficulty managing them. He believes implanting them with memories would create a cushion which would allow for emotional development, and make them more controllable. Rachael has the implanted memories of Tyrell's niece, and she is led to believe that she is human. It is not revealed in the film how long she has been living, but Tyrell admits that he thinks she is beginning to suspect the truth of her existence. When Rachael learns the truth, she is ignored by Tyrell. In desperation, she turns to Deckard, who has been told by Captain Bryant to retire her. He eventually falls in love with her. Adaptational Heroism : Her book counterpart is revealed to be very sinister by the end of the novel. Ambiguously Human : It's not revealed she's a replicant at first until she takes the Voight-Kampff test. Even she doesn't know - only Tyrell does. Played by: Rutger Hauer "Quite an experience to live in fear isn't it? That's what it is to be a slave." Roy Batty is the leader of the renegade NEXUS-6 Replicants and the main antagonist of the film. He is highly intelligent, fast, and skilled at combat, and yet still learning how to deal with developing emotions. With an A Physical Level (superhuman strength & endurance) and an A Mental Level (genius-level intellect), he is probably the most dangerous of all the fugitive replicants. He is a combat model, used off-world for military service. He and five other replicants come to Earth, hoping to find a way to lengthen their life span. Alas, Poor Villain : His dying words to Deckard after saving his life, one of the most famous monologues in film history. Anti-Villain : He's a violent murderer, but in some regards he's an escaped slave who just wants to live his life in peace. "Wake up! Time to die!" Played by: Brion James "Painful to live in fear isn't it?! Nothing worse than an itch you can never scratch!" Leon Kowalski is a replicant who came to Earth with five others looking to extend their lives. He has an A physical level, which enables him to have superhuman strength and endurance (according to the Final Cut he was used as a 180 kg/400 lb nuclear-head loader in the outer space colonies as well as a front-line soldier). Leon is classified mental level C. He doesn't have the speed of thought that Roy does when it comes to solving problems. "Commerce, is our goal here at Tyrell. "More Human than Human" is our motto." Played by: Joe Turkel "The light that burns twice as bright burns half as long - and you have burned so very, very brightly, Roy." Dr. Eldon Tyrell is the genius who has built up the large Tyrell Corporation. He is the creator of the Replicants. Affably Evil : At best he's morally grey, but he befriends Deckard quickly and treats Roy with respect, even though Roy had invaded his home to make his demands. Corrupt Corporate Executive : His creations seem to disagree with the ethics of creating sapient beings that are doomed to a short life of hard labour. Eye Scream : In combination with this, he gets his head crushed by Roy. Failure Is the Only Option : Delves into academic studies with Batty who is desperate to extend his 4-year lifespan. Even with intelligence that matches his creator's, both come to the same conclusion. Any attempt to chemically or biologically alter the artificial DNA code of a replicant causes an error in mitosis, its cells all start to go viral, killing said patient . Four Eyes, Zero Soul : Tyrell wears thick glasses and is responsible for exploiting the life he creates with forced servitude and short lifespans. Greater Scope Villain : In some ways he's more of a villain than Roy is. Mad Scientist : A brilliant scientist who doesn't stop to think that creating artificial humans with emotions and personalities might backfire on him someday. You Have Outlived Your Usefulness : Killed by Roy after gaining access to Tyrell's chambers. Younger Than They Look : Has Methuselah Syndrome. Because of this he ages faster and has a shorter life span, something he has in common with the replicants. He looks over fifty when he's in fact in his twenties Bryant Played by: M Emmet Walsh Deckard's former supervisor from his time as a blade runner, who calls Rick in for One Last Job . Da Chief : An Inspector in the LAPD who appears to be in charge of blade runner units. Dirty Cop : Very minor one. For whatever reason he is clearly keen on no one else finding out about the replicants being on Earth. Though that might be pressure from his superiors. Jerk Ass : Pulls Deckard in with threats and compliments him on his killing ability. Even though Deckard is clearly mentally struggling with the job. Gaff Played by: Edward James Olmos "L�faszt! Nehogy m�r! Te vagy a Blade, Blade Runner!"note "Horsedick! No way! You're the Blade, Blade Runner. An enigmatic officer in the L.A. police department who detains Deckard, and fills the role of his 'partner' of sorts on Deckard's quest for the Nexus-Six replicants. Whatever else is debatable, Gaff is strongly implied to know about Rachael, but for some reason, lets her and Deckard escape together. It could have been a moment of compassion on Gaff's part, since he knows Rachael will not live past her expiration date... note Hence his last line, "She won't live! But then again, who does?" or it could be his motive is more sinister, or quite simply he knows something we don't. In the voice over of the theatrical cut, Deckard explains that Gaff was gunning for his job and wouldn't raise too much of a fuss if Deckard just took off later. This is borne out when Gaff looks the other way while Deckard and Rachel leave. Sharp-Dressed Man : As noted above, he has some definitely interesting-looking appearance. Bonus points for wearing a flower on his jacket in one scene. Unusually Uninteresting Sight : Downplayed. He doesn't stick out very much in a futuristic city in which fashion tends to be outrageous, but next to Deckard, Bryant and the rest of the sternly dressed police department, Gaff's choices of attire are quite eccentric, and still nobody points it out. Dave Holden Played by: Morgan Paull Another "Blade Runner". It was originally his job to retire the Nexus-Six replicants who defected to Earth. His task is cut short when Leon shoots Holden and leaves him for dead. So the task ultimately falls to Deckard. Almost Dead Guy : Bryant mentions that Holden is alive, so long as nobody "unplugs him", implying he's on life support (confirmed in deleted scenes where he imparts knowledge to Deckard). Artificial Human : Possibly. A deleted scene shows Bryant and Gaff watching footage of him and Deckard talking from their direct VOP - suggesting the Bladerunners have cameras in their heads. Break Them by Talking : He takes the Voight-Kampff test to a whole new level of psychological torment by giving rhetorical and loaded questions. Telling Leon he was allowing an overturned turtle to suffer a prolonged death in agony, and was unwilling to help. Leon's heart-rate by this point is sky-rocketing . Deadpan Snarker : Very much so. He was testing new employees at the Tyrell Corporation on the premise that they might try to infiltrate the company. Interviewing dozens of employees all day long, with no results, made him quite irritable with Leon .

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What number Star Trek movie was called The Wrath of Khan?

Star Trek II: The Wrath of Khan (1982) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Star Trek II: The Wrath of Khan ( 1982 ) Star Trek: The Wrath of Khan (original title) PG | With the assistance of the Enterprise crew, Admiral Kirk must stop an old nemesis, Khan Noonien Singh, from using the life-generating Genesis Device as the ultimate weapon. Director: a list of 27 titles created 20 Apr 2011 a list of 25 titles created 29 Apr 2012 a list of 30 titles created 28 Dec 2013 a list of 21 titles created 13 Aug 2014 a list of 24 titles created 18 Aug 2014 Title: Star Trek II: The Wrath of Khan (1982) 7.7/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 2 wins & 9 nominations. See more awards  » Videos Admiral Kirk and his bridge crew risk their careers stealing the decommissioned Enterprise to return to the restricted Genesis planet to recover Spock's body. Director: Leonard Nimoy To save Earth from an alien probe, Admiral James T. Kirk and his fugitive crew go back in time to San Francisco in 1986 to retrieve the only beings who can communicate with it: humpback whales. Director: Leonard Nimoy When an alien spacecraft of enormous power is spotted approaching Earth, Admiral Kirk resumes command of the Starship Enterprise in order to intercept, examine and hopefully stop the intruder. Director: Robert Wise On the eve of retirement, Kirk and McCoy are charged with assassinating the Klingon High Chancellor and imprisoned. The Enterprise crew must help them escape to thwart a conspiracy aimed at sabotaging the last best hope for peace. Director: Nicholas Meyer Captain Kirk and his crew must deal with Mr. Spock's long-lost half-brother who hijacks the Enterprise for an obsessive search for God at the center of the galaxy. Director: William Shatner The Borg travel back in time intended on preventing Earth's first contact with an alien species. Captain Picard and his crew pursue them to ensure that Zefram Cochrane makes his maiden flight reaching warp speed. Director: Jonathan Frakes Captain Picard, with the help of long presumed dead Captain Kirk, must stop a madman willing to murder on a planetary scale in order to enter an energy ribbon. Director: David Carson When the crew of the Enterprise learn of a Federation conspiracy against the inhabitants of a unique planet, Captain Picard begins an open rebellion. Director: Jonathan Frakes The Enterprise is diverted to the Romulan homeworld Romulus, supposedly because they want to negotiate a peace treaty. Director: Stuart Baird Captain James T. Kirk and the crew of the Starship Enterprise explore the galaxy and defend the United Federation of Planets. Stars: William Shatner, Leonard Nimoy, DeForest Kelley Set decades after Captain Kirk's five-year mission, a new generation of Starfleet officers set off in a new Enterprise on their own mission to go where no one has gone before. Stars: Patrick Stewart, Brent Spiner, Jonathan Frakes In the vicinity of the liberated planet of Bajor, the Federation space station Deep Space Nine guards the opening of a stable wormhole to the far side of the galaxy. Stars: Avery Brooks, Rene Auberjonois, Cirroc Lofton Edit Storyline It is the 23rd century. Admiral James T. Kirk is an instructor at Starfleet Academy and feeling old; the prospect of attending his ship, the USS Enterprise--now a training ship--on a two-week cadet cruise does not make him feel any younger. But the training cruise becomes a deadly serious mission when his nemesis Khan Noonien Singh--infamous conqueror from late 20th century Earth--appears after years of exile. Khan later revealed that the planet Ceti Alpha VI exploded, and shifted the orbit of the fifth planet as a Mars-like haven. He begins capturing Project Genesis, a top secret device holding the power of creation itself, and schemes the utter destruction of Kirk. Written by Gregory A. Sheets <[email protected]> At the end of the universe lies the beginning of vengeance. See more  » Genres: Rated PG for violence and language | See all certifications  » Parents Guide: 4 June 1982 (USA) See more  » Also Known As: Star Trek II: The Undiscovered Country See more  » Filming Locations: $14,347,221 (USA) (4 June 1982) Gross: 70 mm 6-Track (70 mm prints)| Dolby (35 mm prints) Color: Did You Know? Trivia Paul Winfield , Merritt Butrick and the uncredited Judson Scott (Joachim) all later appeared on Star Trek: The Next Generation (1987), as did the second Saavik, Robin Curtis . In fact Butrick and Scott were in the same Season 1 episode, Star Trek: The Next Generation: Symbiosis (1988). See more » Goofs After Kirk hears the jammed transmission from Carol Marcus, Spock tells him they are 12 hours away from Regula at present speed. Immediately afterward, they view the Project Genesis video and are attacked by Khan in the stolen Reliant. The warp drive is damaged in the battle, yet they manage to get to Regula a short time later anyway. See more » Quotes [first lines] Saavik : Captain's log: Stardate 8130.3. Starship Enterprise on training mission to Gamma Hydra, section 14, coordinates 22-87-4. Approaching Neutral Zone; all systems normal and functioning. Sulu : Leaving section 14 for section 15. Saavik : Standby. Project parabolic course to avoid entering Neutral Zone.

two

In Stepmom who played Susan Sarandon's daughter?

Remembering Star Trek II: The Wrath of Khan – 30 Years Later – TrekMovie.com June 4, 2012 8:21 am Hallbjorn Share On Twitter Share On Google Love this movie. It was the first Star Trek movie I saw on VHS in 1990, been a Fan since then. What I remember most of it was that I was scared of the bugs Kahn sets in Checkov’s and Terrell’s ear. June 4, 2012 8:23 am SFC3 #1 Motion Picture was a terrible boring slow paced version of 2001. I feel asleep watching it. June 4, 2012 8:23 am Roobydoo I saw this film on its opening weekend back in 1982. It thrilled me then, and 30 years on I still feel the same excitement! June 4, 2012 8:24 am dep1701 Share On Twitter Share On Google There was a website I stumbled upon years ago which had some very interesting stills and script excerpts from filmed, but unused scenes for “TWOK”. Among these were a eerie child’s face peering from one of the cargo containers, and a rag swathed infant crawling towards the Genesis device on the Reliant tansporter platform. This hinted that the survivors of the Botany Bay had borne a new generation, but all references to them were cut out of the finished film. Probably the image of a baby headed for it’s death was considered a bit too dark for film in this vein, and may have been found disturbing by preview audiences ( if there were any). I would love to find that website again. Anyone have any clues? June 4, 2012 8:25 am dalek Share On Twitter Share On Google That fan made trailer is awesome!!! Although “from the imagination of Gene Roddenberry” is probably inaccurate. I’m pretty sure he wasn’t a big fan of the movie. In fact he found Khan’s dialogue to be pretty laughable, but in his defence when he heard Montalban deliver it he said he managed to pull it off. He also wasn’t a fan of Kirk killing the creature in the genesis cave. Happy anniversary ST 2. June 4, 2012 8:26 am Whalien 30 years?! Wow…I feel old too!! Yikes!! Time flies when you’re waiting for the next lame installation in the Trek fil franchise…lol!! June 4, 2012 8:28 am Share On Twitter Share On Google I liked Star Trek: The Motion Picture, but The Wrath of Khan was a better film. It didn’t lose its dramatic momentum like TMP. TWOK was more than just action thought. It had ideas. Revenge. The limits of science. Sacrifice. Aging. Friendship. June 4, 2012 8:30 am JKP Is there any question this is the best Trek film? I still remember going to see it as a 10 yo. What a great time to be a kid back then. :) June 4, 2012 8:31 am Buzz Cagney Happy 30th Wrath of Khan! They”ll try to best it, but they’ll keep failing. June 4, 2012 8:43 am ksmsscu Share On Twitter Share On Google Still the best and probably always the best. Sends shivers down my spine and thrills to my heart when I see it to this day. Everlasting congratulations to Nick Meyer, cast and crew for saving Star Trek then and there. A fond remembrance to the great members of the Trek family who have passed on since then. I’m 58 years old now but no matter — I feel young. June 4, 2012 8:43 am windelkin Share On Twitter Share On Google That trailer gave me chills! Now I have to watch the movie again. It’s been too long since I had a trek marathon. Those even numbered movies really set the standard for any modern attempts at a great Star Trek movie. High hopes for number 12. June 4, 2012 8:44 am Hat Rick Share On Twitter Share On Google The Wrath of Khan is surely one of the most exciting and well-produced science fiction movies of all time. I remember fondly those days when we were more of a united fan base, without the rancor that sometimes afflicts us now. No one could believe that Spock was dead, and now we know that he still lived, but we all knew that Star Trek — the movie, the characters, the vision — was an enteprise of which we could be proud. The phenomenon of Star Trek is quite simply the best that science fiction has ever produced. Its central philosophy of reasoned acceptance and respect of other peoples and cultures while hewing to justice, right, and order puts it uniquely above other SF franchises. At the same time, it did not deny the metaphysical. It stood for heroism and heroics; sacrifice for what was right; and friendship among all. Certain things — the soul, call it — transcend the physical. Where is that Star Trek that we remember so well? It still lives. In the words of the movie itself: Remember…. June 4, 2012 8:45 am rm10019 Share On Twitter Share On Google 10 there is always that little thing called ‘personal preference’. I love TWOK, loved it then and love it now. Shame that in the bluray release they color timed it so Regula is now gray instead of brown like it was back in 1982. June 4, 2012 8:45 am ennan I love the “slow motion picture” – I guess I’m one of the few that do. But TWOK is also amazing. Two totally different movies and I love them both for different reasons. June 4, 2012 8:46 am dscott June 4, 2012 8:59 am Planet Pandro Share On Twitter Share On Google ST II: TWOK was the first Star Trek movie I ever saw. My Dad taped it off of ABC back in ’89 and then let me watch it (I was 8) in half hour increments. What an impression it made! I remember re-watching it time after time, and I remember being scared, not of the ceti eels, but of Spock’s death at the end. I would watch it right up until the big E warped out and then shut off the vcr and rewind. Of course I’ve seen it all the way through many times now, and the emotional punch of that empty chair on the bridge still gives me goosebumps… Happy 30th, TWOK June 4, 2012 8:59 am Hat Rick Im going to see it tonight on the big screen. The alamo draft house is doing the summer of 1982, and Khan is being shown over the next few days June 4, 2012 9:13 am Bruce Banner I was 13 and saw it in the theatre in 1982. I feel privileged to have been there. June 4, 2012 9:15 am Bobby This is my favorite movie. “wild-eyed “KHAAAAAN!” bit from William Shatner notwithstanding” That is actually my favorite scene from the movie. :) The interesting thing about it is that, for the rest of the movie, Meyer got Shatner to give a really subdued and excellent performance (by making him repeat scenes until he gets tired, he said on the DVD commentary). So, for that one scene, where Shatner is actually called upon to go way over the top (intentionally); wild-eyed William Shatner method acting, it stands out all the more. June 4, 2012 9:24 am Stokiespock One of the best story’s and villian you could ever wish for !!! Love this film !!!! June 4, 2012 9:24 am spock This movie had so many great bits… “You lied”, “I exaggerated” “Kirk to Spock, its two hours are you ready? “I don’t like to lose” “So much for the little training cruise” “What a tranquilizer?” Its going to be great to see the movie once again on the big screen, can’t wait. June 4, 2012 9:34 am sunfell Share On Twitter Share On Google I was stationed in the SF Bay area when that movie came out. And it was amazing. I think I saw it a dozen times, even though watching Spock’s death tore me up. Hard to believe it’s been 30 years, but that movie is still the best of the bunch with the original cast. June 4, 2012 9:35 am spock Should be “Want a tranquilizer?” typo June 4, 2012 9:35 am Danpaine Love it of course, but I think The Search For Spock is, for me at least, part of the same movie. I always watch TSFS on the heels of TWOK. Four hours of complete bliss. June 4, 2012 9:42 am Share On Twitter Share On Google I love most of the TREK films, merely like a few of them. I loved Star Trek II (still do), but I also still love ST TMP more. Yes, I am one of the few, the proud. ;-) I still don’t understand the comments that the first motion picture was humorless?… have they forgotten: “Mr. Spock, your child is having a tantrum.” or “What do you suggest we do? Spank it?” or “Spock, you haven’t changed a bit” and the response… “Nor have you, doctor, as your continued predilection for irrelevancy demonstrates.” or Right, now that we’ve got them just where they want us.” Each of the films have their strong points. Yes, even “Star Trek V” and “Nemesis.” June 4, 2012 9:54 am Paul Share On Twitter Share On Google Nicholas Meyer actually WROTE the screenplay perhaps the writer should correct this article as Meyer/Bennett have gone on record as saying Nick wrote the screenplay but there was not enough time for him to go through the process of receiving screen credit for it. Back to the movie yep its still the best Star Trek movie & one of the best sci-fi movies ever made. I doubt it will ever be beaten as far as Trek movies go the only thing it did wrong was due to budget issues having to re-use shots from STMP & ILM not being given enough time/money to perfect a few obvious matte paintings. TWOK is responsible for all Trek that followed as none would have been possible without the success/brilliance of Meyer/Bennett they are the unsung heros of modern Star Trek. June 4, 2012 9:55 am Tony Todd's Tears My Daughter is the same age now that I was when this movie came out… Crazy. June 4, 2012 10:02 am Khan 2.0 30. It is ENDLESSLY quotable isn’t it? From the top down, through all the supporting characters… “Captain. This is the garden spot of Ceti Alpha VI.” TWOK equals the most rewarding experience Star Trek has ever provided… June 4, 2012 10:36 am Ralph Share On Twitter Share On Google Complete and utter Trek Bliss. VERY had to come close to this film. I am so jealous of the people near the Alamo Drafthouse showing it on the big screen. We have a wonderful classic movie palace near, and I emailed them to please consider “Star Trek II: The Wrath of Khan” for their summer film series due to the 30th anniversary. I received a very nice reply stating “unfortunately we are not able to get the film to show. As you know if is very difficult to get the permission to show the films from GEORGE LUCAS!!!!! Very sad. Oh well, I shall be watching Khan tonight, probably reciting along with the dialog. Here’s to another 30 years!!!! June 4, 2012 10:44 am spock MC you forget one of the best lines ..”I know engineers, they love to change things” June 4, 2012 10:51 am captain_neill Share On Twitter Share On Google The best Trek films are The Wrath of Khan, First Contact and The Undiscovered Country. To me it’s hard to beat these three films. Khan is still one of the best vilains in Trek and because Ricardo Montalban was so iconic and fantastic in this film, this is why it would be a mistake to redo him. June 4, 2012 10:52 am zillabeast Going to see KHAN on the big screen here in Austin in 4 hours :) June 4, 2012 10:52 am captain_neill Wrath of Khan is also the movie that got me into Trek. Thank you very much and still loving it all these years later. June 4, 2012 10:53 am spock Share On Twitter Share On Google If I do a “best of list” I split off the TNG series, from the classics because the TNG films were inferior to the classic series films. They didn’t stay true to the characters, and tried to turn Picard into the action hero he never was. I see Star Trek 2 and 3 is two parts of the same movie. If I had to make a list of my favorites I would have to put them as 1. Trek 2

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Which King did Leonardo Di Caprio play in The Man in the Iron Mask?

The Man in the Iron Mask (1998) - IMDb IMDb 2 January 2017 8:47 PM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Man in the Iron Mask ( 1998 ) PG-13 | The cruel King Louis XIV of France has a secret twin brother who he keeps imprisoned. Can the twin be substituted for the real king? Director: Alexandre Dumas père (novels) (as Alexandre Dumas), Randall Wallace (screenplay) Stars: From $2.99 (SD) on Amazon Video ON DISC a list of 28 titles created 07 Jan 2012 a list of 22 titles created 12 Dec 2012 a list of 45 titles created 25 Oct 2014 a list of 21 titles created 06 Sep 2015 a list of 22 titles created 10 months ago Title: The Man in the Iron Mask (1998) 6.5/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 3 wins & 4 nominations. See more awards  » Videos Twenty-something Richard travels to Thailand and finds himself in possession of a strange map. Rumours state that it leads to a solitary beach paradise, a tropical bliss - excited and intrigued, he sets out to find it. Director: Danny Boyle Shakespeare's famous play is updated to the hip modern suburb of Verona still retaining its original dialogue. Director: Baz Luhrmann In 1863, Amsterdam Vallon returns to the Five Points area of New York City seeking revenge against Bill the Butcher, his father's killer. Director: Martin Scorsese A biopic depicting the early years of legendary director and aviator Howard Hughes ' career from the late 1920s to the mid-1940s. Director: Martin Scorsese A fisherman, a smuggler, and a syndicate of businessmen match wits over the possession of a priceless diamond. Director: Edward Zwick Lady avenger returns to western town owned by a ruthless gunslinger hosting an elimination tournament. Director: Sam Raimi A CIA agent on the ground in Jordan hunts down a powerful terrorist leader while being caught between the unclear intentions of his American supervisors and Jordan Intelligence. Director: Ridley Scott J. Edgar Hoover, powerful head of the F.B.I. for nearly 50 years, looks back on his professional and personal life. Director: Clint Eastwood A leukemia patient attempts to end a 20-year feud with her sister to get her bone marrow. Director: Jerry Zaks A teenager finds his dreams of becoming a basketball star threatened after he free falls into the harrowing world of drug addiction. Director: Scott Kalvert A writer and wall street trader, Nick, finds himself drawn to the past and lifestyle of his millionaire neighbor, Jay Gatsby. Director: Baz Luhrmann After his father's death, Gilbert has to care for his mentally disabled brother, Arnie, and his morbidly obese mother, which is suddenly challenged when love walks into his life. Director: Lasse Hallström Edit Storyline Paris is starving, but the King of France is more interested in money and bedding women. When a young soldier dies for the sake of a shag, Aramis, Athos and Porthos band together with a plan to replace the king. Unknown to many, there is a 2nd king, a twin, hidden at birth, then imprisoned for 6 years behind an iron mask. All that remains now is D'Artagnan, will he stand against his long time friends, or do what is best for his country? Written by Leonardo DiCaprio For the honor of a king. And the destiny of a country. All for one. Genres: Rated PG-13 for sequences of violence and some sensuality/nudity | See all certifications  » Parents Guide: 13 March 1998 (USA) See more  » Also Known As: El hombre de la máscara de hierro See more  » Filming Locations: $17,271,450 (USA) (13 March 1998) Gross: Did You Know? Trivia Gérard Depardieu 's son Guillaume Depardieu and daughter Julie Depardieu also appeared together in a Musketeer film: they played Athos and Constance in Milady and the Three Musketeers (2004). See more » Goofs In the 20-something King Louis XIV's bedroom we can see a portrait of Louis XIV when he was about 50. See more » Quotes Athos : You came to restrain me? D'Artagnan : I came to give you hope. Version of Mushketyory 20 let spustya  (1992) See more » Frequently Asked Questions – See all my reviews I never saw this movie in the theaters (it seemed like another Leo-mania "no REAL talent" type of film), but I remember a friend recommending it to me one night about 5 years back. Since I love sword fighting movies/3 musketeer flicks, I just had to give it a try. Plus, I had seen the previews, and they looked interesting. Well, let me tell you...from the opening scene to the ending credits, I was hooked with this film! It grabbed my attention, and was just pure fun!! I don't know why this movie got such a low rating on IMDB. It may not be a "masterpiece", but it's surely a great, fun, entertaining film! First of all, the cast is great. I mean, have you seen so many good actors in one film?? Byrnes, Depardieu, Malcovich, DiCaprio, and Irons. All such a WONDERFUL cast, with good acting. I liked Leo's duel roles too. At first I thought it would be cheesy, but Leo delivered it well! He played both roles of Louis (bad king) and Phillipe (good king) so diversely! I liked how he had you loving one king, and totally despising the other! Someone also mentioned the way Leo totally changed characters with his "eyes". THe "EYES" say a lot, and Leo nailed it. I almost had to ask myself if this was the SAME actor playing Phillipe! The plot was good (eh...might have been predictable, but still...great), the cinematagraphy was awesome, the music was moving, the sword fighting/action was cool! I absolutely loved Gabriel Byrnes in this movie. He was so great as D'Artagnan (sp?). John Malcovich was perfect for his role of Athos too. I really felt his pain. I have both the VHS (older) and the DVD version (hey, it was on sale for 9 bucks!! lol) of The Man In The Iron Mask, and the DVD version (although not a whole lot of extras) has a nice directors commentary. It really tells the director's vision for the film and all the behind the scene info. I STILL can't believe that this movie was his FIRST film!! Very entertaining movie. I really don't know why people dogged this movie so much. It was SOOOO much better than that "OTHER" more RECENT musketeer movie that came out called "THE Musketeer". UGghgh...what a dissapointment! But The Man In The Iron MASK is DEFINITELY a movie worth giving a try. 71 of 93 people found this review helpful.  Was this review helpful to you? Yes

Louis XIV of France

Which role did Rupert Everett play in The Madness of King George?

The Straight Dope: Who was the "Man in the Iron Mask"? A Staff Report from the Straight Dope Science Advisory Board Who was the "Man in the Iron Mask"? November 5, 2002 Dear Straight Dope: I've never seen the film on the subject, and being quite certain I never want to see another film starring Leonardo DiCaprio I probably never will see it. So I ask you, who was the man in the iron mask? I've asked many people about this guy who apparently spent 34 years in the Bastille wearing a metal contraption on his face, and one passing know-it-all told me that apparently the masked man scratched some words on a plate and dropped it out the window into the river, where it was fished out by a fisherman. The fisherman handed it in to the authorities, who would have killed him, had they not discovered he couldn't read. I don't think I believe the above story, but I ask you, what should I believe? — Raven, Liverpool It's hard to know what to believe. There has been speculation, romantic literature, and analysis of all sorts for 300 years, with countless novels and theories by the likes of Voltaire, Pagnol and Jung. Most of the details that have come down to us are strictly flights of fancy. But the story wasn't manufactured from whole cloth. There really was a man in a mask.  THE FACTS First, let's set the scene. We're in the reign of Louis XIV of France, the Sun King, who ruled from 1643 to 1715.  It's the era of the "divine right of kings"--the king's power was absolute and unquestioned. To Louis XIV is attributed the quote: "L'état, c'est moi!" ("I am the state!")  At the other end of society were prisoners, many jailed by the king, who could imprison someone for any reason that struck his fancy. Political intrigue? Prison. Inappropriate remarks? Prison. Fashion faux pas? Maybe not prison, but who knows? Louis XIV condemned folks for good reasons and bad, with a "carefree flourish of the royal quill." Our first record of a masked prisoner is from a notebook kept by Lieutenant Etienne du Junca, an official of the Bastille from October 1690 until his death in September 1706. His notebooks are "the most important and reliable source of information we have about the management and conduct of the Bastille under Louis XIV," according to Theodore M.R. von Keler. The entry for Thursday, September 18, 1698, records the 3 p.m. arrival of a new governor of the Bastille, Bénigne d'Auvergne de Saint-Mars. Du Junca writes that Saint-Mars "brought with him, in a litter, a longtime prisoner, whom he had in custody in Pignerol, and whom he kept always masked, and whose name has not been given to me, nor recorded." Saint-Mars had been at Pignerol from 1665 to 1681, so the Man in the Mask had been imprisoned for at least 18 years prior to his arrival at Bastille, and perhaps as long as 33 years. Du Junca's later comments indicate that the prisoner was well treated, and had no complaints. He was permitted to attend Mass on Sundays and holidays, but had to keep his face covered by a "black velvet mask." Du Junca's report is the only mention of a mask, and note that it is black velvet, not iron. Five years later, on November 19, 1703, Du Junca records the death and burial of the "unknown prisoner, who has worn a black velvet mask since his arrival here in 1698." Saint-Mars had the name "Marchialy" inscribed in the parish register, but spelling in those days were subject to what John Noone calls "orthographical disorder." THE LEGENDS Those are the bare facts, but the legend started almost immediately. The prisoner aroused some curiosity at the time. Within a few months of the arrival of the masked prisoner at the Bastille, stories were already circulating, each one wilder and more improbable than the last. The stories reached new heights after the prisoner's death. By 1711, we have letters from Princess Palatine, the second wife of Louis XIV's brother, speculating about the "man who lived masked for long years in the Bastille and masked he died there." Other prisoners later claimed they had known the Man in the Mask, and told their invented stories to different writers, such as Voltaire, who exaggerated them even more. Speculation ran wild over the next two centuries. I'll give you a handful of legends, to give you the flavor. That the mask was made of iron. Voltaire, writing in 1751, said it was riveted on, and described in detail a "movable, hinged lower jaw held in place by springs that made it possible to eat wearing it." The only reliable contemporary reference we have to the mask clearly calls it black velvet, not iron, but the "iron mask" caught the public's imagination. That there were two soldiers always at his side ready to shoot him if he ever unmasked. That he was treated with extreme courtesy by his jailors. The governor of the prison personally took care of his linens and meals. The governor and jailors removed their hats in his presence, remained standing until he invited them to sit, served his meals on silver plate, and so forth--in short, etiquette accorded royalty. This legend was widespread, and makes a great story, but prison records show exactly what supplies were furnished--and they were pretty humble. Rooms in the Bastille before 1745 were unfurnished, as the majority of political prisoners preferred to provide their own furnishings. Du Junca's notebooks record that the masked prisoner had no furniture of his own, instead using the standard furniture provided by the governor. This implies that the Man in the Mask was not wealthy, and certainly wasn't treated "like royalty." That each governor of the Bastille had to swear to the king not to reveal the identity of the masked prisoner to anyone, except to the successor governor. This legend is silly--there was only one governor of the Bastille during the imprisonment of the masked prisoner, namely, Saint-Mars. The story you recounted: that the prisoner wrote a message with the point of a knife on a silver plate, and tossed the plate out the window into the river. It was found by a fisherman who brought it back to the prison, and was immediately questioned by the governor whether he had read what was on the plate. He said that he did not know how to read. He was imprisoned and interrogated and investigated, and it was proved that he had no schooling and could not read or write his own name. The governor then freed him, saying, "It is your great luck that you can't read!" This story was recounted by Voltaire in the 1750s. A similar story is told about a shirt of fine quality, covered with writing, found by a barber and returned to Saint-Mars; two day later, the barber was dead. The reality is that prisoners did try to communicate with the outside world, and that Saint-Mars was concerned about such attempts. One prisoner (Pierre Slaves) may have used a pewter plate (not silver) and a shirt. The plate wasn't thrown out the window; the prisoner was trying to reach other prisoners (and perhaps a laundress). Guards foiled the attempts; no outsiders were involved. That after the death of the prisoner, all his furnishings were cleared away. This is true, but not special; it was standard procedure when a prisoner died in his room. A more elaborate version has it that the prisoner's belongings (clothes, sheets, paper) were burned and the room scrubbed and repainted. In short, romantic fancy ran wild. But some of the legends had a grain of truth. Louis XV is said to have told Madame du Pompadour that the masked prisoner was a "minister of an Italian prince." Louis XVI told Marie Antoinette that he was a political intriguer from Mantua in Italy. These comments are worth remembering, for they point to one of two likely suspects. The myth of the iron mask took hold in the popular imagination. In the late 1700s, with revolution in the air, the growing discontent with royalty and tyranny found symbolic expression in the masked prisoner, confined for unknown reasons for 30 years, and dying masked. His prison, the Bastille, was the ultimate symbol of tyranny and repression. When the Bastille was stormed in 1789, reports were circulated that the invaders had found the skeleton of a man, with an iron mask riveted around his head, chained to walls in one of the dank, hidden lower prisons. The discovery of an iron mask was a great coup in public relations, symbolizing the dreadful excesses of the monarchy. It was especially poignant if the poor prisoner were a "skeleton in the cupboard of the French Royal House" (as John Noone puts it). As such, the myth (then and now) far outweighed the reality. In 1855, an iron mask, with a Latin inscription, was put on public display as the "identical mask which the famous prisoner in the Bastille had worn during his incarceration." People paid admission to see this wonderful (but wholly fabricated) relic, which may still be seen in the museum at Langres. So, who was the Man in the Mask? Two approaches have been used to solve the mystery, the speculative and the historical. THE SPECULATIVE APPROACH As early as 1715, authors and political pundits approached the mystery of the masked prisoner by trying to answer the main questions: Why was the prisoner masked? Most people, including Voltaire, reasoned (then and now) that the mask must have been used to conceal his identity, or at least, to hide his face. In those days, there were not many faces that might have been recognized by the average prison guard or person in the street. Hence, the reasoning goes, the prisoner must have been famous himself or strongly resembled someone famous like royalty. Other questions included: Why not just kill him? And why such enormous secrecy that not even du Junca knew who he was? The facts were mixed with the legends, and there have been dozens of suggestions, many involving some sort of royal connection. A few of the major theories:  The most famous story with a royal connection holds that the masked prisoner was Louis XIV's identical twin brother, hidden at birth to avoid complications in the succession, raised secretly far away from court, and imprisoned when he discovered his true identity. The mask, obviously, was to hide the resemblance to the King. The ultimate version is "The Man in the Iron Mask" by Alexandre Dumas (père), published in 1850 as part of his trilogy on the Three Musketeers. All the movies (there have been at least a dozen in Europe and the U.S. since 1910) are based on this popular book. The story is tempting and romantic, but highly implausible and without any supporting evidence whatsoever. In the 1770s, Voltaire hinted that the prisoner was an older half-brother of Louis XIV with a family resemblance, but not necessarily a twin, such as the Duke of Beaufort. Such a person might have raised complications about the royal succession, hence the need for absolute secrecy. Other suggested that the older half-brother was the illegitimate son of the Queen Mother, imprisoned to prevent a scandal, and having nothing to do with the succession. Another version of this holds that the man in the mask was a woman, an illegitimate daughter of the Queen Mother! A very amusing version of the ""older royal brother" was circulated in 1801, under the rule of Napoleon Bonaparte. While in jail, the man in the mask was married, and fathered a son; the infant was taken by his mother to Corsica and given his mother's name of . . . ready? . . . Bonaparte. Thus Napoleon Bonaparte was the direct descendent of the rightful king of France! Or, he was a black politician whose dalliance with the Queen resulted in an illegitimate daughter. He was masked because he would be identifiable, being black. If not an older brother or a twin of Louis XIV, perhaps his illegitimate son, such as the Count of Vermandois? Such stories often included wonderful embellishments such as being imprisoned because he struck his older brother, the Dauphin, heir to the throne. Alas, Vermandois died in 1682, too early to be the masked prisoner. But there's no reason to allow death to discourage us from a candidate. After all, this is the highest level political intrigue, and death can be faked. Conspiracy theorists, go wild! Some have suggested Molière, the famous playwright, as a candidate. Molière's death in 1673 was faked, and he was concealed behind the mask until his true death 40 years later at age 83. Then there are those who argue the Man in the Mask was English, such as the Duke of Monmouth, an illegitimate son of Charles II involved in religious and political rebellion against his father. Or perhaps the Man in the Mask was an illegitimate son of Oliver Cromwell. There are dozens of such candidates, especially when we disregard minor inconveniences like well-documented deaths. Those who argue any particular theory usually have some plausible set of coincidences to bolster their case. But, ultimately, their arguments tend to require that we overlook some historical contradiction or inconsistency. INVESTIGATIONS In the last century or so some have taken a more analytical approach, sifting through the documentation and historical evidence. While there are few reliable documents about the Man in the Mask himself, there are prison records, letters to and from the governor Saint-Mars, and so forth. Deductions and assumptions can be based on these documents. The starting point for this type of analysis is that the Du Junca reports the masked prisoner was brought to the Bastille in 1698 by Saint-Mars, as his "longtime prisoner" from Pignerol. Pignerol was a fortress-prison that belonged to France near Turin in Italy. Saint-Mars was governor there from 1665 until 1681. From Pignerol, Saint-Mars was transferred to the prison Exiles from 1681 to 1687, and then to Sainte Marguerite in the Gulf of Cannes until 1698, when he became governor of the Bastille in Paris and brought his masked "longtime prisoner" with him. Saint-Mars then served as governor of the Bastille until his death in September 1708. So the game is to find a prisoner in Pignerol in 1681 (or earlier) who was later in Sainte Marguerite and could have been brought masked to the Bastille with Saint-Mars in 1698. I'll spare you the vast amount of detail, deductions, and reconstruction of records, letters, arrest warrants, etc. There were only five prisoners in Pignerol when Saint-Mars left in 1681, and three are easily eliminated--for instance, by dying prior to 1698. There are thus only two candidates. (1) Antonio Ercole Matthioli  Matthioli was an unscrupulous politician from Mantua, in Italy, who was involved in negotiations between the Duke of Mantua and the Republic of Venice, using France as an intermediary. (At the time, remember, Italy was not unified but comprised a large number of small but powerful states.) Matthioli double-crossed everyone in sight, and "caused disturbances in at least five countries, which came near leading to general war," according to van Keler. This put the King of France in a very awkward position. Matthioli was kidnapped by the French in May 1679 in Italy and hustled off to the mountain fortress of Pignerol. The arrest warrant contained a postscript: "No person shall know what has become of this man" by special order of the King. The French secretary of state, Louvois, instructed the governor to give him only absolute necessities, and nothing of comfort, saying this was at the special request of the King. Matthioli almost became deranged from this treatment. He did not accompany Saint-Mars when he was transferred to the prison at Exiles in 1681, but was transferred to the prison at Sainte Marguerite in March 1694, so meets our criteria. After 1694, Mattioli disappears from official correspondence. Arguments in favor of Matthioli as the masked prisoner include: When the Masked Prisoner was buried in 1703, Saint-Mars gave the parish register of the church the name "Marchioly." This is an easily explained corruption of Matthioli--spelling wasn't standardized in those days. In his correspondence, Saint-Mars occasionally wrote "Marthioly" for "Matthioli." Of course, "Marchioly" could have been a false name, if Saint-Mars were still concerned about secrecy. As previously noted, Louis XV and Louis XVI mentioned an Italian intriguer from Mantua. This is consistent with Matthioli, but with no other prisoner at Pignerol during the period in question Arguments against Matthioli: Matthioli may have died in 1694. Reference is made to a prisoner who died at Sainte-Marguerite. Circumstantial evidence is pretty convincing that Matthioli is the only prisoner who fits the description. Obviously, if Matthioli died in 1694, he could not have been the masked prisoner of 1698. There is a letter to Saint-Mars from the secretary of state in 1697, cautioning that he not ever "explain to anyone what it is your longtime prisoner did." But everyone knew what Matthioli did; there was no secret or mystery about it. His crime and punishment were reasonably well known. The cause and place of his imprisonment were published in newspapers as early as 1682. There was no need to keep his face masked and his identity secret. Counter-arguments: It's possible Matthioli wore a mask from choice. It was an Italian custom among the upper classes to mask one's face when going out in the sun, and Matthioli may have taken this custom to extremes and masked himself. (2) Eustace Dauger  The more likely candidate is a prisoner named Eustace Dauger (or some similar spelling), who was a valet. The name Dauger is likely false, and there is considerable speculation about who Dauger might have been. The King's arrest warrant restricts Dauger from having any contact with anyone. Saint-Mars himself must feed Dauger, and the secretary of state writes to Saint-Mars, "You must never, under any pretenses, listen to what he may wish to tell you. You must threaten him with death if he speaks one word except about his actual needs. He is only a valet, and does not need much furniture." Dauger was transferred from Pignerol with Saint-Mars to Exiles in 1681 and to Sainte Marguerite in 1687, so meets our criteria. The arguments in favor of Dauger: In 1687, when Saint-Mars went to the fortress-prison of Sainte Marguerite, he brought Dauger with him in a sedan chair covered over with oilcloth. Saint-Mars did not use a litter because he feared it might break down and Dauger could be seen. Thus, Saint-Mars wanted to keep Dauger's face hidden. The twelve-day journey in a closed chair nearly killed Dauger, and his arrival at Sainte Marguerite in this way aroused a great deal of excitement, curiosity, and speculation. Dauger accompanied Saint-Mars through all his prison postings, unlike Matthioli. If the prisoner was to be handled so confidentially by Saint-Mars, it makes sense that he would stay with Saint-Mars all that time. This is consistent with the Man in the Mask being called Saint-Mars' "longtime" prisoner. We already noted the letter to Saint-Mars from the secretary of state, cautioning that he not ever "explain to anyone what it is your longtime prisoner did." While everyone knew what Matthioli did, no one knew what Dauger had done--in fact, no one knows to this day. The main objection to the Dauger theory is: why the mask? Why the fuss? Why all the secrecy? He was only a valet, why not just kill him? And the related question: who was this Dauger, anyway? The two most common theories: (a) Dauger was a valet named Martin, whose master was Roux de Marsilly, a French Huguenot who tried to stir up a Protestant alliance against France. Marsilly was publicly tortured to death in Paris in 1669, and his ex-valet Martin was imprisoned under the name Eustace Dauger. The authorities must have assumed that Dauger knew details of Marsilly's plots and secrets, and he was imprisoned to divulge them. Dauger said that he knew nothing. Thus, Dauger was probably imprisoned for something the authorities THOUGHT he had seen or heard or knew. (The name "Marchialy" under which the masked prison was buried could have been a misspelling of "Marsilly.") He was a valet named "Danger" or "D'angers" who was hired by the secretary of state to commit a political assassination by poisoning, which he botched. He was imprisoned and kept silent so as not to incriminate the secretary of state. Of course, speculation doesn't stop there. Other theories about Dauger include: He was Eustache Dauger de Cavoya, a black sheep from an important family. He was mixed up with Satanism, homosexuality, and depraved criminals. He was involved in potential scandals with women close to the king, hence forbidden to speak and locked up for life. A problem: de Cavoye was imprisoned at Saint-Lazare, and so is unlikely to be our Dauger. Marcel Pagnol speculated in The Secret of the Iron Mask (1965) that Dauger was, in fact, the identical twin brother of Louis XIV. John Noone comments: ""That brings us back, with a cavalier flourish, to square one!"" But, in any case, why the mask? If Dauger was Martin, then he was initially imprisoned for interrogation, to find out what he knew. He probably knew nothing, and so repeated questioning got nowhere. However, never underestimate the power of "red tape," even three hundred years ago. Once he was "caught in the toils of the system," says Andrew Lang, sheer inertia and force of habit kept him there. An intriguing argument is made by John Noone, in his comprehensive book The Man Behind the Iron Mask. He contends that Dauger wore the mask only occasionally, and that the secrecy and mystery seemed to increase in the later years of imprisonment. Noone suggests that was a strategy of Saint-Mars, the governor of all the prisons where Dauger was incarcerated, to gain attention. We know that Saint-Mars had some important prisoners at Pignerol, such as Nicolas Fouquet and Comte de Lauzun--high level politicians. Being in charge of such people brought Saint-Mars to the attention of the highest and mightiest in the land. Saint-Mars had an inflated sense of his own importance. When Fouquet died and Lauzun was released, Saint-Mars was no longer in the spotlight. However, he still had a political prisoner in his care, namely Dauger. Yeah, he's only a valet, but what better way to remind the powers-that-be of Saint-Mars' importance than to play up the importance of his prisoner? Noone posits that Saint-Mars himself helped spread rumors about the identity of his "longtime" prisoner, made him wear a mask in public, and tried to stoke gossip. In short, the mask may have been a publicity ploy by Saint-Mars.  THE MYTH One possible explanation of the Man in the Mask is that two men's histories (Matthioli and Dauger) have been conflated with stories about other prisoners to create one myth. Dauger is at the center of a number of legends about the Man in the Mask.  For instance, Dauger was the prisoner carried from Exiles to Sainte Marguerite in a covered sedan chair so that no one would see his face. The story about the prisoner who wrote a message on his shirt and on a pewter plate, to bring attention of his plight to the outside world, is also part of the myth, as is the Iron Mask itself. These dramatic stories were romanticized and became associated with the Man in the Mask. If Dauger is the Man in the Mask, that would combine the reality and several legends fairly well. However, if Matthioli was the Man in Mask at the Bastille, then the story of Dauger became a legend associated with the mysterious prisoner. Thus, for example, the "velvet mask" of 1698 and the covered sedan chair of 1687 may have become combined into the mythos, that the man was masked for his entire imprisonment. So the Man in the Mask is potentially not one individual but two, whose stories are combined (and spiced up with stories of other prisoners) into one legend. We may never know, but the debate continues.  The results of the last International Symposium on the Iron Mask are presumably available. Everyone needs a hobby. By the way, the 300th anniversary of the death of the Man in the Mask (November 19, 1703) is coming up. This gives you plenty of time to prepare for a blowout party. Resources: www.uip.com/ironmask/theman.htm &nbs p; The argument for Matthioli:

i don't know

Which UK pop singer an environmental campaigner appeared in Dune?

Sting - IMDb IMDb Soundtrack | Actor | Music Department Sting was born Gordon Matthew Sumner on 2 October, 1951 in Wallsend, North Tyneside, Tyne and Wear, England, the eldest of four children of Audrey (Cowell), a hairdresser, and Ernest Matthew Sumner, an engineer and milkman. He received his name from a striped sweater he wore which looked like a bee. He grew up in the turmoil of the ship-building ... See full bio » Born: Famous Directors: From Sundance to Prominence From Christopher Nolan to Quentin Tarantino and every Coen brother in between, many of today's most popular directors got their start at the Sundance Film Festival . Here's a list of some of the biggest names to go from Sundance to Hollywood prominence. a list of 42 images created 03 Feb 2011 a list of 39 people created 31 Mar 2011 a list of 30 people created 19 May 2014 a list of 36 people created 13 Jun 2014 a list of 42 people created 02 Oct 2015 Do you have a demo reel? Add it to your IMDbPage How Much Have You Seen? How much of Sting's work have you seen? User Polls Nominated for 3 Oscars. Another 14 wins & 19 nominations. See more awards  » Known For   Strictly Come Dancing (TV Series) (writer - 5 episodes, 2014 - 2016) (performer - 1 episode, 2016) - The Semi-Final Results (2016) ... (performer: "One Fine Day") / (writer: "One Fine Day") - Week Three Results (2016) ... (writer: "Every Little Thing She Does Is Magic" - uncredited) - Week 8: Blackpool Special (2014) ... (writer: "El Tango de Roxanne" - uncredited)   The Tonight Show Starring Jimmy Fallon (TV Series) (writer - 7 episodes, 2014 - 2016) (performer - 4 episodes, 2014 - 2016) (music - 3 episodes, 2015 - 2016) (lyrics - 1 episode, 2015) - Sting/Kate McKinnon (2016) ... (music: "Message in a Bottle" - uncredited) / (performer: "Message in a Bottle" (uncredited), "I Can't Stop Thinking About You") / (writer: "I Can't Stop Thinking About You") - Tyler Perry/Dave Franco/Harland Williams (2016) ... (writer: "Shadows in the Rain" - uncredited) - Sting & Mylène Farmer/Eva Longoria (2015) ... (lyrics: "Stolen Car") / (music: "Stolen Car") / (performer: "Stolen Car") / (writer: "Russians", "Message in a Bottle" - uncredited) - Jason Statham/Adrian Grenier/Elayne Boosler (2015) ... (writer: "Every Breath You Take" - uncredited) - Sting/Kevin Connolly/Kevin Delaney (2015) ... (performer: "Roxanne", "The Night the Pugilist Learned How to Dance" - uncredited) / (writer: "Roxanne", "The Night the Pugilist Learned How to Dance" - uncredited)  2016 Who's Doing the Dishes? (TV Series) (writer - 1 episode) - Chesney Hawkes (2016) ... (writer: "Every Little Thing She Does Is Magic" - uncredited)  2016 The Voice (TV Series) (writer - 1 episode)  2016 Zoolander 2 (writer: "Roxanne")  2016 Dafabet Masters (TV Series) (writer - 1 episode)  2016 Atmos the Addict (TV Series) (writer - 1 episode) - Addergeist (2016) ... (writer: "Money For Nothing")  2015 Love the Coopers (performer: "A Soalin'" aka "Soul Cake")  2015 Deutschland 83 (TV Series) (writer - 1 episode) - Atlantic Lion (2015) ... (writer: "Wrapped Around Your Finger")  2015 Biggest Band Breakups and Make Ups (TV Movie documentary) (performer: "If You Love Somebody Set Them Free" - uncredited)  2014 Kingsman: The Secret Service (writer: "Money For Nothing")   Late Show with David Letterman (TV Series) (performer - 4 episodes, 2005 - 2014) (writer - 4 episodes, 2005 - 2011) - Chris Rock/Sting (2014) ... (performer: "What Say You, Meg?") - Episode #19.18 (2011) ... (performer: "Demolition Man" - uncredited) / (writer: "Demolition Man" - uncredited) - Episode #18.179 (2011) ... (writer: "Synchronicity II" - uncredited) - Episode #18.79 (2011) ... (writer: "Synchronicity II" - uncredited) - Episode #17.32 (2009) ... (performer: "Soul Cake" - uncredited) - Second Round: Part 1 (2014) ... (writer: "Money For Nothing" - uncredited)  2014 Stalker (TV Series) (writer - 1 episode) - Phobia (2014) ... (writer: "Every Breath You Take (Re:Imagined)" - uncredited)  2014 Tu cara me suena - Argentina (TV Series) (writer - 1 episode) - Episode #2.13 (2014) ... (writer: "Every Breath You Take")  2014 Pretty Little Liars (TV Series) (writer - 1 episode) - Miss Me x100 (2014) ... (writer: "Every Breath You Take" - uncredited)  2014 The 68th Annual Tony Awards (TV Special) (performer: "The Last Ship") / (writer: "The Last Ship")  2014 Grey's Anatomy (TV Series) (writer - 1 episode) - Go It Alone (2014) ... (writer: "Every Little Thing She Does Is Magic" - uncredited)  2014 This Week (TV Series) (performer - 1 episode)  2014 Late Kick Off North West (TV Series) (writer - 1 episode) - Episode #5.2 (2014) ... (writer: "Can't Stand Losing You" - uncredited)  2009-2014 Glee (TV Series) (writer - 2 episodes) - Frenemies (2014) ... (writer: "Every Breath You Take" - uncredited) - Ballad (2009) ... (writer: "Don't Stand So Close to Me / Young Girl" - uncredited) - Spielberg Musikfestival - Das Konzert (2013) ... (writer: "Every Breath You Take")  2013 Rude Tube (TV Series) (writer - 1 episode)  2013 The Voice of the Philippines (TV Series) (writer - 1 episode) - Episode #1.26 (2013) ... (writer: "Every Breath You Take")  2013 Alan Partridge (writer: "Roxanne" - as Gordon Sumner)  2013 Mike & Mike (TV Series) (writer - 1 episode)   The Tonight Show with Jay Leno (TV Series) (writer - 62 episodes, 2010 - 2013) (performer - 1 episode, 2010) - Episode #21.143 (2013) ... (writer: "Every Little Thing She Does Is Magic" - uncredited) - Episode #21.135 (2013) ... (writer: "Message in a Bottle" - uncredited) - Episode #21.127 (2013) ... (writer: "Message in a Bottle" - uncredited) - Episode #21.117 (2013) ... (writer: "Every Little Thing She Does Is Magic" - uncredited) - Episode #21.97 (2013) ... (writer: "Every Little Thing She Does Is Magic" - uncredited)  2013 In a World... (writer: "Roxanne" - as Gordon Sumner)  2013 20 Feet from Stardom (Documentary) (performer: "Hounds Of Winter") / (writer: "Hounds Of Winter")  2012 Tu cara me suena (TV Series) (writer - 1 episode) - Episode #2.8 (2012) ... (writer: "Message in a Bottle")  2005-2012 The X Factor (TV Series) (writer - 5 episodes) - Live Show 4 (2012) ... (writer: "Every Breath You Take/Beautiful Monster" - uncredited) - Auditions 3 (2010) ... (writer: "Every Breath You Take") - Episode #5.11 (2008) ... (writer: "Every Breath You Take" - uncredited) - Auditions 1 (2008) ... (writer: "Fields of Gold" - uncredited) - Auditions 4 (2005) ... (writer: "Fields of Gold")  2012 The X Factor (TV Series) (writer - 1 episode) - Live Show 4 (2012) ... (writer: "Every Little Thing She Does Is Magic")   Doctor Who (TV Series) (performer - 1 episode, 2012) (writer - 1 episode, 2012) - The Angels Take Manhattan (2012) ... (performer: "Englishman in New York") / (writer: "Englishman in New York") - Top 7 Performance Night (2012) ... (writer: "Every Breath You Take")  2012 Every Breath You Take (lyrics: "Every Breath You Take") / (music: "Every Breath You Take")  2012 Pura Química (TV Series) (writer - 1 episode)  2012 Don't Stop Believin': Everyman's Journey (Documentary) (writer: "Roxanne" )   EastEnders (TV Series) (writer - 5 episodes, 1985 - 2012) (performer - 1 episode, 1985) - Episode dated 14 January 2010 (2010) ... (writer: "Every Breath You Take" - uncredited) - Episode #1.84 (1985) ... (performer: "Fortress Around Your Heart" - uncredited) / (writer: "Fortress Around Your Heart" - uncredited) - Episode #1.58 (1985) ... (writer: "Money for Nothing" - uncredited) - Episode #1.50 (1985) ... (writer: "Money for Nothing" - uncredited)  2012 Silent Witness (TV Series) (performer - 1 episode) - Domestic: Part 2 (2012) ... (performer: "If I Ever Lose My Faith In You" - uncredited)  2012 Luck (TV Series) (writer - 1 episode) - Episode #1.9 (2012) ... (writer: "Money for Nothing" - uncredited)  2011-2012 Dancing Stars (TV Series) (writer - 2 episodes) - Episode #7.3 (2012) ... (writer: "Roxanne") - Episode #6.4 (2011) ... (writer: "Every Breath You Take")  2012 Danni Lowinski (TV Series) (writer - 1 episode) - Sperrbezirk (2012) ... (writer: "Roxanne" - uncredited)  2010-2012 No me la puc treure del cap (TV Series) (writer - 3 episodes) - Desamor (2012) ... (writer: "Every Breath You Take") - On a Clear Day I Can't See My Sister (2005) ... (writer: "Don't Stand So Close to Me" - uncredited) - Radio Bart (1992) ... (performer: "We're Sending Our Love down the Well" - uncredited)  2011 Doctors (TV Series) (writer - 1 episode)  2011 So You Think You Can Dance Canada (TV Series) (writer - 1 episode) - Top 18 Results (2011) ... (writer: "El Tango de Roxeanne" - based on "Roxanne" and "Tanguera")  2009-2011 Dancing with the Stars (TV Series) (writer - 2 episodes) - 2011 Grand Finale (2011) ... (writer: "El Tango de Roxanne" - uncredited)  2011 Late Night with Jimmy Fallon (TV Series) (writer - 1 episode) - Episode #3.87 (2011) ... (writer: "Don't Stand So Close to Me" - uncredited)  2011 South Park (TV Series) (writer - 1 episode) - You're Getting Old (2011) ... (writer: "Every Breath You Take")  2009-2011 Banda sonora (TV Series) (writer - 2 episodes) - Episode #7.3 (2011) ... (writer: "De do do do, de da da da") - Episode #5.14 (2009) ... (writer: "So Lonely")  2011 Glee Encore (Video) (writer: "Don't Stand So Close To Me")  2011 Idool 2011 (TV Series) (writer - 1 episode) - Liveshow 4 - In Symphony (2011) ... (writer: "Englishman in New York")  2011 Detention (writer: "Fields of Gold")  2011 Music Nuggets (TV Series) (performer - 1 episode) - Episode dated 19 February 2011 (2011) ... (performer: "Seven Days")   Hustle (TV Series) (performer - 1 episode, 2011) (writer - 1 episode, 2011) - The Delivery (2011) ... (performer: "Shape Of My Heart") / (writer: "Shape Of My Heart") - Jesse James Meets Frankenstein's Daughter (2011) ... (writer: "Every Breath You Take" - uncredited)  2011 Just Go with It (performer: "Driven to Tears", "Love Is the Seventh Wave", "You Still Touch Me") / (writer: "So Lonely", "Roxanne", "Driven to Tears", "Canary in a Coalmine", "Can't Stand Losing You", "Love Is the Seventh Wave", "Every Breath You Take", "You Still Touch Me", "Next to You")  2011 The Green Hornet (writer: "I Hung My Head")  2010-2011 Total Wipeout (TV Series) (writer - 2 episodes) - Episode #4.1 (2011) ... (writer: "Money for Nothing" - uncredited) - The Awards (2010) ... (writer: "Walking on the Moon" - uncredited)  2011 Burnout (lyrics: "Roxanne" - as Gordon Sumner) / (music: "Roxanne" - as Gordon Sumner)  2010 Ja el tenim! El disc de La Marató (TV Movie documentary) (writer: "Missatge a l'ampolla")  2010 This Morning (TV Series) (writer - 1 episode) - Episode dated 11 November 2010 (2010) ... (writer: "Fields of Gold")  2010 Hellcats (TV Series) (writer - 1 episode)  2010 Guitar Hero: Warriors of Rock (Video Game) (writer: "Money for Nothing")  2007-2010 20 to 1 (TV Series documentary) (writer - 5 episodes) - 1 of 8 Voted Off (2010) ... (performer: "When We Dance") - Top 4 (2005) ... (writer: "Message in a Bottle") - Top 8 (2005) ... (writer: "King of Pain")  2010 This Ain't Glee XXX (Video) (writer: "Don't Cum All Over Me" - uncredited)  2010 Running Man (TV Series) (performer: "St. Agnes and the Burning Train") / (writer: "St. Agnes and the Burning Train")  2010 Heartbeats (writer: "Every Breath You Take")  2010 Getaway (TV Series) (writer - 1 episode) - Episode #19.3 (2010) ... (writer: "So Lonely" - uncredited)  2010 Live from Studio Five (TV Series) (performer - 1 episode) - Episode #1.87 (2010) ... (performer: "Do They Know It's Christmas?")  2010 Numb3rs (TV Series) (music - 1 episode) - Scratch (2010) ... (music: "Money for Nothing" - uncredited)  2009 Cold Case (TV Series) (writer - 1 episode) - Chinatown (2009) ... (writer: "Invisible Sun", "Every Breath You Take" - uncredited)  2009 Miranda (TV Series) (writer - 1 episode) - Teacher (2009) ... (writer: "Money for Nothing")  1984-2009 Tatort (TV Series) (writer - 2 episodes) - Tempelräuber (2009) ... (writer: "So lonely") - Haie vor Helgoland (1984) ... (writer: "Every Breath You Take")  2009 Electric Dreams (TV Mini-Series) (writer - 1 episode) - The 1980s (2009) ... (writer: "Money for Nothing")  2009 Parks and Recreation (TV Series) (writer - 1 episode) - The Stakeout (2009) ... (writer: "Every Breath You Take" - uncredited) - Charts, Clips und Kommerz (2009) ... (writer: "Money For Nothing")  2009 Brüno (performer: "Dove of Peace")  2009 An Englishman in New York (performer: "Englishman in New York" - uncredited)  2009 Chris Botti in Boston (TV Movie) (writer: "Seven Days", "Shape Of My Heart", "If I Ever Lose My Faith In You")  2008 Eli Stone (TV Series) (writer - 1 episode) - Happy Birthday, Nate (2008) ... (writer: "Every Breath You Take" - uncredited)  2008 Guitar Hero World Tour (Video Game) (performer: "Demolition Man (Live)") / (writer: "Demolition Man (Live)") - Fields of Gold (2008) ... (writer: "Fields of Gold")   Por Toda Minha Vida (TV Series) (performer - 1 episode, 2008) (writer - 1 episode, 2008) - Chacrinha (2008) ... (performer: "We'll Be Together") / (writer: "We'll Be Together")  2008 Soulería (Video) (writer: "Me recordarás" - as Gordon Sumner)   La tele de tu vida (TV Series) (performer - 1 episode, 2007) (writer - 1 episode, 2007) - Episode #1.9 (2007) ... (performer: "Ellas danzan solas (Cueca Sola)") / (writer: "Ellas danzan solas (Cueca Sola)")  2006-2007 The Office (TV Series) (writer - 2 episodes) - Phyllis' Wedding (2007) ... (writer: "Roxanne", "Message in a Bottle", "Every Breath You Take", "Every Little Thing She Does Is Magic", "Fields of Gold") - Casino Night (2006) ... (writer: "Don't Stand So Close To Me")   The Eight (TV Series) (writer - 5 episodes, 2006 - 2007) (performer - 4 episodes, 2006) - Who Murdered Yoel? (2007) ... (writer: "Every Breath You Take" - uncredited) - Ha-Ne'elamim (2006) ... (performer: "Fortress Around Your Heart" - uncredited) / (writer: "Fortress Around Your Heart" - uncredited) - The Nocturnal Robbery (2006) ... (performer: "Spread a Little Happiness" - uncredited) - The Spies (2006) ... (performer: "Let Your Soul Be Your Pilot" - uncredited) / (writer: "Let Your Soul Be Your Pilot" - uncredited) - Lamda Klaud (2006) ... (writer: "Every Little Thing She Does is Magic" - uncredited)  2007 Rock Band (Video Game) (writer: "Next to You", "Roxanne")   How Music Works (TV Series documentary) (performer - 1 episode, 2006) (writer - 1 episode, 2006) - Melody (2006) ... (performer: "We Work the Black Seam") / (writer: "We Work the Black Seam")  2006 Alles Was Groen (Short) (writer: "I Hung My Head")  2006 Guitar Hero II (Video Game) (lyrics: "MESSAGE IN A BOTTLE") / (music: "MESSAGE IN A BOTTLE")   Studio 60 on the Sunset Strip (TV Series) (performer - 1 episode, 2006) (writer - 1 episode, 2006) - The Long Lead Story (2006) ... (performer: "Come again", "Fields of Gold") / (writer: "Fields of Gold")  2006 Tony Bennett: Duets - The Making of an American Classic (Video) (performer: "The Boulevard of Broken Dreams")  2006 Big Love (TV Series) (writer - 1 episode) - Druhé finále: Písne z roku narození (2004) ... (writer: "Every Breath You Take")  2004 Bali: Hope in Paradise (Documentary) (performer: "If I ever lose my faith in you") / (writer: "If I ever lose my faith in you")  2004 Beth - Palau de la Música Catalana (Video) (writer: "Message in a Bottle", "Roxanne", "Every Breath U Take")  2004 The 76th Annual Academy Awards (TV Special) (performer: "You Will Be My Ain True Love") / (writer: "You Will Be My Ain True Love")  2004 Tooth (writer: "Money for Nothing" - as Sumner)  2004 50 First Dates (writer: "Every Breath You Take")  2003-2004 Ídolos (TV Series) (writer - 2 episodes) - Duelo Final (2004) ... (writer: "Every Breath You Take") - Gala 1 - Meu Ídolo (2003) ... (writer: "Englishman in New York")  2003 Cold Mountain (arranger: "You Will Be My Ain True Love" (2003)) / (writer: "You Will Be My Ain True Love" (2003))  2003 Idols (TV Series) (writer - 1 episode) - Episode #1.18 (2003) ... (writer: "Rise and Fall")  2003 50º edición de los premios Ondas (TV Movie) (performer: "Whenever I Say Your name")  2003 Pop Idol (TV Series) (writer - 1 episode) - Heat 5 (2003) ... (writer: "Fields of Gold")  2003 Peep Show (TV Series) (1 episode)  2003 Rugrats Go Wild ("Message in a Bottle")  2003 Idool 2003 (TV Series) (writer - 1 episode) - Liveshow 1 - Mijn Idool (2003) ... (writer: "Every Breath You Take")  2003 Monkey Dust (TV Series) (writer - 1 episode) - Episode #2.6 ... (writer: "Message in a Bottle" - uncredited) - Random Acts of Violence (2003) ... (writer: "Roxanne" - uncredited)   Operación triunfo (TV Series) (writer - 2 episodes, 2001 - 2003) (performer - 1 episode, 2001) - Episode #2.12 (2003) ... (writer: "Every Breath You Take") - Episode #1.6 (2001) ... (performer: "Fragile") / (writer: "Fragile") - The Colour of Alan (2002) ... (writer: "Roxanne" - uncredited)  2002 The Sweatbox (Documentary) (performer: "One Day She'll Love Me", "Walk the Llama Llama", "Perfect World", "My Funny Friend and Me" - uncredited) / (writer: "One Day She'll Love Me", "Walk the Llama Llama", "Snuff Out the Lights", "Perfect World", "My Funny Friend and Me" - uncredited)  2002 When Snooker Ruled the World (TV Movie documentary) (writer: "Every Breath You Take" - uncredited)   Rederiet (TV Series) (performer - 1 episode, 2002) (writer - 1 episode, 2002)  2002 The 74th Annual Academy Awards (TV Special) (performer: "Until") / (writer: "Until")  2001 Kate & Leopold (performer: "Until") / (writer: "Until")  1994-2001 Friends (TV Series) (writer - 2 episodes) - The One Where Underdog Gets Away (1994) ... (writer: "Don't Stand So Close to Me" - uncredited)  2001 The Clone (TV Series) (performer - 1 episode) - Episode #1.1 (2001) ... (performer: "Desert Rose" - uncredited)  2001 Rush Hour 2 (writer: "I'll Be Missing You" (AKA "Every Breath You Take"))  2001 Legally Blonde (writer: "Magic")   Top of the Pops (TV Series) (writer - 15 episodes, 1979 - 2001) (performer - 4 episodes, 1994 - 2000) - 1981 Reunion Special (2001) ... (writer: "Every Little Thing She Does Is Magic")  2001 Moulin Rouge! (writer: "El Tango de Roxanne (Medley)")   Ally McBeal (TV Series) (performer - 1 episode, 2001) (writer - 1 episode, 2001) - Cloudy Skies, Chance of Parade (2001) ... (performer: "Every Breath You Take") / (writer: "Every Breath You Take")   Zwei Männer am Herd (TV Series) (writer - 3 episodes, 1999 - 2001) (performer - 3 episodes, 1999 - 2001) - Der Betriebsausflug (2001) ... (writer: "Every Breath You Take" - uncredited) - Kalt abserviert (2001) ... (performer: "Englishman In New York" - uncredited) / (writer: "Englishman In New York" - uncredited) - Betriebsferien (1999) ... (performer: "If I Ever Lose My Faith In You" - uncredited) / (writer: "If I Ever Lose My Faith In You" - uncredited) - Geld und Liebe (1999) ... (performer: "A Thousand Years" - uncredited)  2001 The 73rd Annual Academy Awards (TV Special) (performer: "My Funny Friend and Me") / (writer: "My Funny Friend and Me")  2001 Saturday Night Live: The Best of Molly Shannon (Video short) (writer: "Message in a Bottle" - uncredited)   The Sopranos (TV Series) (writer - 3 episodes, 1999 - 2001) (performer - 2 episodes, 1999 - 2000) - Mr. Ruggerio's Neighborhood (2001) ... (writer: "Every Breath You Take/Theme from Peter Gunn (Mr. Ruggerio's Remix)" - uncredited) - Full Leather Jacket (2000) ... (performer: "Fields of Gold" - uncredited) / (writer: "Fields of Gold" - uncredited) - Pilot (1999) ... (performer: "I'm So Happy I Can't Stop Crying" - uncredited) / (writer: "I'm So Happy I Can't Stop Crying" - uncredited)  2000 Sting: The Brand New Day Tour - Live from the Universal Amphitheatre (Video documentary) (performer: "A Thousand Years", "If You Love Somebody (Set Them Free)", "After The Rain Has Fallen", "We'll Be Together", "Perfect Love...Gone Wrong", "Seven Days", "Fill Her Up", "Every Little Thing She Does Is Magic", "Ghost Story", "Moon Over Bourbon Street", "Englishman In New York", "Brand New Day", "Tomorrow We'll See", "Desert Rose", "Every Breath You Take", "Lithium Sunset", "Message In A Bottle", "Fragile") / (writer: "A Thousand Years", "If You Love Somebody (Set Them Free)", "After The Rain Has Fallen", "We'll Be Together", "Perfect Love...Gone Wrong", "Seven Days", "Fill Her Up", "Every Little Thing She Does Is Magic", "Ghost Story", "Moon Over Bourbon Street", "Englishman In New York", "Brand New Day", "Tomorrow We'll See", "Desert Rose", "Every Breath You Take", "Lithium Sunset", "Message In A Bottle", "Fragile")  2000 The Emperor's New Groove (lyrics: "My Funny Friend and Me", "Perfect World / Perfect World Reprise") / (music: "My Funny Friend and Me", "Perfect World / Perfect World Reprise") / (performer: "My Funny Friend and Me") / (producer: "Perfect World / Perfect World Reprise")  2000 Red Planet (performer: "A Thousand Years") / (writer: "When the World Is Running Down (You Can't Go Wrong)", "A Thousand Years")  2000 Greenfingers (performer: "Twenty Five To Midnight") / (writer: "Twenty Five To Midnight")  2000 Playing the Field (TV Series) (writer - 1 episode) - Episode #4.6 (2000) ... (writer: "Every Breath You Take" - uncredited)  2000 The Replacements (writer: "Every Breath You Take")  2000 Dolphins (Documentary short) (performer: "Be Still My Beating Heart", "The Dolphin Song", "Englishman in New York", "Every Breath You Take", "Fields of Gold", "Fill Her Up", "Ghost Story", "Straight To My Heart", "When We Dance") / (writer: "Be Still My Beating Heart", "The Dolphin Song", "Englishman in New York", "Every Breath You Take", "Fields of Gold", "Fill Her Up", "Ghost Story", "Straight To My Heart", "When We Dance")  2000/I Paranoid (writer: "Roxanne" - as Gordon Sumner)  2000 Otto - Der Katastrofenfilm (lyrics: "Friesenjung (Englishman in N.Y.)") / (music: "Friesenjung (Englishman in N.Y.)")  2000 Bossa Nova (performer: "How Insensitive")  2000 The Legend of Rita (performer: "If You Love Somebody Set Them Free") / (writer: "If You Love Somebody Set Them Free")  1992-1999 Stars in Their Eyes (TV Series) (writer - 2 episodes) - Episode #10.2 (1999) ... (writer: "Fields of Gold") - Episode #3.2 (1992) ... (writer: "Message in a Bottle")  1999 Zärtliche Begierde (TV Movie) (writer: "Roxanne")   Eva & Adam (TV Series) (lyrics - 1 episode, 1999) (music - 1 episode, 1999) - Klassresan (1999) ... (lyrics: "I'll Be Missing You") / (music: "I'll Be Missing You")  1999 Simply Irresistible (writer: "Every Little Thing (He) Does Is Magic")  1998 The X Files (performer: "Invisible Sun") / (writer: "Invisible Sun")  1998 The Mighty (performer: "The Mighty" (1998)) / (writer: "The Mighty" (1998))  1998 The Object of My Affection (performer: "You Were Meant for Me")   Derrick (TV Series) (performer - 4 episodes, 1985 - 1990) (writer - 2 episodes, 1985 - 1998) - Anna Lakowski (1998) ... (writer: "Every Breath You Take" - uncredited) - Der Einzelgänger (1990) ... (performer: "The ballad of Mack the knife") - Blaue Rose (1989) ... (performer: "Natural high") - Das Piräus-Abenteuer (1988) ... (performer: "San Francisco waitress") - Wer erschoß Asmy? (1985) ... (performer: "Codeword Elvis", "Koan") / (writer: "Codeword Elvis", "Koan")  1998 The Wedding Singer (writer: "Every Little Thing She Does Is Magic")  1997 The Weird Al Show (TV Series) (writer - 1 episode) - Al Gets Robbed (1997) ... (writer: "Money for Nothing/Beverly Hillbillies" - uncredited)  1997 Conspiracy Theory (writer: "Every Little Thing She Does Is Magic")  1997 Speed 2: Cruise Control (writer: "Every Breath You Take")   Freunde fürs Leben (TV Series) (performer - 4 episodes, 1992 - 1997) (writer - 1 episode, 1992) - Traumfrau (1997) ... (performer: "The Hounds Of Winter" - uncredited) - Götterdämmerung (1997) ... (performer: "It's Probably Me" - uncredited) - Todesengel (1995) ... (performer: "Shape Of My Heart" - uncredited) - Blinde Angst (1992) ... (performer: "Englishman in New York") / (writer: "Englishman in New York")  1997 MTV Video Music Awards 1997 (TV Special) (performer: "I'll Be Missing You")  1997 Night Fever (TV Series) (writer - 1 episode)  1993-1997 Tohuwabohu (TV Series) (writer - 2 episodes) - Tralala 2 bzw. 40 (1997) ... (writer: "De Do Do Do De Da Da Da" - uncredited) - Episode #1.150 (1996) ... (writer: "Steelo")  1996 Sånt är livet (lyrics: "Every Breath You Take") / (music: "Every Breath You Take")  1996 Blue Rodeo (TV Movie) (writer: "Shape of My Heart")  1996 The Truth About Cats & Dogs (performer: "The Bed's Too Big Without You") / (producer: "The Bed's Too Big Without You") / (writer: "The Bed's Too Big Without You")  1996 Ballykissangel (TV Series) (writer - 1 episode) - Fallen Angel (1996) ... (writer: "Message In A Bottle" - uncredited)   Saturday Night Live (TV Series) (performer - 3 episodes, 1987 - 1996) (writer - 2 episodes, 1987 - 1991) - Elle MacPherson/Sting (1996) ... (performer: "Let Your Soul Be Your Pilot", "You Still Touch Me" - uncredited) - Sting (1991) ... (performer: "All This Time", "Mad About You", "Purple Haze") / (writer: "All This Time", "Mad About You") - Steve Martin/Sting (1987) ... (performer: "We'll Be Together", "Little Wing") / (writer: "We'll Be Together")  1996 White Squall (performer: "VALPARISO") / (writer: "VALPARISO")  1995 Sabrina (performer: "Moonlight") / (producer: "Moonlight")  1995 Ace Ventura: When Nature Calls (performer: "Spirits in the Material World") / (writer: "Spirits in the Material World")  1995 Copycat (lyrics: "Murder by Numbers" (1983))  1995 Leaving Las Vegas (performer: "Angel Eyes", "It's A Lonesome Old Town", "My One and Only Love")  1994 The Best of Sting: Fields of Gold 1984-1994 (Video) (writer: "When We Dance", "If You Love Somebody Set Them Free", "Fields of Gold", "All This Time", "Fortress Around Your Heart", "Be Still My Beating Heart", "Bring On The Night", "They Dance Alone (Cueca Solo)", "If I Ever Lose My Faith In You", "Fragile", "Why Should I Cry For You", "Englishman In New York", "Russians", "It's Probably Me", "We'll Be Together", "Demolition Man", "This Cowboy Song" - uncredited)  1994 Léon: The Professional (performer: "Shape Of My Heart") / (writer: "Shape Of My Heart")  1994 Terminal Velocity (performer: "THIS COWBOY SONG") / (writer: "THIS COWBOY SONG")  1994 Beavis and Butt-Head (TV Series) (performer - 1 episode) - Date Bait (1994) ... (performer: "All for Love")  1993 The Three Musketeers (performer: "All For Love")  1993 Demolition Man (performer: "Demolition Man") / (writer: "Demolition Man")  1993 Three of Hearts (performer: "Shape of My Heart") / (writer: "Shape of My Heart")  1992 Ringside (Documentary) (writer: "Money For Nothing")  1992 The Panama Deception (Documentary) (performer: "Fragile") / (writer: "Fragile")  1992 Man Trouble (writer: "EVERY BREATH YOU TAKE")  1992 Lethal Weapon 3 (lyrics: "It's Probably Me") / (performer: "It's Probably Me") - El vídeo mató a la estrella de la radio (1992) ... (writer: "De Do Do Do, De Da Da Da")  1991 Regarding Henry (writer: "WALKING ON THE MOON")  1991 Desperately Seeking Roger (TV Movie documentary) (performer: "Englishman in New York") / (writer: "Englishman in New York")  1991 Riff-Raff (writer: "Spread A Little Happiness" - as Gordon Sumner)  1990 Cool It (TV Series) (writer - 1 episode) - Cool It Special (1990) ... (writer: "Money For Nothing" - uncredited)  1990 Resident Alien (Documentary) (performer: "Englishman In New York") / (writer: "Englishman In New York")  1990 Another 48 Hrs. (writer: "ROXANNE")   Rockopop (TV Series) (performer - 1 episode, 1990) (writer - 1 episode, 1990) - Episode dated 10 February 1990 (1990) ... (performer: "Fragile") / (writer: "Fragile")  1989 UHF (writer: "MONEY FOR NOTHING / BEVERLY HILLBILLIES")  1988 The Prince's Trust Rock Gala (Documentary) (writer: "Money For Nothing")  1988 Screenplay (TV Series) (writer - 1 episode) - Starlings (1988) ... (writer: "We'll Be Together" - uncredited)  1988 Freedomfest: Nelson Mandela's 70th Birthday Celebratation (TV Special documentary) (performer: "If You Love Somebody (Set Them Free)", "They Dance Alone (Cueca Solo)", "Every Breath You Take", "Message In A Bottle") / (writer: "If You Love Somebody (Set Them Free)", "They Dance Alone (Cueca Solo)", "Every Breath You Take", "Message In A Bottle")  1988 Stars and Bars (performer: "An Englishman in New York") / (writer: "An Englishman in New York")  1986-1987 Casualty (TV Series) (writer - 2 episodes) - Anaconda (1987) ... (writer: "Every Breath You Take") - Gas (1986) ... (writer: "Every Little Thing She Does is Magic")  1987 Someone to Watch Over Me (arranger: "SOMEONE TO WATCH OVER ME") / (performer: "SOMEONE TO WATCH OVER ME")  1987 Dudes (writer: "If You Love Somebody, Set Them Free") - Happiness Is a Warm Gun (1987) ... (writer: "Money For Nothing" - uncredited)  1987 Growing Pains (TV Series) (writer - 1 episode) - Thank You, Willie Nelson (1987) ... (writer: "Money for Nothing" - uncredited)  1987 Sting in Brazil (TV Movie) (performer: "Si estamos juntos", "Lazarus Heart", "We'll Be Together", "They Dance Alone", "Fragil", "Consider Me Gone", "Roxanne", "Fortress Around Your Heart", "Moon Over Bourbon Street", "Driven to Tears", "Sister Moon")  1986 Rock Estrela (writer: "Solange")   Miami Vice (TV Series) (performer - 1 episode, 1986) (writer - 1 episode, 1985) - Sons and Lovers (1986) ... (performer: "Long Long Way To Go" - uncredited) - The Maze (1985) ... (writer: "Tea In The Sahara" - uncredited)  1985 Electric Blue 22 (Video) (writer: "De Do Do Do, De Da Da Da" - uncredited)  1985 Bergerac (TV Series) (writer - 1 episode) - Sins of the Fathers (1985) ... (writer: "Money for Nothing" - uncredited)  1985 Live Aid (TV Special documentary) (performer: "Message in a Bottle", "Driven to Tears", "In the Air Tonight", "Long, Long Way to Go", "Money for Nothing") / (writer: "Message in a Bottle", "Driven to Tears", "Money for Nothing")  1985 Cat's Eye (writer: "Every Breath You Take")  1984 Bachelor Party (writer: "Rehumanize Yourself")   Spitting Image (TV Series) (performer - 1 episode, 1984) (writer - 1 episode, 1984) - Episode #1.12 (1984) ... (performer: "Every Breath You Take" - uncredited) / (writer: "Every Breath You Take" - uncredited)  1983 Party Party (performer: "Tutti Frutti", "Need Your Love So Bad")  1983 Knight Rider (TV Series) (writer - 1 episode) - Return to Cadiz (1983) ... (writer: "Every Breath You Take")  1983 Risky Business (writer: "Every Breath You Take")  1982 St. Elsewhere (TV Series) (writer - 1 episode) - Pilot (1982) ... (writer: "De Do Do Do, De Da Da Da")  1982 Brimstone & Treacle (performer: "Only You" (uncredited), "Spread a Little Happiness", "Brimstone 2", "Brimstone & Treacle", "Narration", "You know i had the strangest dream") / (writer: "Only You" (uncredited), "I Burn For You" (uncredited), "Brimstone 2", "Brimstone & Treacle", "You know i had the strangest dream")  1982 Remembrance (writer: "Roxanne")  1982 The Last American Virgin (writer: "De Do Do Do, De Da Da Da")  1982 The Secret Policeman's Other Ball (Documentary) (performer: "Roxanne", "Message in a Bottle") / (writer: "Roxanne", "Message in a Bottle")  1981-1982 WKRP in Cincinnati (TV Series) (writer - 2 episodes) - Pills (1982) ... (writer: "Spirits in the Material World")

Sting

What was Stanley Kubrick's final movie?

8 political pop stars - pop and politics UK What is POLITICS? Home » FEATURES » 8 Political Pop Stars 8 Political Pop Stars How do European elections work in Northern Ireland? Over the years pop stars haven’t been shy when it comes to giving their opinions on political matters.   Here’s a list of some political pop stars and a run down of where their allegiances lie. Lily Allen A photo posted by Lily Allen (@lilyallen) on Dec 12, 2013 at 1:22pm PST Lily Allen launched a stinging attack on the coalition Government with her online demo track I Was Born In The 80s. The song asks David Cameron: “You’re supposed to be our protector – what about the whole public sector?” Lily is a passionate supporter of the Labour Party. She backed Ed Miliband in his successful party leadership bid and posted a ‘liliband’ selfie of herself with the Labour leader on Instagram.   View image | gettyimages.com Take That star Gary Barlow appeared alongside David Cameron ahead of the 2010 general election to promote an X Factor style talent contest initiative for schools. When asked by reporters if he’d be voting Conservative he confirmed he would, adding: “There’s no one more with it than David.”   View image | gettyimages.com Labour Party voter Paloma Faith says she “can’t begin to acknowledge anything good that comes from a Tory”. And, in an interview with the Mirror, she also took aim at fellow pop stars who charge their fans big money for concert tickets. “Because I’m a socialist , I think it’s disgusting when Madonna and co set ticket prices at £300. I don’t believe in elitism,” she said.   View image | gettyimages.com Radiohead’s Thom Yorke played a benefit gig in aid of the Green Party in 2010 to raise money for environmental campaigner Tony Juniper’s ultimately unsuccessful bid to become an MP . He said: “Wouldn’t it be nice to have someone there ( Parliament ) who is actually doing more than paying lip service to climate change?”   View image | gettyimages.com X Factor judge Cheryl Fernandez-Versini is a staunch Labour supporter. In an interview with Q magazine she described Prime Minister David Cameron as “slippery” and said: “We’ve always been Labour in our family, it just feels wrong not to be.”   View image | gettyimages.com You’d have been hard pressed to find a Tory in Glasgow in the 1980s, but that’s exactly what Scottish singer Lulu was. A keen admirer of Margaret Thatcher, she said of the Iron Lady: “I liked her strength. I thought she was a very strong leader, like a strong headmistress in a school.”   View image | gettyimages.com Brothers Craig and Charlie Reid, perhaps better known as The Proclaimers, passionately believe in left-wing politics. The pair are strongly in favour of an independent Scotland and donated £10,000 to the Yes campaign in the run up to the Scottish independence referendum .   View image | gettyimages.com Blur drummer Dave Rowntree stood as the Labour Party candidate in the Cities of London and Westminster constituency in the 2010 general election. He failed in his bid to defeat Tory MP Mark Field in what is a safe seat for the Coservatives. Related content:

i don't know

Who tries to save the world from virtual reality in The Matrix?

The Matrix (1999) - FAQ The content of this page was created directly by users and has not been screened or verified by IMDb staff. Visit our FAQ Help to learn more FAQ How much sex, violence, and profanity are in this movie? For detailed information about the amounts and types of (a) sex and nudity, (b) violence and gore, (c) profanity, (d) alcohol, drugs, and smoking, and (e) frightening and intense scenes in this movie, consult the IMDb Parents Guide for this movie. The Parents Guide for The Matrix can be found here . What is "The Matrix" about? The story is set at an indeterminate point in the future, estimated by one character to be the 22nd century, in which human bodies are used for heat and electrical energy while their minds are held in a computer-generated, virtual reality simulation called the Matrix. Humans are essentially slaves in this world. People in the Matrix are subject to the lifelong, full-sensory illusion that they inhabit modern times at the turn of the century. Computer programmer/hacker Thomas "Neo" Anderson ( Keanu Reeves ), who may be "The One," joins a Resistance led by Morpheus ( Laurence Fishburne ) and several other freed humans, including Trinity ( Carrie-Anne Moss ), Apoc ( Julian Arahanga ), Tank ( Marcus Chong ) and his brother Dozer ( Anthony Ray Parker ), Switch ( Belinda McClory ), Cypher ( Joe Pantoliano ), and Mouse ( Matt Doran ). They endeavor to expose the truth, overthrow the Matrix, and defeat the vengeful and warlike Machines behind it. What is "the One"? "The One" is the man prophesied to release the humans from their bondage to the Matrix through his ability to manipulate the Matrix. It was prophesied by the Oracle that his coming would hail the destruction of the Matrix and bring freedom to the human race. Morpheus is convinced that Neo is that man, although others, Neo included, are not so sure. As explained by the Architect in the second movie, ]the "one" is a program anomaly that the Matrix could not account for; an anomaly that occurs because humans have to be given a choice (if the only an illusion of such) in order to accept the virtual world the machines have created for them. Doing so creates the anomaly that is 'The One'. According to the Architect, there were 5 predecessors to the current "One". Once Neo reaches the Architect, he is told of the choice of the One: to choose a certain number of humans to repopulate Zion and start all over again, or to choose to let Zion fall and cause the mutual destruction of both, the machines and the humans. The One is basically a real world reset switch. There are those in the Matrix that will never fully accept the machines' reality, and they will find ways to leave the Matrix for the human city of Zion. Once the free human population of Zion grows too large, it poses a threat to the machines; therefore the "One" is reintroduced to the Matrix to restart the cycle. Once the One meets the Architect, he is given a choice: to return to the source in order to save humanity and rebuild Zion (thus starting a new cycle and bringing balance as prophesied), or to choose to stay in the Matrix, thereby assuring the destruction of both species. Each of the 5 predecessors to the current Neo chose to save humanity. How does Morpheus know everything about Neo's office during the phone call? Morpheus is watching the green raining code screens on the Nebuchadnezzar. The code is the visual representation of the Matrix. He's able to decode what he sees on the screen, giving him a full view of Neo's office building, locations of Agents, the existence of the window washer platform, etc. Think of it like unlimited security camera footage. What is that road that Neo has been down before? A metaphor. This was not referring to any specific physical place, but rather to the act of Neo getting out of the car and not getting the answers he sought. In the past, he probably used to run away from the truth; this is the 'road' that he has been down before, and they know that he does not want to go that way again. What's with the red and blue pill thing? Morpheus offers Neo the choice of either a blue pill, which will render him unconscious and give him the impression that all of the recent events were simply a dream, or a red pill. The red pill, as Morpheus states, is a gesture in the real world of Neo's mind's desire to be freed and is part of a tracing program that will help Morpheus and crew locate Neo quickly after he awakes. How did Cypher get into the Matrix to meet with Agent Smith? The Art of the Matrix's script notes on an extended version of this scene confirm the fan theory that Cypher rigged the system to connect him to the Matrix automatically while the others were busy elsewhere.This is why he jumps so much when Neo surprises him. Cypher casually but quickly turns off several screens, including three that have real time imagery instead of the Matrix code. This is likely so the inquisitive Neo wouldn't ask him about it. Why did the Oracle tell Neo that he wasn't the One? The Oracle ( Gloria Foster ) never explicitly tells Neo that he is not The One. She expresses sorrow that he seems to be "waiting for something." He can't be told he is "The One", he has to believe it, much like what Morpheus had been alluding to during the training sequence. What does "There is no spoon" mean? The spoon exists only in the Matrix, which really means it doesn't exist. It's a lesson for Neo, to help him realize that manipulating the Matrix isn't about focusing on an object and trying to change it. The object doesn't exist, so he can't change it, he has to change himself. Metaphorically, it's all in his head. What is Zion? Zion is where free humans live. Far below the destroyed surface of the earth, the citizens of Zion are both former inhabitants of the Matrix who've been freed, and also 100% home-grown humans that have never been slaves to the Matrix. What is the wall of TV screens seen when Neo gets arrested? At first it looks just like a screen wall that you would expect in a police station's guard room, to monitor several areas at the same time, but that does not explain why Neo is displayed on every screen. Actually, the sequel The Matrix Reloaded later revealed this wall to be located in The Source, which is actually the origin of the signal that constitutes the entire Matrix. In the Source the Architect resides. The Architect is the machine program that created the Matrix. The Architect apparently keeps a close watch on Neo, and the reason for this is that Neo is a complex and intricate part in the Machines' ploy to keep the humans subdued. How come Apoc and Switch died when Cypher unplugged them? "The body cannot live without the mind." Somehow, the mind/consciousness leaves when they get plugged in, and one needs a proper 'hard-line' (data path) to get back in properly. It's likely that it forms some sort of data corruption between the user's mind and the Matrix. Think of when you want to transfer a file from your computer to a portable hard drive; if you're half way through the transfer and you sever the connection between your PC and the hard drive, the file will be damaged and useless. Why does Agent Smith remove his earphone when talking to Morpheus? He doesn't want the other Agents to know what he's saying to Morpheus. The Agents seem to operate collectively, finishing each others' sentences at times and certainly knowing what each is thinking. Smith's actions may largely be symbolic to show that he's able to turn this collective consciousness off and, in this case, has a reason to. His discussion with Morpheus implies that he is much more "human" than his colleagues/ He shows frustration, exhaustion, impatience, and hatred of the Matrix itself and his place in it. How does the movie end? Pursued in the Matrix by the three Agents, Neo races for the exit at the Heart O' the City Hotel, room 303. The moment he gets inside, however, Agent Smith empties his gun into his chest. Neo slumps to the floor as, back in the Nebuchadnezzar, Trinity, Tank, and Morpheus watch incredulously as Neo's body flatlines. As the Sentinels continue to break through the hull of the ship, Trinity whispers into Neo's ear that the Oracle told her that she would fall in love with the One, so Neo must be the One because 'I love you,' she says and kisses him. Neo suddenly begins to breathe. At the same time, he awakens in the Matrix now knowing that he is, indeed, the One. When the Agents empty their guns at him, he stops the bullets in mid-air. When Agent Smith tries to attack him, Neo easily bests him and takes over his body, killing him. The other two agents run away, and Neo transports back to the ship just as Morpheus orders the electromagnetic pulser (EMP) to be engaged, destroying the attacking Sentinels. In the final scene, as the blank screen fills with system prompts and a grid of numbers, a voiceover by Neo says, 'I know you're out there. I can feel you now. I know that you're afraid... you're afraid of us. You're afraid of change. I don't know the future. I didn't come here to tell you how this is going to end. I came here to tell you how it's going to begin. I'm going to hang up this phone, and then I'm going to show these people what you don't want them to see. I'm going to show them a world without you. A world without rules and controls, without borders or boundaries. A world where anything is possible. Where we go from there is a choice I leave to you.' In the Matrix world, Neo hangs up the phone. He looks at the masses around him, puts on his glasses, looks up, and takes flight. How does Trinity's kiss revive Neo? The brain does not die immediately when heart and respiration stops. Neo was almost the One, he'd not been affected by the first bullet, until he saw his blood. So, his mind was almost to the point of disbelieving the illusion of the matrix -- that he should be injured by bullets. He could feel Trinity's kiss or hear her words, somehow, which reminded him that the matrix was not real. Why does Neo see the 3 agents as green code after he comes back to life? Now that he truly believes he is the One, Neo is beginning to use some of his power over the Matrix. He can now see the Matrix for what it is, and this will lead to additional abilities to manipulate it as he sees it. Who is Neo talking to on the phone at the end of the movie? Neo is talking (possibly metaphorically) to the machine mainframe. He's talking to the Source, to the power behind the machines, to whatever sends the Agents after him. And he's telling it/them that he's done running, that he can defeat them and because of that the best for both sides is that the machines simply stop attacking humanity. How do people have babies in the Matrix? Morpheus explains to Neo that babies are not born in the Matrix; they are grown. This suggests that the usual human birth cycle (in utero fertilization and growth followed by birth at term) is not being followed. The most likely methods are by cloning or by harvesting a female's eggs and artificially inseminating them, then placing the embryos in incubation, some of which may be allowed to develop and others of which, as Morpheus also explains, are liquefied as food. As for how do people procreate while connected to the Matrix; it's possible they don't. We never see any pregnant women inside the Matrix, so it's impossible to say for sure. Another possibility is that when the machines grow a new human infant, they pre-program a couple inside the matrix to conceive a child. Why don't the Machines use animals besides humans for energy? They need the access to the human mind....it fuels the story line, unlike if this was an animal induced world it would be pretty far behind technologically. Other: ..Based on all available information about the setting of the Matrix movies, the easiest explanation to accept would be that too few animals are left alive after the war between humans and the Machines. However, in 'Matriculated', an episode of The Animatrix (2003), a monkey named Baby was depicted with functional implants for jacking into simulations, evidence that the Machines could indeed insert some animals into the Matrix. Scientifically, the whole premise that Machines need to harvest human body heat to survive is dubious at best. For one thing, there's no adequate explanation of how the humans are kept alive. (Feeding them the liquid corpses wouldn't be enough.) Furthermore, other forms of fusion would probably prove more efficient. At the Machines' level of technology, solar power could still be an option, despite the sun being blocked off. Fans have proposed some alternate explanations for why people are kept alive in the Matrix. One intriguing idea is that the Machines cannot artificially replicate certain qualities of biological sentience and are secretly using human brains as CPUs. Otherwise, it is conceivable that the human race is being preserved for conservationist, ethical, sadistic, or sentimental reasons. Were the actors martial artists? The actors that were hired had some kind of physical background; Carrie Anne-Moss was a dancer and Keanu Reeves used to play ice hockey. The actors underwent a hard training regimen for several months prior to filming. If the Agents still had control over Neo in the beginning, why didn't one of the Agents just take over Neo's body and effectively kill him? It isn't made clear what the rules are for the Agents to take over a person's body, but as shown in the movie, they wanted to use Neo in order to locate Morpheus and kill him and the rest of his group. Originally the agents tried to get Neo to simply agree to help them in order to have his criminal record expunged. When this fails they grab hold of Neo and put a tracking device into his stomach (also possible, given that it had some sort of bio-mechanical function that it could have taken over Neo's body causing him to fall under the control of the machines). To explain why the agents wouldn't take over Neo while Neo was with Morpheus is likely because they likely need to be within a certain radius from Neo. As the tracking device was removed from Neo, the agents didn't know where Neo was and could not take over his body. Also, after the Agents release Neo, Morpheus calls him and says "They have seriously underestimated how important you are. If they knew what I know; you'd probably be dead.". So simple naivety or arrogance on part of the machines is likely why they didn't kill him. Why didn't "The Matrix" win any major Oscars? Usually, science fiction films rarely even get nominated for the "majors" (Best Actor, Best Actress, Best Screenplay, Best Director, Best Picture), and none have ever won. However, The Matrix did win four Academy Awards in the "technical categories" - Sound Effects, Visual Effects, Sound and Editing. Keep in mind as well that 1999 was an unusually strong year for film. Those twelve months saw the release of Eyes Wide Shut , Payback , Todo sobre mi madre , Bringing Out the Dead , The Talented Mr. Ripley , American Beauty (the Best Picture winner that year), Man on the Moon , Being John Malkovich , Topsy-Turvy , Boys Don't Cry , Magnolia , The Straight Story , Election , Toy Story 2 , The Insider , Lola rennt , Three Kings , The Sixth Sense , and Fight Club . All of those titles either upon release or over the years were celebrated as outstanding films by audiences and critics alike. An argument could be made for any of them to have deserved "major" Academy Awards. Any recommendations for other films like "The Matrix"? One movie often compared to The Matrix is Inception (2010). Movies about memories or altered reality (whether distorted or artificial) include Total Recall (1990) (or its remake Total Recall (2012)), Twelve Monkeys (1995), The Truman Show (1998), Mr. Nobody (2009), A Beautiful Mind (2001), Dark City (1998), Eternal Sunshine of the Spotless Mind (2004) and Abre los ojos (1997) (or Vanilla Sky (2001), which is a remake of the previous one). For movies that deal with population control, check out Dark City (1998), Gattaca (1997), Equilibrium (2002) and The Island (2005). Movies about double lives in cyberspace include eXistenZ (1999) and The Thirteenth Floor (1999). Like The Matrix, the actors in Charlie's Angels (2000) also studied martial arts solely for the film and did their own fight scenes. If cyberpunk is of interest, check out Johnny Mnemonic (1995).

Keanu Reeves

Which decade does Michael J Fox go back to in Back to the Future?

The Matrix (1999) - Synopsis Synopsis The screen is filled with green, cascading code which gives way to the title, The Matrix . A phone rings and text appears on the screen: "Call trans opt: received. 2-19-98 13:24:18 REC: Log>" As a conversation takes place between Trinity ( Carrie-Anne Moss ) and Cypher ( Joe Pantoliano ), two free humans, a table of random green numbers are being scanned and individual numbers selected, creating a series of digits not unlike an ordinary phone number, as if a code is being deciphered or a call is being traced. Trinity discusses some unknown person. Cypher taunts Trinity, suggesting she enjoys watching him. Trinity counters that "Morpheus ( Laurence Fishburne ) says he may be 'the One'," just as the sound of a number being selected alerts Trinity that someone may be tracing their call. She ends the call. Armed policemen move down a darkened, decrepit hallway in the Heart O' the City Hotel, their flashlight beam bouncing just ahead of them. They come to room 303, kick down the door and find a woman dressed in black, facing away from them. It's Trinity. She brings her hands up from the laptop she's working on at their command. Outside the hotel a car drives up and three agents appear in neatly pressed black suits. They are Agent Smith ( Hugo Weaving ), Agent Brown ( Paul Goddard ), and Agent Jones ( Robert Taylor ). Agent Smith and the presiding police lieutenant argue. Agent Smith admonishes the policeman that they were given specific orders to contact the agents first, for their protection. The lieutenant dismisses this and says that they can handle "one little girl" and that he has two units that are bringing her down at that very moment. Agent Smith replies: "No, Lieutenant. Your men are already dead." Inside, Trinity easily defeats the six policemen sent to apprehend her, using fighting and evasion techniques that seem to defy gravity. She calls Morpheus, letting him know that the line has been traced, though she doesn't know how. Morpheus informs her that she will have to "make it to another exit," and that Agents are heading up after her. A fierce rooftop chase ensues with Trinity and an Agent leaping from one building to the next, astonishing the policemen left behind. Trinity makes a daring leap across an alley and through a small window. She has momentarily lost her pursuers and makes it to a public phone booth on the street level. The phone begins to ring. As she approaches it a garbage truck, driven by Agent Smith, careens towards the phone booth. Trinity makes a desperate dash to the phone, picking it up just moments before the truck smashes the booth into a brick wall. The three Agents reunite at the front of the truck. There is no body in the wreckage. "She got out," one says. The other says, "The informant is real." "We have the name of their next target," says the other, "His name is Neo." Neo ( Keanu Reeves ), a hacker with thick black hair and a sallow appearance, is asleep at his monitor. Notices about a manhunt for a man named Morpheus scroll across his screen as he sleeps. Suddenly Neo's screen goes blank and a series of text messages appear: "Wake up, Neo." "The Matrix has you." "Follow the White Rabbit." Then, the text says "Knock, knock, Neo..." just as he reads it, a knock comes at the door of his apartment, 101. It's a group of ravers and Neo gives them a contraband disc he has secreted in a copy of Simulacra and Simulation. The lead raver asks him to join them and Neo demurs until he sees the tattoo of a small white rabbit on the shoulder of a seductive girl in the group. At a rave bar Neo stands alone and aloof as the group he's with continue partying. Trinity approaches him and introduces herself. Neo recognizes her name; she was a famous hacker and had cracked the IRS database. She tells him that he is in great danger, that they are watching him and that she knows that he is searching for answers, particularly to the most important question of all: what is the Matrix? The pulsing music of the bar gives way to the repetitious blare of Neo's alarm clock; it's 9:18 and he's late for work. At his job at Metacortex, a leading software company housed in an ominous high rise, Neo is berated by his boss for having a problem with authority, for thinking he's special. Neo listens to his boss, but his attention is on the persons cleaning the window of the office. Back at his bleak cubicle Neo receives a delivery as "Thomas Anderson." Upon opening the package he finds a cellphone which immediately rings. On the other end is Morpheus, who informs Neo that they've both run out of time and that "they" are coming for him. Morpheus tells him to slowly look up, toward the elevator. Agents Smith, Jones, and Brown are there, obviously looking for him, as a woman points towards Neo's cube. Morpheus tries to guide Neo out of the building but when he is instructed to get on a scaffolding and take it to the roof Neo rejects Morpheus's advice, allowing himself to be taken by the Agents. In an interrogation room the Agents confront Neo. They've had their eye on him for some time. He lives a dual existence: one life as Thomas A. Anderson, a software engineer for a Metacortex, the other life as Neo, a computer hacker "guilty of virtually every computer crime we have a law for." Agent Smith asks him to help them capture Morpheus, a dangerous terrorist, in exchange for amnesty. Neo gives them the finger and asks for his phone call. Mr. Smith asks what good is a phone call if he's unable to speak. Neo finds that his lips have fused together. Panicked, he is thrown on the interrogation table by the Agents and they implant a shrimp-like probe, a bug, in his stomach, entering through his belly-button. Neo awakens with a start in his own bed, assuming it has all been a bad dream. His phone rings and Morpheus is on the other line. He tells Neo that the line is tapped but they've underestimated his importance. Morpheus tells Neo he is the One and to meet him at the Adams St. bridge. There he is picked up by Trinity and two others in a car; they all wear black latex and leather. A woman in the front seat, Switch ( Belinda McClory ), pulls a gun on him and tells him to take off his shirt. Trinity tells him it's for their mutual protection and that he has to trust her. He takes off his shirt and she uses a device to remove the probe that Neo believed had been part of a nightmare. Trinity drops the bug out into the road where it slowly goes dark in the rain. Trinity takes Neo to Morpheus. Morpheus explains that he's been searching for Neo his entire life and asks if Neo feels like "Alice in Wonderland, falling down the rabbit hole." He explains to Neo that they exist in the Matrix, a false reality that has been constructed for humans to hide the truth. The truth is that everyone in the world is a slave, born into bondage. Morpheus holds out two pills. In his left palm is a blue pill. If Neo takes it he will wake up in his bed and "believe whatever you want to believe." But if he takes the red pill in Morpheus's right hand, then "you stay in Wonderland and I show you how deep the rabbit hole goes." Neo takes the red pill. As the rest of Morpheus's crew straps him into a chair, Neo is told that pill he took is part of a trace program, to "disrupt his input/output carrier signal" so that they can pinpoint him. Neo looks at a shattered mirror placed next to him which miraculously reforms itself. Neo touches the surface and the silver begins to creep over his skin, engulfing him as Morpheus's crew attempt to locate something on the monitors around them. The silver takes Neo over and he blacks out. He awakens inside a pinkish/purple embryonic pod, extending from the side of a circular building, a massive power plant. He is hairless and naked, with thick black tubes snaking down his throat, plugged into the back of his skull, his spine, and invading most of the rest of his body. He finds his pod is open and that he is surrounded by tower after tower of pods just like his, all filled with bodies. Suddenly a menacing, hovering nurse robot grabs him by the throat. The tubes detach and Neo is flushed down a tube into an underground pool of filthy water. Just as he's about to drown in the muck a hovercraft appears above him, snags him and hauls him into its cargo bay. Neo finds himself surrounded by Morpheus's crew again, but they are dressed differently, in simple knit garments. Just before Neo passes out Morpheus says to him, "Welcome to the real world." Neo drifts in and out of consciousness. At one point he asks, "Am I dead?" "Far from it," replies Morpheus. Again he wakes, his body a pincushion of acupuncture. "Why do my eyes hurt?" he asks. "You've never used them," Morpheus replies. Neo finally wakes, fully clothed, with a short shock of hair on his head. He removes a connector that is sunk deep into his arm and reaches to find the large socket at the back of his neck when Morpheus enters the room. "What is this place?" Neo asks. "The more important question is when," says Morpheus, "You believe it is the year 1999, when in fact it is closer to the year 2199." Morpheus goes on to say that they really don't know when it is. He gives Neo a tour of his ship, the Nebuchadnezzar (they pass a plaque stating it was built in 2069). Neo is introduced to Morpheus's crew including Trinity; Apoc ( Julian Arahanga ), a man with long, flowing black hair; Switch; Cypher (bald with a goatee); two brawny brothers, Tank ( Marcus Chong ) and Dozer ( Anthony Ray Parker ); and a young, thin man named Mouse ( Matt Doran ). Morpheus gets to the point. "You wanted to know about the Matrix," he says, ushering him to a chair. Neo sits down in it and Trinity straps him in. A long probe is inserted into the socket at the back of Neo's skull. Neo wakes in a world of all white. He is in the Construct, a "loading platform" that Morpheus and his team use to prepare newly freed humans to deal with the Matrix world. Gone are the sockets in Neo's arms and neck. He has hair again. Morpheus tells him that what he is experiencing of himself is the "residual self image, the mental projection of your digital self" and bids him to sit while he explains the truth. "This," he says, showing an image of a modern city, "is the world that you know." A thing that really exists "only as part of a neural, interactive simulation that we call the Matrix." Morpheus then shows Neo the world as it truly exists today, a scarred, desolate emptiness with charred, abandoned buildings, black earth, and a shrouded sky. Morpheus goes on to say that "at some point in the early 21st century all of mankind was united in celebration as we gave birth" to artificial intelligence, a "singular consciousness that birthed an entire race of machines." Someone started a war, and no one knows who, but it was known that it was mankind who blotted out the sky, attempting to deprive the machines of the solar power they required to function. Instead the machines turned to humans as a power source; Mopheus explains that a human's body provides "more electricity than a 120 volt battery and over 25k BTUs in body heat." Morpheus shows Neo fields where machines grow human beings, connecting them to their outlets, ensconcing them in their pods, and feeding them with the liquefied remains of other human beings. "The Matrix," says Morpheus, "is a computer-generated dreamworld created to keep us under control, to turn us..." into a mere power source, into coppertop batteries. Neo rejects this information so feverishly that he pulls himself out of the Construct. He is back in the chair on the hovercraft. He fights to free himself from this harsh reality, only to end up vomiting on the floor and passing out. When Neo wakes up in his bunk, Morpheus is beside him. "I can't go back, can I?" Neo asks. "No," says Morpheus. He apologizes to Neo for breaking a cardinal rule: after a certain age people aren't brought out of their simulacrum, but Morpheus explains he had to bring Neo out. When the Matrix was created there was a man born inside it who could create his own reality inside it. It was this man who set Morpheus and the others free. When he died, the Oracle ( Gloria Foster ) prophesied that he would return in another form. And that the return of the One would mean the destruction of the Matrix. As long as the Matrix exists, humanity will continue to live in complacency inside it and the world can never be free. "I did what I did because I believe that search is over," says Morpheus. The next day Neo starts his training. Tank is his operator. Tank and his brother Dozer are "100% pure old-fashioned, homegrown human. Born in the real world; a genuine child of Zion." Zion, Tank explains, is the last human city, buried deep in the earth, near the core, for warmth. Tank straps Neo back into the jack-in chair, by-passes some preliminary programs and loads him up with combat training, starting with Jiu Jitsu. When Tank hits "load" Neo is shocked by the force of the knowledge pouring into him. "I think he likes it," says Tank, "want some more?" "Hell yes," replies Neo. Neo is fed a series of martial arts techniques including Kempo, Tae Kwon Do, Drunken Boxing and Kung Fu. Morpheus and Tank are amazed at Neo's ability to ingest information, but Morpheus wants to test Neo. Morpheus and Neo stand in a sparring program. The program has rules, like gravity. But as in many computer programs, some rules can be bent while others can be broken. Morpheus bids Neo to hit him, if he can. They fight with Neo impressively attacking but Morpheus easily parrying and subduing him. The rest of the crew gathers around the monitors to watch the fight. Morpheus ends up kicking Neo into a beam, explaining to him that the reason he has beaten him has nothing to do with muscles or reality. They spar again. "What are you waiting for?" Morpheus asks him. "You're faster than this!" Neo finally brings a punch near his teacher's face. They can move on. A jump program is loaded. Both men now stand on one of several tall buildings in a normal city skyline. Morpheus tells Neo he must free his mind and leaps from one building to the next. Neo nervously tries to follow him and doesn't make the jump, falling to the pavement below. Neo wakes back in the Nebudchanezzar with blood in his mouth. "I thought it wasn't real," he says. "Your mind makes it real," replies Morpheus. "So, if you die in the Matrix, you die here?" "The body cannot live without the mind," says Morpheus, underlining the very real danger faced in the simulation. Later, Trinity brings Neo dinner. Outside his room, Cypher remarks that Trinity never brought him dinner. He asks Trinity why, if Morpheus thinks Neo is the One, he hasn't taken him to see the Oracle yet. Trinity says he'll take him when he's ready. Morpheus and Neo are walking down a standard city street in what appears to be the Matrix. Morpheus explains that the Matrix is a system and that the system is their enemy. All the people that inhabit it, the people they are trying to free, are part of that system. Some are so inert, so dependent upon the Matrix that they can never be free. Neo notices a stunning girl in a red dress. "Are you listening to me?" asks Morpheus. He asks Neo to look at the girl again. Neo turns to face Agent Smith, pointing a gun straight at his head. Morpheus stops the simulation, which has just been created to look like the Matrix. Neo asks what the Agents are. "Sentient programs," says Morpheus, that "can move in and out of any software hard-wired into their system, meaning that they can take over anyone in the Matrix program. "Inside the Matrix," Morpheus says, "They are everyone and they are no one." Thus Morpheus and his crew survive the Agents by running from them and hiding from the Agents even though they "are guarding all the doors. They are holding all the keys and sooner or later, someone is going to have to fight them." But no one who has ever stood up to an Agent has survived; all have died. Still, Morpheus is certain that because the Agents live in a world of rules that they can never be as strong, never be as fast as he can be. "What are you trying to tell me," asks Neo, "That I can dodge bullets?" "When you're ready," Morpheus says, "You won't have to." Just then Morpheus gets a phone call. "We've got trouble," Cypher says on the other line. The Nebuchadnezzar is on alert. They see the holographic image of a squiddy, a search and destroy sentinel, which is on their trail. They set the ship down in a huge sewer system and turn off the power. Tank stands at the ready switch of an EMP, electro-magnetic pulse, the only weapon man has against the machines in the real world. Two squiddies search for the ship -- the crew can see them -- but they move on. Neo startles Cypher, who is working at a computer console streaming with green code. Cypher offers Neo a drink and says that he knows what Neo is thinking, "Why, oh why didn't I take the blue pill?" Neo laughs but is unsettled. Cypher asks Neo if Morpheus has told him why he's here. Neo nods. "What a mind job," says Cypher, "so you're here to save the world." Cypher is now in a fancy restaurant with Agent Smith in the Matrix. Agent Smith asks if they have a deal. Cypher cuts up a juicy steak and ruminates that he knows the steak is merely the simulation telling his brain that it is delicious and juicy, but after nine years he has discovered that "ignorance is bliss." He strikes a deal for the machines to reinsert his body into a power plant, reinsert him into the Matrix, and he'll help the Agents. He wants to be rich and powerful, "an actor" maybe. Smith says he wants access codes to the mainframe in Zion. Cypher says he can't do that, but that he can get him the man who does, meaning Morpheus. Meanwhile, inside the Nebuchadnezzar's small dining room in the real world, the rest of the crew is trying to choke down the oatmeal-gruel that they have as sustenance. Mouse muses on the mistakes the machines may have made trying to get sensations right, like the taste of chicken. Since they didn't know what it tasted like they let everything taste like it. Morpheus interrupts the meal, announcing that he's taking Neo to see the Oracle. Morpheus, Trinity, Neo, Apoc, Switch, Mouse and Cypher are jacked into the Matrix. As they walk out of a warehouse Cypher secretly throws his cell phone into the garbage. On the car ride to the Oracle, Neo asks Trinity if she has seen the Oracle. Trinity says that she has but when she's asked just what she was told by the Oracle, she refuses to answer. The Oracle, Morpheus explains, has been with them since the beginning of the Resistance. She is the one who made the Prophecy of the One and that Morpheus would be the one to find him. She can help Neo find the path, he says. He enters the apartment of the Oracle. Inside are the other potentials: a mother figure and numerous children. One child levitates blocks, one reads Asian literature, another is playing chess. One bald child is bending spoons. He gives one spoon to Neo and says, "Do not try and bend the spoon, that's impossible. Instead, only try to realize the truth...that there is no spoon." Neo bends the spoon as he's called in to see the Oracle. The Oracle is baking cookies. She sizes Neo up and asks him whether he thinks he is the One. Neo admits that he does not know and the Oracle does not enlighten him. Neo smiles and the Oracle asks him what is funny. Neo admits that Morpheus had almost convinced him that he was the One. She accepts this and prophesies that Morpheus believes in Neo so much that he plans to sacrifice himself. She tells Neo that either he or Morpheus will die, and that Neo will have the power to choose which one it will be. She then offers him a cookie and promises him that he will feel fine as soon as he's done eating it. As the crew returns to their jack point, many floors up in an old hotel, Tank, in the control room, notices something odd. Meanwhile Neo, walking up the stairs, sees what appears to be the same cat cross a room twice. "Deja vu," he says, which gets the attention of Trinity and Morpheus. Deja vu, they explain to him, is a glitch in the Matrix; it happens when they reset the computer parameters. Outside, the phone line is cut. Mouse runs to a window which has now been bricked in. They are trapped. Mouse picks up two machine guns but he's no match for the police coming into the room. He's riddled with bullets. Back on the Nebuchadnezzar, the real Mouse spurts blood from his mouth and dies in the chair. More police and Agents stream into the bottom of the hotel. Morpheus has Tank find a layout of the building they're in, locating the main wet wall. The Agents arrive on the floor they're on, finding a coat that Cypher has left behind. They only find a hole in the bathroom wall. Meanwhile the crew is climbing down the plumbing of the wet wall. As the police approach Cypher sneezes, once more giving them away. The police open fire. The crew, including Neo, begin to fire back. An Agent takes over the body of one of the policemen, reaches into the wall, and grabs Neo by the neck. Morpheus, who is above Neo in the walls, breaks through the wall and lands on the agent, yelling to Trinity to get Neo out of the building. A fierce battle between Agent Smith and Morpheus ends with Morpheus face down on the tile. Agent Smith sends the police unit in to beat him with their batons. Cypher returns to the Nebuchadnezzar before Trinity, Neo, Switch and Apoc. As Tank attempts to bring the others back, Cypher attacks him from behind with an electronic weapon. Dozer attempts to tackle Cypher, but Cypher electrocutes him as well. Trinity attempts to call Tank but Cypher pulls the headset off of the smoking remains of Tank and answers. As Cypher talks to Trinity inside the Matrix he leans over the still form of Trinity in the hovercraft. Cypher recounts the things he hates about the real world, the war, the cold, the goop they have to eat, but most especially Morpheus and his beliefs. "He lied to us, Trinity." Cypher pulls the plug out of the back of Apoc's head, and Apoc falls down dead in the Matrix. Cypher then moves to Switch and as she protests "Not like this..." in the Matrix, Cypher kills her on the ship. She falls down dead before Trinity and Neo. Cypher moves on to Neo's supine form, saying that if Neo is the One, a miracle will prevent Cypher from killing him: "How can he be the One, if he's dead?" he asks. He continues badgering Trinity, asking her if she believes that Neo is the One. She says, "Yes." Cypher screams back "No!" but his reaction is incredulity at seeing Tank still alive, brandishing the weapon that Cypher had used on him. Tank fries Cypher with the electrical device. Tank brings Trinity back and she finds out that Dozer is dead. Meanwhile Agent Smith, a tray of torture instruments near him, marvels at the beauty of the Matrix as he gazes out at the city all around them. He informs Morpheus, who is tied to a chair, that the first Matrix was designed as a utopia, engineered to make everyone happy. "It was a disaster," says Agent Smith, people wouldn't accept the program and "entire crops were lost." "Some believed," continues Smith, "that we lacked the programming language to describe your perfect world. But I believe that, as a species, human beings define their reality through misery and suffering. The perfect world was a dream that your primitive cerebrum kept trying to wake up from. Which is why the Matrix was redesigned." Agent Smith compares humans to dinosaurs and that evolution is taking hold. Another Agent enters and relays that there may be a problem (as they now know that Cypher has failed). Back on the hovercraft the shuddering form of Morpheus betrays the torture he's being put through by the Agents in the Matrix. Tank realizes that they're trying to get the codes to the mainframes of Zion's computers; each ship's captain knows them. Because a breach of Zion's defenses would mean that the last remaining vestiges of mankind would be wiped out, Tank says their only choice is to unplug Morpheus, effectively killing him. Back in the Matrix, the Agents process their next move. If Cypher is dead, they deduce that the remaining humans on the ship will terminate Morpheus. They decide to stick to their original plan and to deploy the Sentinels. Tank is performing what amounts to last rites for Morpheus, laying one hand on his head as his other moves to the back of his skull to remove the jack. Just as he's about to pull it out Neo stops him. He realizes that the Oracle was right. He now has to make the choice to save himself or to save Morpheus; his choice is to head back into the Matrix. Trinity rejects the idea. Morpheus gave himself up so that Neo could be saved since he is the One. "I'm not the One, Trinity," Neo says, relaying his understanding of the discussion with the Oracle: she did not enlighten him as to whether he was the promised messiah. And, since Morpheus was willing to sacrifice himself, Neo knows that he must do that same. Tank calls it suicide; it's a military building with Agents inside. Neo says he only knows that he can bring Morpheus out. Trinity decides to come with him, reasoning with Neo that he will need her help and she's the ranking officer on the ship. "Tank," she says, "load us up!" Meanwhile Agent Smith continues to share his musings with a brutalized Morpheus. Because humans spread to an area, consume the natural resources and, to survive, must spread to another area, Smith says we are not mammals but viruses, the only other creature that acts that way. In the Construct, Neo and Trinity get armaments. "Neo," protests Trinity, "No one has ever done anything like this." "That's why it's going to work," he replies. Morpheus has yet to break and Smith asks the other Agents why the serum isn't working. "Maybe we're asking the wrong questions," responds one. To that Smith commands the other Agents to leave him alone with Morpheus. Smith removes his earphone and his glasses and confides that he hates the Matrix, "this zoo, this prison." Smith admits that he must get out of this "reality." He hates the stench. He's sure that some element of the humans will rub off on him and that Morpheus holds the key to his release. If there is no Zion there's no need for Smith to be in the Matrix. "You are going to tell me, or you are going to die." Downstairs, in the lobby, Trinity and Neo enter, heavily armed. They shoot their way past the guards and a group of soldiers and make their way into the elevator. Agents Brown and Jones enter the interrogation room to find Smith with his hands still fixed on Morpheus's head. Smith looks embarrassed and befuddled and the others tell him about the attack occurring downstairs. They realize that the humans are trying to save Morpheus. In the elevator, Trinity arms a bomb. They both climb through a hatch to the elevator roof, attaching a clamp to the elevator cable. Neo says "There is no spoon" before he severs the cable with a few shots. The counterweight drops, propelling Neo and Trinity upward. The elevator falls to the lobby exploding upon impact and filling the floor with flames. The Agents feel the rumble of the explosion and the sprinkers come on in the building. "Find them and destroy them!" Smith commands. On the roof, a helicopter pilot is calling "Mayday" as Trinity and Neo take out the soldiers there. Agent Brown takes over the pilot and appears behind Neo. Neo shoots several rounds at the Agent, who dodges them and pulls his own weapon. "Trinity," yells Neo, "Help!" But it's too late. The Agent begins to shoot. Instead of being shot, Neo dodges most of the bullets, though two of them nick him. As the Agent approaches Neo, who is lying on the ground, he levels a kill shot but Trinity shoots him before he can fire. Trinity marvels at how fast Neo has just moved; she's never seen anyone move that quickly. Tank downloads the ability to fly the helicopter to Trinity, who can now pilot the aircraft. Trinity brings the helicopter down to the floor that Morpheus is on and Neo opens fire on the three Agents. The Agents quickly fall and Morpheus is alone in the room. Just as quickly the Agents take over other soldiers stationed nearby. Morpheus breaks his bonds and begins to run to the helicopter. The Agents fire on him, hitting his leg. Morpheus leaps but Neo realizes that he is not going to make the leap and throws himself out of the helicopter, a safety harness attached. He catches Morpheus, but Agent Smith shoots the helicopter's hydraulic line. Unable to control the helicopter, Trinity miraculously gets it close enough to drop Morpheus and Neo on a rooftop. Neo grabs the safety line as the helicopter falls towards a building. Trinity severs the safety line connecting Neo to the helicopter and jumps on it herself as the vehicle smashes into the side of a building, causing a bizarre ripple in the fabric of the building's reality as it does. On the ship Tank says, "I knew it; he's the One." Neo hauls Trinity up to them. "Do you believe it now, Trinity?" asks Morpheus as he approaches the two. Neo tries to tell him that the Oracle told him the opposite but Morpheus says, "She told you exactly what you needed to hear." They call Tank, who tells them of an exit in a subway near them. The Agents arrive on the rooftop but find only the safety harness and line. Though Agent Smith is angered, the other two are satisfied. A trace has been completed in the real world and the Sentinels have been dispatched to attack the Nebuchadnezzar. In the subway, they quickly find the phone booth and Morpheus exits out of the Matrix. A wino watches this occur. On the rooftop Agent Smith locks in to their whereabouts through the wino and appropriates his body. Meanwhile, as the phone rings, providing Trinity's exit, she confides to Neo that everything that the Oracle has told her has come true, except for one thing. She doesn't say what that thing is and picks up the phone just as she sees the approaching Agent Smith. Smith shatters the ear piece of the phone; it's impossible for Neo to exit there now. Instead of running, which Trinity implores him to do as she looks on from the ship, Neo turns to face Smith. They empty their guns on each other, neither hitting the other. They then move into close combat, trading blows. Neo sweeps Agent Smith's head, breaking his glasses. "I'm going to enjoy watching you die, Mr. Anderson," says Smith. They trade some thunderous blows with Smith hitting Neo so hard he spits up blood in the Matrix and in the chair aboard the ship. "He's killing him," says Trinity. Neo gets back up, sets himself and beckons Smith to start again. This time it's Neo who delivers devastating blow after blow. But Smith counters, throwing Neo into a wall then pummeling him with body blows. A wind from the tunnel signals that a subway train is approaching and Smith has a wicked notion. He throws Neo into the subway tracks then drops down there himself. He puts Neo in a headlock and, in the glow of the oncoming subway says, "You hear that, Mr. Anderson? That is the sound of inevitability. It is the sound of your death. Good-bye, Mr. Anderson." "My name," he replies, "is Neo." Then, with a mighty leap, Neo propels them to the ceiling of the tunnel. They fall back down and Neo backflips off the tracks, leaving Agent Smith to the oncoming train. Neo heads for the stairs, but Smith has already appropriated another body and emerges from the doors of the train. Meanwhile the Sentinels have arrived to attack the Nebuchadnezzar; there are five of them and they are closing fast. Morpheus tells Tank to charge the EMP. Trinity reminds Morpheus that they can't use the EMP while Neo is in the Matrix. "I know, Trinity, don't worry," says Morpheus, "He's going to make it." Back in the streets of the Matrix, Neo swipes a cell phone from a nearby suit. He calls Tank: "Mr. Wizard, get me the hell out of here." He races through a crowded market while Agents appropriate bodies right and left. They force Neo down a dark alley. He kicks in a door and rushes through an apartment complex where the Agents appropriate more bodies, including that of a sweet little old lady who throws a knife at Neo as Agent Smith. Neo leaps down into a pile of garbage with the Agents in hot pursuit. On the Nebuchadnezzar the Sentinels have arrived. They begin to tear the ship apart. In the Matrix, Neo arrives back at the Heart O' the City Hotel. Tank tells him to go to room 303. The Agents are literally at his heels. The Sentinels breach the hull of the ship. They are inside. Trinity, standing next to Neo's body in the chair, begs him to hurry. Neo reaches room 303 and enters. He's immediately shot, point blank in the gut, by Agent Smith. Smith empties his magazine into Neo's body. Neo slumps to the floor, dead. On the ship Neo's vital signs drop to nothing. "It can't be," says Morpheus. Agent Smith instructs the others to check Neo. "He's gone," one replies. "Good-bye, Mr. Anderson," says Smith. The Sentinels' lasers are beginning to cut through the major parts of the hovercraft. Trinity leans over his dead body. "Neo," she says, "I'm not afraid anymore. The Oracle told me that I would fall in love and that that man... the man that I loved would be the One. So you see, you can't be dead. You can't be... because I love you. You hear me? I love you." She kisses him. In the chair Neo suddenly breathes. In the Matrix, Neo opens his eyes. "Now get up," orders Trinity. The Agents hear Neo rise behind them and they open fire. "No," Neo says calmly, raising his hands. He stops their bullets in mid-air. They drop harmlessly to the floor. "What's happening?" asks Tank. "He is the One," says Morpheus. Back in the Matrix, Neo can see things for what they really are, green cascading code. Agent Smith is furious. He runs to Neo and attacks him. Neo blocks Smith's blows effortlessly before he sends Smith flying with one well-placed kick. Neo then leaps into Smith's body and appropriates him. Smith's shell explodes in a sea of code and Neo is all that is left, the walls buckling in waves as they did when the helicopter crashed. Agents Brown and Jones look at one another and run away. The Sentinels are now fully in the ship. They are right above Trinity and Morpheus. Back in the Matrix Neo sprints to the ringing phone in the room. Morpheus has no choice but to engage the EMP. He does and the Sentinels fall inert to the floor. Neo has made it back. He kisses Trinity. The screen is black. A command prompt appears: "Call trans opt: received. 9-18-99 14:32:21 REC: Log>" then "Carrier anomaly" "Trace program: running" As the grid of numbers appears again a warning appears "System Failure." Over it all is Neo's voice: "I know you're out there. I can feel you now. I know that you're afraid... you're afraid of us. You're afraid of change. I don't know the future. I didn't come here to tell you how this is going to end. I came here to tell you how it's going to begin. I'm going to hang up this phone, and then I'm going to show these people what you don't want them to see. I'm going to show them a world without you. A world without rules and controls, without borders or boundaries. A world where anything is possible. Where we go from there is a choice I leave to you." In the Matrix world, Neo hangs up the phone. He looks at the mindless masses around him, puts on his glasses and then looks up. From high above the city we see him take flight. The story is picked up in The Matrix Reloaded , the second of three Matrix movies. Synopsis

i don't know

In which 90s movie did Al Pacino play retired Colonel Frank Slade?

Super Reviewer ½ When things get tangled, tango on! Great Film! The Scent of a Woman is the kind of film that many would think belongs to a bygone era. While it is frank and contemporary without sugar coating it illustrates the value of character over glitz and how small acts can have long lasting consequences. The Scent of a Woman is very satisfying on many levels. Of course the primary reason it succeeds is Al Pacino, whose Oscar was well-deserved, needless to say. Chris O'Donnell doesn't overplay his part, and in doing so is realistic and natural. The character development is superb, dialogue terrific, glamorous locations and a story line that requires the characters to show themselves to be the people they really are. The film has a lot of funny lines and great drama. Frank is a retired Lt Col in the US army. He's blind and impossible to get along with. Charlie is at school and is looking forward to going to university; to help pay for a trip home for Christmas, he agrees to look after Frank over thanksgiving. Frank's niece says this will be easy money, but she didn't reckon on Frank spending his thanksgiving in New York. Manu Gino Super Reviewer Al Pacino is one of the most respected and talented actors in the history of filmmaking. So why did it take him over 20 years in the business before he finally got his hands on one of those golden little baldies, that go by the name of Oscar? It's a question that will confound many but at least now, with this performance in 1992, it probably, proudly, rests on his mantelpiece. In order to make some money for a Christmas trip home, impoverished college-student Charlie (Chris O'Donnell) agrees to look after Frank (Al Pacino), a blind retired Colonel for Thanksgiving. Babysitting takes on a whole new dimension when Frank decides he wants to spent the weekend living it up in New York City. At the time of this films release Pacino had had 4 nominations for Best Actor and 3 nominations for Best Supporting Actor. He had produced such sterling work in classic films like "The Godfather", "Serpico", "Dog Day Afternoon" and "Scarface". This is only a few in a long list but, finally, no-one could argue with his bravura portrayal of a blind, hard drinking, ex-Army colonel. This isn't the type of film you'd tip for Pacino receiving an award but it's a performance that can't be ignored. Yes, grandstanding does ensue, but hey! It's Pacino, he's allowed. There's an unsettling intensity to his performance that's so powerful, it's hard to take your eyes off him. Ironically, he plays a blind man but his performance allows the audience to see. To see, what an actor can encapsulate. The film itself is a tad lighthearted and despite being overshadowed considerably, a young Chris O'Donnell handles himself well in such company. But it feels like the story itself is only a vehicle, or series of scenes, in which to allow Al to chew up. It's enjoyable stuff nonetheless and at a running time of 2hrs 30mins, you wouldn't know. The time flies by as it's so much fun. A major demerit is the Hollywood perfect, rousing, finale though. The schmaltz factor goes through the roof, leaving you feeling a bit embarrassed at the audacity in even attempting it and it seriously sells the film short. If I was to rate this based on Pacino's performance, it would be an unquestionable 5 stars. It's one of his finest. However, the flimsy material brings the film down a notch. Mark Walker

Scent of a Woman

What is the name of Kate Winslet's character in Titanic?

Al Pacino | Biography and Filmography | 1940 Portrayed the legendary 1960s music producer in HBO movie "Phil Spector," directed by David Mamet 2012 Co-starred with Alan Arkin and Christopher Walken as aging con men in crime comedy "Stand Up Guys" 2011 Nominated for the 2011 Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Television Movie or Miniseries ("You Don't Know Jack") 2011 Wrote, directed, and co-starred with Jessica Chastain in "Wilde Salome" 2011 Nominated for the 2011 Golden Globe Award for Best Performance by an Actor in a Mini-series or Motion Picture Made for Television ("You Don't Know Jack") 2011 Played himself opposite Adam Sandler in critically panned "Jack and Jill" 2011 Returned to features with "The Son of No One," co-starring Channing Tatum and Juliette Binoche 2010 Portrayed Dr. Jack Kevorkian in Barry Levinson directed HBO film "You Don't Know Jack"; earned Emmy nomination for Outstanding Lead Actor in a Miniseries or Movie 2010 Nominated for the 2010 Primetime Emmy Award for Outstanding Lead Actor In A Miniseries Or A Movie ("You Don't Know Jack") 2010 Returned to stage as Shylock in Shakespeare in the Park production of "The Merchant of Venice"; earned Tony nomination for Best Performance by an Actor in a Leading Role in a Play 2008 Played a college professor and forensics expert hunted by a serial killer in "88 Minutes" 2008 Again teamed with Robert De Niro as cops hunting down a serial killer in "Righteous Kill" 2007 Joined cast of Soderbergh's "Ocean's Thirteen" as a sleazy hotel and casino operator 2006 Portrayed King Herod Antipas in Oscar Wilde's "Salome" at Wadsworth Theatre in Los Angeles, CA 2005 Cast as a sports bookie opposite Matthew McConaughey in "Two for the Money" 2004 Starred in "The Merchant of Venice," a Shakespearean adaptation set in 16th century Venice 2003 Cast as Roy Cohn in HBO adaptation of "Angels in America," directed by Mike Nichols 2003 Appeared as a manipulative CIA trainer in "The Recruit" opposite Colin Farrell 2003 Played a press agent reportedly modeled after real-life flak Bobby Zarem in "People I Know" 2002 Portrayed a sleep-deprived detective in "Insomnia" 1999 Played an aging football coach in Oliver Stone's "Any Given Sunday" 1999 Starred as "60 Minutes" producer Lowell Bergman in Mann's "The Insider" 1997 Played a small-time mobster in Mike Newell's "Donnie Brasco" 1997 Received star on Hollywood Walk of Fame 1997 Delivered a delicious, pull-out-the-stops portrayal of a 1990s Satan in "The Devil's Advocate" 1996 Directed and starred in Broadway production of Eugene O'Neill's "Hughie" 1996 Made feature directorial debut with quasi-documentary "Looking for Richard"; also co-wrote narration 1995 Played a grandfather in Depression-era "Two Bits"; role was Pacino's tribute to his beloved grandfather who raised him 1995 Portrayed a cop tracking criminal Robert De Niro in Michael Mann's "Heat" 1993 Reteamed with De Palma for "Carlito's Way" 1992 Won first Best Actor Academy Award for role as a blind veteran in Martin Brest's "Scent of a Woman" 1992 Earned Best Supporting Actor Oscar nomination for "Glengarry Glen Ross"; adapted from Mamet play and directed by James Foley 1990 Once again played Michael Corleone in Coppola's "The Godfather, Part III" 1990 Earned Best Supporting Actor nomination for role as Big Boy Caprice in Warren Beatty's "Dick Tracy" 1990 Feature co-directing (with David Wheeler) and producing debut, "The Local Stigmatic," a 52-minute film shot in 16mm; screened at Museum of Modern Art in NYC 1989 Returned to films after a four-year absence in Harold Becker's "Sea of Love," playing a dectective investigating a murder 1988 Starred in "Julius Caesar" in a limited engagement at New York's Public Theater 1985 Miscast in Hugh Hudson's Colonial drama "Revolution" 1983 Portrayed Cuban drug kingpin Tony Montana in Brian De Palma's remake of "Scarface"; film scripted by Oliver Stone 1982 Starred as a playwright in romantic comedy "Author! Author!" written by Israel Horovitz 1980 Portrayed Walter Cole in David Mamet's "American Buffalo" in off-Broadway and Broadway productions; also toured U.S. and England 1979 Received fourth Best Actor Oscar nomination, playing a crusading lawyer in "…And Justice for All" 1979 Performed title role in "Richard III" for a record run on Broadway 1977 Reprised role in "The Basic Training of Pavlo Hummel" for Broadway production; won second Tony Award 1975 Earned third Best Actor Oscar nomination for Lumet's "Dog Day Afternoon"; film re-teamed him with Cazale as bank robbers 1974 Reprised role of Michael Corleone for Coppola's very successful sequel "The Godfather, Part II"; earned second Academy Award nomination as Best Actor 1973 Reteamed with Schatzberg for "Scarecrow" opposite Gene Hackman 1973 Earned First Best Actor Oscar nomination for role in Sidney Lumet's "Serpico" 1972 Joined David Wheeler's Experimental Theatre Company for production of "The Basic Training of Pavlo Hummel" 1972 Earned first Best Supporting Actor Oscar nomination for role as Michael Corleone in Francis Ford Coppola's "The Godfather"; Cazale played older brother Fredo 1970 First leading role in a film, "Panic in Needle Park"; directed by Jerry Schatzberg 1969 Directed first stage production (also acted), "Rats" at Charles Playhouse in Boston; written by Horovitz 1968 Broadway debut, "Does a Tiger Wear a Necktie?"; received first Tony Award 1968 Made feature acting debut in "Me, Natalie" 1968 Made off-Broadway debut in one-act play "The Indian Wants the Bronx," written by Israel Horovitz and co-starring John Cazale 1967

i don't know

Which spin-off from a 60s sitcom was a 1999 movie with Jeff Daniels and Christopher Lloyd?

My Favorite Martian – EW.com Comedy, Romance, Sci-fi and Fantasy We gave it a D+ The big innovation is that Uncle Martin (Christopher Lloyd), the quizzical alien with the ’50s TV antennas popping out of his head, has been given an anthropomorphic silver space suit — a dancing, prancing, horny polymer uniform that carries on like Jim Carrey in ”The Mask.” The big drag is that the suit completely outshines Martin. In this glorified special-effects demo reel based on the singularly daft ’60s sitcom (what’s next — ”Petticoat Junction”?), Lloyd, when not spouting hyperkinetic scientific gibberish, makes scoops of ice cream fly around the room, guzzles the contents of a lava lamp, and literally falls apart into head and rascally limbs, as his earthly caretaker (Jeff Daniels) gawks in dismay. ”Flubber” was more edifying — and more fun. Show Full Article

My Favorite Martian

Who played the title role in Emma?

That Nelson Mandela had me in the back of his cab once | World news | The Guardian That Nelson Mandela had me in the back of his cab once Close The Man Who Drove With Mandela (83 mins, no cert) Directed by Greta Schiller; starring Corin Redgrave The Inheritors (95 mins, 15) Directed by Stefan Ruzowitzky; starring Simon Schwarz, Lars Rudolph, Sophie Rois Captain Jack (100 mins, PG) Directed by Robert Young; starring Bob Hoskins, Anna Massey, Gemma Jones, Patrick Malahide My Favourite Martian (93 mins, PG) Directed by Daniel Petrie; starring Jeff Daniels, Christopher Lloyd, Liz Hurley, Daryl Hannah The King and I (89 mins, U) Directed by Richard Rich; featuring the voices of Miranda Richardson, Martin Vidnovic, Ian Richardson By some way, the most significant film this week is Greta Schiller's The Man Who Drove With Mandela, a documentary that's being given a week at the ICA before touring various regional film theatres and ending up on television. It's a portrait of a fascinating Englishman, Cecil Williams, an unsung hero of the fight against apartheid and other injustices. The picture begins with Nelson Mandela visiting the site of his arrest near Pietermaritzburg in 1962 when, disguised as Williams's chauffeur, he was driving around South Africa organising anti-government activities for the ANC. After this striking opening, the films uses archive footage and new interview material to tell the story of Williams's extraordinary life, which comes across as a collaboration between Noel Coward and Nadine Gordimer. Born in Cornwall in 1906 into a lower-middle-class family, he became aware of his homosexuality as a teenager, and in 1928 emigrated to South Africa. According to his former pupils, he was an inspiring teacher at King Edward's public school in Johannesburg, but it was the experience of the Second World War that transformed him. He returned from serving as a leading war correspondent for South African radio, covering the Mediterranean area, to help create the liberal, multi-racial Springbok Party and to enter the theatre as actor and director. This tall, handsome, aristocratic dandy became a leading figure in radical and artistic circles at a time when gays and blacks were being persecuted, and he always referred to the police as 'Priscilla'. According to one contributor, Johannesburg after the Second World War was 'the most cosmopolitan city south of the Equator' and the guests at Williams's elegant apartment ranged from the Mandelas, Walter Sisulu and Albie Sachs to the Oliviers and Danny Kaye. Williams treated everyone as equals and the ANC's stance on gay rights stems from Williams's influence. Following the detention of Mandela, Williams was under house arrest. Anticipating that he might be charged with treason and his homosexuality used as a weapon against comrades, he sought the help of an old friend, the chief of railway police, to flee the country. A condition of the assistance was that he never participate in politics again. He settled with his partner in London and died there in 1979. His story is sad and inspiring, and Greta Schiller's film brings the man and his times vividly to life. I am not entirely happy with the decision to punctuate the movie with monologues derived from Williams's writings and performed by Redgrave in a manner that clashes stylistically with the unscripted testimony of the man's friends. It creates the impression of a documentary being uneasily yoked to a one-man stage show. Writer-director Stefan Ruzowitsky calls The Inheritors 'an Alpine western' and it's a violent tale set in a remote corner of Austria some 70 years ago. An unpleasant farmer is murdered by a middle-aged woman he had raped then had jailed for 18 years on a trumped-up charge of theft. His malevolence continues after his death through a will that first mocks each of his seven peasant workers and then (to demonstrate their unfitness for the task) makes them joint owners of the property, 'the one-seventh farmers' as they're called locally. Their brutal foreman, who bears a certain resemblance to Hitler, joins forces with the village policeman and the neighbouring farmers (all straight out of George Grosz) to harass their attempt to run the farm on democratic lines. Under the leadership of Lukas, an illiterate foundling who turns out to be the illegitimate son of the murderess and her victim, the ex-peasants resist legal and fiscal assaults. The one-seventh farmers are then subjected to escalating violence that culminates in the brutal death of Lukas and the rape of his lover. The experiment in democracy has failed and the survivors depart, one party going to the States. The film is clearly an allegory and inevitably one thinks of Orwell's Animal Farm. Is what we're watching a coded version of the history of post-Great War Austria culminating in the Anschluss? If so, why is the Hitler figure killed? Still, it's the raw energy of The Inheritors that held me, not the political analysis. Robert Young's Captain Jack is an inert, sentimental sub-Ealing comedy about a peppery old salt from Whitby (Bob Hoskins) who takes a crew of misfits (two bickering spinster sisters, a henpecked husband, a young Australian drop-out and the shy daughter of a fish-and-chip-shop owner) on a voyage to the Arctic circle in his unseaworthy schooner, the Yorkshire Beauty. The ostensible object is to erect a plaque to the eighteenth-century Whitby explorer, Captain Scorseby, but the real purpose is transformation and redemption. The script is much inferior to what we expect of Jack Rosenthal, though the director's previous work for the big screen - Splitting Heirs and Fierce Creatures - had created no great expectations. A belated spin-off from a Sixties TV series, My Favourite Martian is a clunky family comedy starring Christopher Lloyd as a cheerful alien with a talking shirt who makes himself at home with TV producer Jeff Daniels when his spacecraft crashes in California. Liz Hurley (seen more often in cinemas than on the screen) is around as the arrogant daughter of Daniels's boss and if I claimed that the picture isn't funny, witnesses could be called to testify that I laughed quite often, even at the lavatorial jokes. The 1963 sitcom (whose star, Ray Walston, has a walk-on part in the film) is seen as a seminal work that led to Mork and Mindy and E.T., though My Favourite Martian was clearly inspired by Gore Vidal's TV and stage play of the mid-Fifties, Visit to a Small Planet. The King and I is a visually dull full-length cartoon of the Rodgers and Hammerstein musical with Miranda Richardson providing the speaking (but not the singing) voice of the governess Anna and the king looking more like Patrick Stewart than Yul Brynner. The Thai prime minster is turned into a villainous magician with a tubby oriental sidekick, there are chases through the jungle, rescues by hot-air balloon and no deaths. The best songs have been preserved and they don't come much better.

i don't know

Who played Batman immediately before George Clooney?

The 9 actors who’ve played Batman | Den of Geek Search The 9 actors who’ve played Batman We look at the nine actors who’ve graced Batman's cowl on the big screen, including Mr Ben Affleck… j Holy revolving door, Batman! The Caped Crusader has been portrayed by more actors than any other superhero in movie history – nine to be exact. Most have lasted for just one film, but with the release of The Dark Knight Rises, Christian Bale became the first man to have played Bruce Wayne and his alter-ego more than twice on the silver screen. He didn’t have much competition – Michael Keaton was the only prior actor to reprise the role. Will Arnett will also join that club when his LEGO Batman movie hits cinemas in 2017. Ben Affleck could well throw all these records out, of course, given the sprawling DC Extended Universe plans now afoot and his vital involvement in them. Here's the nine actor who've played Gotham's Dark Knight... 1. Lewis G Wilson Wilson was the first and youngest actor ever to play the adult Batman, and also the least successful. At 23, the unknown thespian donned the cape and the cowl in the 15-part 1943 Columbia serial Batman. While he looked the part of the dashing playboy, his physique was more Danny DeVito as the Penguin. One critic described Wilson as “thick about the middle.” Maybe that was why he wore his utility belt just below his chest. Critics also complained that his voice was too high and that he had a Boston accent. That, of course, wouldn’t be the last time someone complained about Batman’s voice. After Batman, Wilson’s career went nowhere. Most of his roles went uncredited. His next biggest movie part was probably in the 1951 cult classic Bowanga Bowanga. A few years later he was out of showbiz altogether. His son, Michael G Wilson, however, fared better in Hollywood, becoming the executive producer of the James Bond series. Lewis G Wilson died in 2000. 2. Robert Lowrey Lowery took over the role in the follow-up serial, 1949’s Batman And Robin. Unlike Lewis, Lowery, 36 at the time, was a veteran actor, having already appeared in The Mark Of Zorro (1940), The Mummy's Ghost (1944) and Dangerous Passage (1944). He also filled out the Batsuit better than Lewis, with his utility belt hanging where you would expect it on a non-octogenarian. Though Lowery never played Batman in another movie, he did get to wear the cape once more and make superhero history in the process. In 1956 he guest-starred on an episode of The Adventures Of Superman, marking the first time a Batman actor shared screen time with a Superman actor. (One for the fact fans: the two actors also appeared together in their pre-superhero days, in a WWII anti-VD propaganda film called Sex Hygiene).  After Batman, Lowrey enjoyed another 20 years in movies and TV. He died in 1971. 3. Adam West The man logging the most hours in the Batcave, of course, was William West Anderson, whom you probably know better as Adam West. Either you love him for his goofy charm or hate him for blemishing the Bat’s image for several decades. His campy, over-the-top portrayal of Gotham’s Guardian infiltrated nearly every medium, including a 1966 movie and several animated series. Legend has it producer William Dozier cast West after seeing him play a James Bond-like spy called Captain Q in a Nestlé Quik TV ad. He beat future Wonder Woman co-star Lyle Waggoner for the role. Dozier, who supposedly hated comic books, decided the only way the show would be successful was if they camped it up. So blame him. Things would almost come full circle when, in 1970, West was offered the role of James Bond in Diamonds Are Forever. West declined, later writing in his autobiography that he believed Bond should always be played by a Brit. Holy bad career moves, Batman! After the Batman series went off the air in 1968, West was resigned to typecast hell. At one point he was forced to make public appearances as the Caped Crusader to earn a living. Then, in 1977, he returned to the tube as Batman, doing his voice in The New Adventures Of Batman, and then on such shows as Super Friends. West’s resurgence as a pop-culture icon began in the early 90s when he starred as a has-been TV action hero in the pilot episode of Lookwell, produced by Conan O'Brien and Robert Smigel. It wasn’t picked up but took on a cult following online. (Check it out here .) Since then his cult popularity has increased and he now makes regular appearances on the animated series Family Guy. He also did the Batman voice once again for the LEGO Batman 3: Beyond Gotham videogame. 4. Michael Keaton It took more than 20 years for Adam West to lose his exclusivity on Batman. When director Tim Burton (who, like Dozier, was not a fan of comic books) and Michael Keaton were announced for 1989’s Batman, fans went bat-shit crazy, thinking their beloved superhero was going to get the Adam West treatment again. Keaton's casting caused such controversy that 50,000 protest letters were sent to Warner Bros’ offices. In an effort to appease the naysayers, Batman co-creator Bob Kane was hired as the film’s creative consultant. Other Hollywood stars considered for the role of Batman included Mel Gibson, Kevin Costner, Charlie Sheen, Pierce Brosnan, Tom Selleck and Bill Murray. But producer Jon Peters said he cast Keaton because “The image of Batman is a big male model type, but I wanted a guy who's a real person who happens to put on this weird armor. A guy who's funny and scary. Keaton's both. He's got that explosive, insane side.'' This certainly showed in his portrayal of Bats ("Wanna get nuts?!"), which remains loved by critics and fans alike. Variety magazine gushed, “Michael Keaton captures the haunted intensity of the character, and seems particularly lonely and obsessive without Robin around to share his exploits.” Keaton was rewarded by being the first actor to reprise the role on the big screen. And in 1992’s Batman Returns, Keaton again garnered positive reviews. After Batman Returns, Keaton’s career slowed down, before resurging again in a big way. Comedy roles like the inadvertently-TLC-loving police chief in Will Ferrell and Mark Wahlberg’s The Other Guys helped him back towards the top, before his miraculous and self-referential turn in Birdman (Or The Unexpected Virtue Of Ignorance) cemented his position as a much-loved, Oscar-nominated talent. Even more recently, he was ace in Spotlight. 5. Val Kilmer When the Batman franchise was turned over to director Joel Schumacher, Keaton decided not to return. Daniel Day-Lewis, Ralph Fiennes, William Baldwin and Johnny Depp were reportedly considered as replacements. But the job was won by Val Kilmer – probably the most forgettable of the modern Batmen. Go ahead – try to remember. See? You can’t. Schumacher became interested in Kilmer for 1995’s Batman Forever after seeing him in Tombstone (in which he played Doc Holiday, who Adam West also portrayed in a movie before he did the Batman TV series, fact fans!). Kilmer allegedly accepted the role without even reading the script or knowing who the new director was.  Schumacher quickly learned who Kilmer was, though, and the two clashed on the set. Schumacher later described Kilmer as “childish and impossible,” claiming that he fought with various crewmen and refused to speak to him for two weeks after the director asked his star to stop behaving rudely. Kilmer’s performance got mixed reviews. As The New York Times put it, “The prime costume is now worn by Val Kilmer, who makes a good Batman but not a better one than Michael Keaton.” Bob Kane felt otherwise, saying he thought Kilmer did the best job of all the actors to have played Batman up to that point. The movie performed better than Batman Returns at the box office, but Kilmer was destined to be a one-term caped crusader. Between his bad attitude and his concern that the superhero wasn’t getting as much screen time as the villains, he left the Batcave for good. Instead of filming 1997’s Batman & Robin, he did The Saint. After Batman, Kilmer’s career headed downhill. Though it was probably 1996’s The Island Of Dr Moreau that had more to do with that than Batman Forever. 6. George Clooney Clooney’s movie career was just taking off when he was cast in 1997’s Batman & Robin, with his breakthrough performance coming just the year before in Quentin Tarantino’s From Dusk Till Dawn. Producers probably felt they pulled off a major coup landing the soon-to-be mega-movie star. Those producers, along with Clooney, probably regret that decision now. Batman & Robin was a disaster, rife with homoeroticism, camp and those infamous Bat-nipples. Clooney once joked that he helped to kill the franchise. “Joel Schumacher told me we never made another Batman film because Batman was gay.” The actor also called the movie “a waste of money.” Critics and fans agreed. In 1997, Mick LaSalle of the San Francisco Chronicle wrote, “George Clooney is the big zero of the film, and should go down in history as the George Lazenby of the series.” Batman & Robin received 11 nominations at the Razzie Awards and frequently ranks among the worst films of all time. It was also the worst box-office performer of the modern Batman movies. But all that did nothing to hurt Clooney’s career. After Batman, he went on to super stardom, starring in Out Of Sight (with a cameo from Michael Keaton), Three Kings and O Brother, Where Art Thou? over the next three years. You don't need reminding of where he's gone since then, either. 7. Christian Bale Between Adam West and George Clooney, Batman seemed destined to remain a joke, at least when it came to live-action adaptations. Then came along Christopher Nolan. The Memento and Insomnia director was given the job of realising what became Batman Begins, and he planned to reinvent the franchise, finally making the Dark Knight dark. Among the early candidates for the Batman/Bruce Wayne roles were Billy Crudup, Jake Gyllenhaal, Joshua Jackson and Cillian Murphy. But Nolan ultimately chose Christian Bale, explaining that “he has exactly the balance of darkness and light that we were looking for.”  Bale got generally favourable reviews for 2005’s Batman Begins, with several critics saying it reminded them of his brilliant turn in American Psycho. Not so brilliant, it seems, was his uber-husky Bat-voice. One reviewer compared Bale's guttural utterances to a “10-year-old putting on an ‘adult’ voice to make prank phone calls.” It got even more gravelly in 2008’s The Dark Knight, with NPR’s David Edelstein describing it as “a voice that's deeper and hammier than ever.” Even Kevin Conroy, the man behind probably the most recognisable Batman voice, chimed in, saying at a C2E2 panel in 2010 that Bale’s voice was “ridiculous” and implored the actor to stop doing it. Bale ignored this advice in The Dark Knight Rises (a film in which he wears the Batsuit a lot less, to be fair), but it was Tom Hardy's Bane vocal noises that garnered more vocal criticism from Nolan's threequel.  Regardless, Bale's Batman is fondly remembered, and always pops up during discussions of 'who's the best?', not least because of the stellar scripts, direction and cinematography which generally surrounded him. Rumours after The Dark Knight Rises insisted that Mr Bale turned down a huge pay cheque to avoid reprising the role once more, a decision that remains a particularly tantalising 'what if?' moment in Batman's cinematic history. Between his turns as Bruce/Batman, Bale gained a reputation as being an interesting on-set presence thanks to his famous Terminator Salvation rant. That hasn't slowed his career down at all, though - working with Ridley Scott on Exodus: Gods And Kings is the latest in a long line of starring roles from the former Dark Knight. His turn in American Hustle is perhaps his best loved post-cowl effort. 8. Will Arnett With any other actor in the role, the presence of Batman in the 2013 cinematic smash The LEGO Movie could easily have become the sort of performance that gets neglected from lists like this. However, Arrested Development star Will Arnett brought some comedy magic to the role and landed his own spin-off movie as a result. It helped that movie came at the perfect time in Batman’s busy cinema schedule – long enough after The Dark Knight Rises for lampooning of Bale’s gruff Batman to be entirely welcome, and far enough before Batman V Superman: Dawn Of Justice that Arnett’s new iteration didn’t get lost in all the hype for Ben Affleck’s debut. The result of this perfect casting and canny scheduling was a Batman who will go down in the history books as the funniest, freshest and downright fun-est take on the character. From penning ‘dark’ lyrics to helplessly attempting to hide his secret identity, Arnett’s Batman was a gag machine who The LEGO Movie’s primary younger audience really embraced. There were knowing winks in there for adult fans too, with such as dialogue as “I only work in black – and sometimes very very dark grey’ appealing to comic book fans and LEGO Batman’s painful attempts to hit a button with a Batarang surely connecting with anyone who’s ever got stuck for hours at a simple door-button in the Arkham Asylum games. Arnett’s delivery, combined with Phil Lord and Chris Miller’s zingers, made this portrayal a quick favourite for many, and it’s telling that no-one is complaining about Arnett’s reprisal in an upcoming 2017 standalone story ( the first trailer is here , by the way). If you want more hilarious Arnett voice work in the meantime, check out BoJack Horseman on Netflix – you wont regret it, we promise . 9. Ben Affleck Ben Affleck donned the cinematic cape and cowl for the first time in Zack Snyder’s Batman V Superman: Dawn Of Justice. After initial scepticism, vast sections of the internet seemed to warm to the idea during the film's promotional period, perhaps thanks to Affleck’s unpredictable turn in David Fincher’s novel adaptation Gone Girl, as well as his impressive trailer brooding. Now, the reviews have been pretty kind to him. Only time will tell how Affleck will rank amongst the legion of Bat-actors to go before him, though, in terms of popular consensus. We don't have to collectively decide a favourite straight away, thankfully. Judging by the fact that Warner Bros has already signed Affleck up for two Justice League movies and is said to be considering solo stories too, it seems like he'll be the incumbent wearer of the live-action cowl for quite some time. Snyder told the world that Batfleck will "bear the scars of a seasoned crime fighter, but retain the charm that the world sees in billionaire Bruce Wayne" a few months back. Having now seen the film, it's easy to agree. Affleck's take is as conflicted-yet-charismatic as any Batmen that have gone before. As Affleck's first Bat-movie sees him fight Supes (at least to start with), his take on Bruce Wayne had to work hard on his tech-building capabilities as well his gym regimen. The fight that eventually broke out between the two heroes was a brutal affair, recalling the iconic Frank Miller comic The Dark Knight Returns. The voices of Batman Outside of this live-action realm, plenty of talented actors have loaned their vocal chords to Gotham's caped crusader over the years. For the most part, though, the bulk of the animated Batman work over the years has gone to two actors. In real life Olan Soule was a bespectacled pencil-necked geek, but that didn’t stop him from voicing the Dark Knight in six different animated series, beginning with 1968’s The Batman/Superman Hour. His run pretty much ended when Adam West took over voicing duties in the late 70s. Soule, who also appeared in such films as The Day The Earth Stood Still and North By Northwest, died in 1994. Unlike Soule, Kevin Conroy could probably pull off Batman in real life, but so far he’s been relegated to voice work – and quite a lot of it. Conroy began voicing the superhero in Batman: The Animated Series, which made its debut in 1992. Since then, he’s done three other Batman series, a bunch of animated movies and videogames.  Others to voice Batman are Will Friedle (Batman Beyond), Rino Romano (The Batman), Diedrich Bader (Batman: The Brave And The Bold), Jeremy Sisto (Justice League: The New Frontier), Bruce Thomas (who voiced Batman in commercials for GM’s OnStar service and portrayed the character briefly in the live-action TV series Birds Of Prey) and Roger Craig Smith (Arkham Origins). The number one Batman? It’s probably not a worthwhile question to ask which Batman actor is the best. Until Affleck hit the scene, many would have argued that Christian Bale was the top dog among the live-action crowd. But Adam West and Michael Keaton had their supporters, too. And now, with Batfleck in the mix, it's even harder to choose...

Val Kilmer

Who played the young Obi-Wan Kenobi in the Star Wars prequel?

Ben Affleck Is Batman: 16 Actors Who Played the Dark Knight Before Him (Photos) Search Ben Affleck Is Batman: 16 Actors Who Played the Dark Knight Before Him (Photos) Christian Bale, George Clooney, Val Kilmer and Michael Keaton aren't the only other leading men who've played the caped crusader Greg Gilman | August 22, 2013 @ 9:31 PM View as Grid View as List Lewis G. Wilson: The first actor to play the Dark Knight in Columbia Pictures' 15-episode TV series, "Batman." As the United States had just entered the second World War, Batman's nemesis was a Japanese spy called Dr. Daka, whose plan was to take over the U.S. through a group of American traitors. Wilson died in 2000. Robert Lowery: In 1949, Lowery took over for Wilson in the sequel series, "Batman and Robin." Fun fact: he grew up on Wayne Avenue in Kansas City pursuing Hollywood stardom. He died in 1971. Adam West: For an entire generation, West is Batman, thanks to his turn on the iconic TV series that ran from 1966 to 1968 and spawned a film. West's halting delivery and campy earnestness are a far cry from today's Dark Knight, but his Bruce Wayne stands as one of the most beloved portrayals. Olan Soule: The character actor, with hundreds of film credits to his name, was the main voice actor for the animated "Batman" from 1968 to 1984. He voiced the Dark Knight in several iterations of the character, from "Scooby Doo" to "Sesame Street" and several "Super Friends" cartoons. Michael Keaton: When cast as Batman in Tim Burton's 1989 film, fans wrote to Warner Bros. in protest. But to their surprise, his darkly comic portrayal clicked, and Keaton stayed on for "Batman Returns" and was supposed to be in a third -- but dropped out when Burton did. Kevin Conroy: Although they never saw his face, Conroy is regarded by fans as one of the finest voices Batman and Bruce Wayne ever had during his tenure as the DC superhero, which began in 1992 with "Batman: The Animated Series." He also lent his voice to Batman in a number of animated movies and video games. Val Kilmer: Kilmer took over for Keaton in Joel Schumacher's "Batman Forever," a box office hit that received mixed reviews. He opted not to return for the next sequel, "Batman and Robin," because he believed his heroic character was marginalized in favor of the villains. Looking back on Arnold Schwarzenegger's Mr. Freeze, he may have been right. George Clooney: The then TV-star stepped up to the plate when Kilmer backed out and has regretted it ever since. "Batman and Robin" was critically panned and didn't do nearly as well at the box office as its predecessor did. Also? Nipples. Bruce Thomas: This actor first portrayed the Dark Knight in a series of OnStar commercials that aired between 2000 and 2002, then reprised the role for WB's short-lived TV series, "Birds of Prey." Rino Romano: The voice actor, who has also voiced Spider-Man, provided Bruce Wayne and Batman's chatter in animated series, "The Batman," which ran from 2004 to 2008 on Cartoon Network. Christian Bale: Christopher Nolan cast Bale as the vigilante in 2005's "Batman Begins," a welcome reboot to the franchise that lead to spectacular sequel, "The Dark Knight," and another massive hit, "The Dark Knight Rises." William Baldwin: He was on the shortlist to play the billionaire-turned-superhero in "Batman Forever," but lost the role to Kilmer. Over a decade later, he voiced the character in 2010 animated movie "Justice League: Crisis on Two Earths." Bruce Greenwood: The veteran actor, who most recently appeared on the big screen in "Star Trek Into Darkness," voiced Batman in 2010 animated feature "Batman: Under the Red Hood," as well as animated television series "Young Justice." Ben McKenzie: The "Southland" and "The O.C." star voiced Batman for "Batman: Year One," a 2011 animated film based on the four-issue comics run of the same name from 1987. It was released on DVD, Blu-ray and digital download. Peter Weller: The 66-year-old "RoboCop" actor voiced an aging Batman in "Batman: The Dark Knight Returns," a two-part animated movie released in December, and then January. Based on a 1986 comic book story arc by Frank Miller, the film followed Bruce Wayne returning to Gotham to after a 10-year hiatus. Anthony Ruivivar: The "Southland" star is the latest actor to voice Batman in the newest animated series, "Beware the Batman," which began airing on Cartoon Network earlier this summer. Unlike earlier cartoon incarnations of the Dark Knight, "Beware the Batman" is entirely computer animated.

i don't know

Who played Drew Barrymore's stepmother in Ever After?

'Ever After: A Cinderella Story' Save money with NextCard Visa Sumptuous, satisfying and sweetly subversive, "Ever After: A Cinderella Story" is more "Masterpiece Theatre" than "Faerie Tale Theater." There is no magical gourd and no stroke of midnight, but there is a handsome prince, an evil stepmother and, naturally, a pretty girl down on her luck. Only this 16th-century sister quotes freely from Sir Thomas More's "Utopia," can lift the prince straight off the ground and, when it comes to defending herself, has a mean left hook. She's the orphan Danielle and, as played by Drew Barrymore, there is a refreshing robustness rounding out the heroine's alabaster beauty. In this modern retelling of the well-known fable, she is one princess-in-waiting who does not need rescuing by any knight in shining armor. Even as a little girl, the feisty Danielle (Anna Maguire) could whip the boy next door (Ricki Cuttell). But when her father (Jeroen Krabbe) dies, leaving her in the care of his new bride, Rodmilla (a deliciously vicious Anjelica Huston), Danielle's fire is buried under the soot from the hearth she is forced to clean. "Cinder-soot" and "Cinderella," her nasty and demanding stepsister Jacqueline (Melanie Lynskey) soon dubs her. Less snooty but no more helpful is the other stepsibling, namby-pamby Marguerite (Megan Dodds). Enter Prince Charming-excuse me, Prince Henry (Dougray Scott)-the disaffected dreamboat son of King Francis I of France (Timothy West). His Highness Henry is engaged to be married to the daughter of the King of Spain as part of the recent treaty between the two countries, but Daddy senses that Junior isn't too keen on the arranged match and gives him one week to find another bride. At the top of his list, of course, is Danielle, whom Henry only knows as the Countess Nicole. (That's the pseudonym Danielle adopted while impersonating a noblewoman in order to buy back a member of her household out of slavery.) Now all he has to do is find Ms. Right while avoiding the grasping Jacqueline and her social-climbing mother. Sound familiar? Be prepared for a few surprises. One of the wonderful things about "Ever After" is its clever blend of historical accuracy and fantasy. Gone are Disney's talking mice and fairy godmother and in their place is Leonardo da Vinci (Patrick Godfrey) who, in the last few years of his life, actually did hang out in the court of Francis I. He's the one who gets Danielle to the royal ball on time and designs an extravagant costume for her, not with a wave of a wand, but by calling into play his legendary mechanical know-how. To be sure, there are a handful of anachronisms in this tall tale, not least of which is Danielle's strength and independence, practically unheard of in the 16th century. When she herself is sold into slavery to the vile merchant Pierre Le Pieu (Richard O'Brien), it is by her own wiles and swordsmanship that she is able to escape. But such quibbles are negligible, given the fact that this is, after all, a bedtime story, framed by the oral narrative of actress Jeanne Moreau, playing a 19th-century grande dame whose ancestors supposedly knew the "real" Cinderella. One thing is certain. A commoner probably never strolled arm in arm through the woods with the crown prince and it is doubtful that anyone ever asked him, "Why is it men never stop for directions?" But with a romance this fanciful and filled with little delights, a tiny bit of poetic license is more than allowed.         © Copyright 1999 The Washington Post Company

Anjelica Huston

In which 1998 film did Bruce Willis lead a team to confront a deadly threat from outer space?

17 reasons ‘Ever After’ is the best Cinderella movie ever – EW.com via GIPHY 6. The score George Fenton’s lovely, sweeping score is so swoonily romantic, it’s enough to make you want to strip to your undergarments and go swimming before a storm. 7. The king and queen Timothy West and Judy Parfitt have a wonderfully authentic rapport as a (royal) old married couple who have been together — if not happily — for a very long time. Henry’s parents’ marital discord is never explored but frequently referenced, which makes their son’s desire to marry for love that much more significant; it also makes it that much sweeter when they both start laughing together at the King of Spain’s tantrum. Also: “I will simply deny you the crown and live… forever!” 8. A sweet stepsister Melanie Lynskey’s presence has never once failed to improve a movie, and Ever After is no exception. In making Lynskey’s stepsister character Jacqueline sweet and sympathetic to Danielle but obedient to her mother — until the unforgivable “only going for the food” line — Tennant complicates the entire family dynamic. 9. A beautiful stepsister Even better than having a nice stepsister, Ever After also makes one of them especially pretty — perhaps even more conventionally beautiful than Cinderella herself. Megan Dodds’ Marguerite is scarier than any ugly stepsisters that came before her, especially as it appears, briefly, that she has a legitimate shot at winning the prince. 10. Utopian philosophy The reason Danielle is covered in cinders is because she falls asleep next to the fireplace so she can read Thomas More into the wee hours of the morning, and then philosophize about social injustice to anyone who will listen. Because this is an empowering, historically grounded Cinderella movie, in case you weren’t aware. 11. Romance! From the apple-throwing meet-cute to the return of the crucial slipper, Henry and Danielle are a happily-ever-after we can get behind. 12. High stakes No sooner has Danielle averted disaster by saving Maurice from being shipped off to the Americas than she realizes that her stepmother has squandered their fortune on brooches and bribes and they’re going to lose the manor. As if that wasn’t bad enough, Danielle has been sold to the creepy guy with the mustache! Conveniently, she’s an accomplished swordfighter. 13. Anjelica Huston Various elements of Anjelica Huston’s performance as Danielle’s stepmother could easily have comprised every single item on this list and that would be a compelling enough argument. Her Baroness Rodmilla de Ghent is cruel and calculating, yes, but also intelligent, funny, and strangely appealing. The actress more than makes the most of the one scene that humanizes her, in which she observes to Danielle, “You have so much of your father in you,” then admits regretfully, “I barely knew him.” 14. Anjelica Huston’s eyebrows It was 1998, okay? Everyone overplucked. But Huston can do with one skinny little ‘90s eyebrow what most actresses couldn’t with Cara Delevingne’s. 15. It’s decidedly French, sort of Ever After doesn’t take place in a made-up or unnamed land; it is made clear from the beginning that this is France. While of course all of the actors speak in that flavorless English accent that is used in all American movies that take place in any European country, the casting of Moreau nods at the Frenchness of this Cinderella (that is, Cendrillon), as do some of the (female) character names and the frequent reminders that Henry is “the crown prince of France!” It may be pretty superficial, but it helps historicize the tale. 16. It’s decidedly ‘90s, definitely Ever After’s historical setting is very much the 16th century via the 1990s, kind of like how Dirty Dancing supposedly takes place in the 1960s (we know this because there’s one JFK reference, in voiceover) but all the clothes and half the music are straight out of 1987. The decade during which Ever After was made clearly trumped the one in which it takes place when it comes to the makeup design, Danielle’s overlong Alanis Morissette hair, and the movie’s particular you-go-girl brand of female empowerment (not to mention the casting of Barrymore in the first place). 17. It’s decidedly ‘Cinderella,’ above all Fairy tales speak to us on a fundamental human level, but the ways we reinterpret and repackage them reflect the contemporary values of our culture — even the uglier ones — back at us. The greatest joy of Ever After is that it is hopeful, sincere, empowering, and even “realistic,” without ever not being faithful to the Cinderella story. There’s nothing wrong with fairy tales if only they’re told correctly — as the Grande Dame makes sure to do at the beginning of the movie. “While Cinderella and her prince did live happily ever after,” she concedes, accepting this small piece of the Grimms’ fantastical world, “the point, gentlemen, is that they lived.” Show Full Article

i don't know

Which 1968 sci fi classic was based on The Sentinel by Arthur C Clarke?

Arthur C. Clarke Biography (Writer) Birthplace: Minehead, Somerset, England Best known as: The author of 2001: A Space Odyssey Sci-fi superstar Arthur C. Clarke wrote the 1953 novel Childhood's End, which went on to become one of most popular and acclaimed science fiction novels of all time. Yet he is still better known for his 1968 novel 2001: A Space Odyssey (based on his own 1951 short story The Sentinel). Clarke worked with director Stanley Kubrick on the screenplay for the 1968 film, which is now regarded as a classic. Clarke has published hundreds of essays and short stories and over 75 novels, including the sequels 2010: Odyssey Two (1982), 2061: Odyssey Three (1988), 3001: The Final Odyssey (1997). Along with his literary work, he is credited with coming up with the idea for a real-life space success: geostationary communications satellites. Since 1956 he has lived in Sri Lanka. Clarke was knighted by Queen Elizabeth II in 1998. Arthur C. Clarke - The Authorized Biography was published by Neil McAleer in 1992. He died in the Indian Ocean country of Sri Lanka, his home since 1956. Extra credit: Clarke’s middle name is Charles… He was nominated for a screenwriting Oscar in 1969 for 2001: A Space Odyssey, but did not win; the winner that year was Mel Brooks for the comedy The Producers… Among Clarke’s literary creations is the fictional supercomputer Hal 9000 . Copyright © 1998-2017 by Who2?, LLC. All rights reserved. Advertisement Advertisement

2001: A Space Odyssey

Which tough guy played Mr. Freeze in Batman & Robin?

2001: a Space Odyssey (1968) - Film on Freeview @ viewfilm.net Our listings are provided by our friends over at nextfilm.co.uk . 2001: a Space Odyssey (1968) 7 Votes: 14 23:00-01:15 Wed 16th Dec 2015 135m BBC4 Synopsis Stanley Kubrick's quiet masterpiece probes the mysteries of space and human destiny. While investigating the appearance of mysterious monoliths throughout the universe, astronauts David (Keir Dullea) and Frank (Gary Lockwood) battle their ship's intelligent computer, HAL-9000. This epic sci-fi drama based on Arthur C. Clarke's story "The Sentinel" was nominated for four Academy Awards and won for its stunning special effects. Our Users Recommend

i don't know

What was the subtitle of Terminator 2?

Terminator 2: Judgment Day subtitles | 498 subtitles Movie ID:   Watch movies with subtitles using Open Subtitles MKV Player . It is free and clean, works under Windows. install opensearch for browser Results 1 - 40 >> of 498 (0.136 seconds) You can click on table header to sort results by column name Terminator 2: Judgment Day subtitles Buy at Amazon Movie details "It's nothing personal.". Nearly 10 years have passed since Sarah Connor was targeted for termination by a cyborg from the future. Now her son, John, the future leader of the resistance, is the target for a newer, more deadly terminator. Once again, the resistance has managed to send a protector back to attempt to save John and his mother Sarah. Movie rating: 8.5 / 10 (759156)

Last Judgment

Which 1996 film has its climax on 4th of July?

Terminator 2: Judgment Day | 1772 Subtitles in 48 Languages | SubtitleSeeker.Com 1 0 Rate Terminator 2 Judgment Day Terminator 2 Judgmenty Skynet Edition 1991 Bluray 720p DTSHD-x264CHD Sub as good 0 Rate Terminator 2 Judgment Day Terminator 2 Judgmenty Skynet Edition 1991 Bluray 720p DTSHD-x264CHD Sub as bad Podnapisi.net

i don't know

Which Apollo mission was filmed in 1995 with Tom Hanks?

Apollo 13 (1995) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error NASA must devise a strategy to return Apollo 13 to Earth safely after the spacecraft undergoes massive internal damage putting the lives of the three astronauts on board in jeopardy. Director: Hidden Figures and The Hope for More Real Science Stories 21 hours ago | FilmSchoolRejects.com a list of 33 titles created 24 Feb 2013 a list of 33 titles created 05 May 2013 a list of 36 titles created 24 Dec 2013 a list of 45 titles created 28 May 2014 a list of 21 titles created 18 Oct 2015 Search for " Apollo 13 " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 2 Oscars. Another 24 wins & 49 nominations. See more awards  » Videos A FedEx executive must transform himself physically and emotionally to survive a crash landing on a deserted island. Director: Robert Zemeckis When a man with HIV is fired by his law firm because of his condition, he hires a homophobic small time lawyer as the only willing advocate for a wrongful dismissal suit. Director: Jonathan Demme An eastern immigrant finds himself stranded in JFK airport, and must take up temporary residence there. Director: Steven Spielberg A murder inside the Louvre and clues in Da Vinci paintings lead to the discovery of a religious mystery protected by a secret society for two thousand years -- which could shake the foundations of Christianity. Director: Ron Howard The true story of Captain Richard Phillips and the 2009 hijacking by Somali pirates of the US-flagged MV Maersk Alabama, the first American cargo ship to be hijacked in two hundred years. Director: Paul Greengrass Two business rivals who despise each other in real life unwittingly fall in love over the Internet. Director: Nora Ephron A recently widowed man's son calls a radio talk-show in an attempt to find his father a partner. Director: Nora Ephron Harvard symbologist Robert Langdon works to solve a murder and prevent a terrorist act against the Vatican. Director: Ron Howard Two sisters join the first female professional baseball league and struggle to help it succeed amidst their own growing rivalry. Director: Penny Marshall After discovering that an asteroid the size of Texas is going to impact Earth in less than a month, N.A.S.A. recruits a misfit team of deep core drillers to save the planet. Director: Michael Bay A detective must adopt the dog of a dead man to help him find the murderer. Director: Roger Spottiswoode As Earth is invaded by alien tripod fighting machines, one family fights for survival. Director: Steven Spielberg Edit Storyline Based on the true story of the ill-fated 13th Apollo mission bound for the moon. Astronauts Lovell, Haise and Swigert were scheduled to fly Apollo 14, but are moved up to 13. It's 1970, and The US has already achieved their lunar landing goal, so there's little interest in this "routine" flight.. until that is, things go very wrong, and prospects of a safe return fade. Written by Rob Hartill Houston, we have a problem. Genres: Rated PG for language and emotional intensity | See all certifications  » Parents Guide: 30 June 1995 (USA) See more  » Also Known As: Apollo 13: The IMAX Experience See more  » Filming Locations: $200,645 (USA) (20 September 2002) Gross: Did You Know? Trivia The Saturn V rockets (used for launching the Apollo spacecraft) were 363 ft (110.8 Meters) tall, taller than the overall height of the Statue of Liberty. See more » Goofs Lovell is incorrectly shown taking off his space suit while Swigert is performing the Transpositon and Docking Maneuver. Due to the risk of a collision, all three astronauts would be fully suited for this maneuver. Note the transmission from Houstion just prior to this event: "We recommend you secure cabin pressurization at this time." This action is never done unless the crew is fully suited. See more » Quotes [Taken off the crew for a viral infection] Ken Mattingly : Well, I... damn. Medical guys. I had a feeling when they started doing all the blood tests that I... I mean I know it's their asses if I get sick up there but I mean JESUS! Written and Performed by Norman Greenbaum Courtesy of Trans/Tone Productions Made Me Want To Study The Real Apollo 13 Astronauts 17 February 2008 | by ccthemovieman-1 (United States) – See all my reviews This was a very well-done true story of a space mission that came extremely close to being a disaster, but the astronauts miraculously made it home safely. Except for some language problems, it's good storytelling and so interesting that it made me want to study the real Apollo 13 astronauts. The movie is fairly long at 140 minutes and there is not much "action" but there is a lot of suspense and first-rating acting, both of which should keep anyone's interest. Knowing this was a true story makes one all the more involved with it. You can usually count of Director Ron Howard putting out an interesting and well-photographed film. What also was interesting to me, too, was to see these actors, most of whom usually play volatile characters- or did prior to this film - act in such low-key roles. I refer to Ed Harris, Gary Sinise, Bill Paxton and Kevin Bacon. By the way, one of the young Lovell children was played by Miko Hughes, who became a co- star in a film - "Mercury Rising" - several years later. For such a tense story, with these astronauts lives on the line, none of the astronauts or people at NASA or anyone's family members are ever seeing praying throughout this ordeal! You can bet, in real life, a lot of prayers were answered on this mission. Overall, this is good movie-making and recommended. 39 of 46 people found this review helpful.  Was this review helpful to you? Yes

thirteen

In which film did Susan Sarandon play Sister Helen Prejean?

APOLLO 13 HOW OTHERS RATED THIS MOVIE OUR TAKE: 9 out of 10 In what was one of the best films of 1995 and one of the better of the 1990's, Apollo 13 is nearly a flawless film. Filled with emotion, drama and suspense, it harkens back to the days when America was just starting to become cynical, but still had that "can do" attitude. With the crisis that developed, the families, the NASA family, and the nation came together to hope, pray and work together to bring the three men back from outer space. And director Ron Howard captures those emotions and dramatic intensity in this amazing film that's uplifting, suspenseful and just plain fun to watch. But what Howard captures best is the time and feeling when NASA astronauts were living legends and heroes to the public, which is certainly gone in today's world. The only post-release drawback to the film is that Ed Harris didn�t win the Oscar for best supporting actor. He created a character with a positive attitude that was unmatched in intensity. The rest of the performances are outstanding and Hanks finishes off his "acting trifecta" ("Philadelphia" and "Forrest Gump" being parts one and two) and proves that he's one of the most versatile actors working today. You'll be hard pressed to find a film that's as good at "Apollo 13" and we give it a big 9 out of 10. OUR WORD TO PARENTS: While there is a good amount of profanity (the worst being 10+ "s" words), most of it occurs under tense situations and is somewhat to be expected (and certainly could have, and historically may have been worse). The tense scenes might be another concern, especially if younger children are concerned that their parents� work is dangerous and something like this might happen to them. The movie, however, has many positive moments, especially with the families coming together for support and the extended NASA family having the "can do" attitude. While little kids probably won�t want to see this, we say it�s a must see for older children. While there�s not much to object to, we do suggest that you check out the category listings to determine if that�s true for you and your family. People drink champagne at the moon walk party and later Marilyn asks Jim if he's drunk. He says he is and that he's not used to the champagne. She also appears to be somewhat inebriated. Many empty beer cans are seen around Ken as he watches TV.

i don't know

In which city does the action of the 1998 movie Godzilla take place?

Godzilla (1998 film) | The American Godzilla Wiki | Fandom powered by Wikia Godzilla: The Series  (1998-2000) Godzilla (also titled GODZILLA and Godzilla - The Movie) is a 1998 science fiction monster disaster film co-written and directed by Roland Emmerich . It is a loose remake of the 1954 giant monster film classic Gojira and its 1956 Americanized version Godzilla, King of the Monsters! . The storyline was conceived from a screenplay written by Emmerich and Dean Devlin . The film relates to a fictional tale involving a nuclear incident in the South Pacific which causes an abnormal mutation to occur in a reptile. The beast migrates to North America and wreaks havoc on Manhattan . Incorporated in the plot is the character of Dr. Niko "Nick" Tatopoulos , played by actor Matthew Broderick . Tatopoulos, an American scientist whose work involves the effects of exposed nuclear radiation on species; is recruited by the military to help contain and subdue the creature referred to as " zilla ". The ensemble cast also features Maria Pitillo , Hank Azaria , Kevin Dunn , along with French actor Jean Reno in principal supporting roles. The film was a co-production between the motion picture studios of Centropolis Entertainment and TriStar Pictures . It was commercially distributed by TriStar Pictures theatrically, and by Sony Pictures Entertainment for home media. Godzilla explores nuclear mutation, crisis management and military warfare. [2 ] Following its wide release in theaters, the film won and was nominated for multiple mainstream awards, including Saturn Award nominations for Best Special Effects, Best Fantasy Film, and Best Director. The film also won the People's Choice Award in the category of Best European Director for Emmerich from the European Film Awards. On May 19, 1998, the Original Motion Picture Soundtrack was released by the Epic Records label. It features songs written by several recording artists including The Wallflowers , Rage Against the Machine , Silverchair , and the Foo Fighters . The film score was composed and orchestrated by musicians David Arnold and Nicholas Dodd . Godzilla premiered in theaters nationwide in the United States on May 20, 1998 grossing $136,314,294 in domestic ticket receipts. It earned an additional $242,700,000 in business through international release to top out at a combined $379,014,294 in gross revenue, but despite this it was considered a disappointment at the box office [3 ]. The widescreen DVD edition of the film featuring theatrical trailers, scene selections, and selected commentary, among other highlights was released in the United States on November 3, 1998. The film spawned an animated television spin-off sequel, titled Godzilla: The Series , which premiered September 12, 1998 on the Fox Kids network. Contents [ show ] Plot Following a nuclear test in French Polynesia in the early 70's, an iguana nest is irradiated by the fallout of subsequent radiation, and all but one egg survives. Decades later, a Japanese fishing vessel is suddenly attacked by an enormous sea creature in the South Pacific ocean; only one seaman survives. Traumatized, he is questioned by a mysterious Frenchman in a hospital regarding what he saw, to which he replies one word, "Gojira". [2 ] Dr. Niko "Nick" Tatopoulos ( Matthew Broderick ), an NRC scientist, is in the Chernobyl exclusion zone in Ukraine researching the effects of radiation on wildlife, but is suddenly interrupted by the arrival of an official from the U.S. State Department . He is sent to Tahiti and Jamaica , escorted by the military, to observe the wreckage of the recovered Japanese fishing trawler with massive claw marks on it. The Frenchman is also present, observing the scene, and introduces himself as Philippe Roaché ( Jean Reno ), an insurance agent. Aboard a military aircraft, Nick identifies skin samples he discovered in the shipwreck as belonging to an unknown species. He dismisses the military's theory that the creature is a living dinosaur, instead deducing that it is a mutant created by nuclear testing. The large reptilian creature dubbed as " Godzilla " by the media (or more specifically by  Charles Caiman ), travels to New York City leaving a path of destruction in its wake. The city is evacuated as the military attempts to kill it but fails in an initial attempt. Dr. Tatopoulos later collects a blood sample and learns that Godzilla reproduces asexually and is collecting food for its offspring. Aspiring journalist and ex-girlfriend of Dr. Tatopoulos, Audrey Timmonds ( Maria Pitillo ), uncovers a classified tape in his provisional military tent which concerns the origins of the lizard. Her superior Charles Caiman ( Harry Shearer ) however, declares the tape as his own media discovery. The tape is broadcast on television embarrassing the military on the sensitive nature of the situation. Dr. Tatopoulos is thrown off the team but is kidnapped by Roaché, who reveals himself to be an agent of the DGSE , the French foriegn intelligence agency. He and his colleagues have been keeping close watch on the events and are planning to cover up their role in the nuclear accident that spawned the creature. Suspecting a nest somewhere in the city, they cooperate with Dr. Tatopoulos to trace and destroy it. [2 ] Following a chase with Godzilla, the creature dives into the Hudson River where it is attacked by a Navy submarine. After sustaining head-on collisions with torpedoes, the beast sinks after being rendered incapacitated. Believing it is finally dead, the authorities celebrate. Dr. Tatopoulos and Roaché's special operations team, covertly followed by Timmonds and her cameraman Victor "Animal" Palotti ( Hank Azaria ), make their way through underground subway tunnels to Madison Square Garden . There, they locate numerous eggs, having finally found the nest. As they attempt to destroy them by planting explosives, the eggs suddenly hatch. Sensing the human intruders as food, the Baby Godzillas begin attacking them. Dr. Tatopoulos, Timmonds, Animal, and Philippe take refuge in the coliseum's broadcast booth and send a live news report to alert the military of what will happen if the lizards escape. A prompt response involving an airstrike is initiated as the four escape moments before the arena is bombed. Godzilla however, survived the torpedo attack earlier underwater and emerges from the venue's ruins. Discovering all of its offspring dead, it roars in anger and chases Dr. Tatopoulos, Roaché, Timmonds and Palotti through the streets of Manhattan . In pursuit of the quartet, Godzilla eventually makes its way to the Brooklyn Bridge . The creature helplessly becomes trapped in its steel suspension cables, making it an easy target. After being attacked by military aircraft, it falls to the ground and slowly dies. Meanwhile, amidst the Garden's ruins, a lone egg has survived the aerial bombardment and begins to hatch. [2 ] Cast as Godzilla  (creature vocals) Development In October, 1992, the American company TriStar Pictures bought the rights to the Godzilla-character from Toho Co., Ltd. and came to an agreement to produce a trilogy of Godzilla-films and that a sequel should be released within five years of the release of the first film. The first film was to be released by Sony subsidiary TriStar Pictures in the summer of 1994. In May 1993 producer Cary Woods hired Ted Elliot and Terry Rossio (the writers of Aladdin, Shrek, Pirates of the Carribean) to write the screenplay for  Godzilla (1994 film) . After months of fruitless searching for a director, the studio signed Jan DeBont (fresh off the Keanu Reeves/Sandra Bullock hit Speed) in July, 1994. DeBont began pre-production on Godzilla for a summer 1996 release, but quit the film at the end of 1994 when Sony would not approve his budget request. With no director attached to the project, TriStar’s Godzilla went into production limbo for the next year. [1]  Main article: Godzilla (1998 script) Prior to the release of their much anticipated Independence Day (1996), producer Dean Devlin and director Roland Emmerich agreed to make Godzilla under the condition that their production company Centropolis Entertainment would have the freedom to do the movie “their way”. The duo discarded the script and preliminary work done for DeBont’s aborted version. Emmerich had designer Patrick Tatopoulos (Stargate, Pitch Black, Underworld) create a totally new look for the monster; a slim, fast-moving creature taking inspiration from iguanas (mainly Green Iguana and Marine Iguana), crocodiles and ostritches. Tatopoulos explains that Godzilla's legs are dinosaur-legs which he created after looking on the legs on birds such as the ostritch. He also stated that his Godzilla-design is like what a traditional legendary fire-breathing dragon would have looked like in real life. Toho gave their approval for the changes made to Godzilla saying they "love this design", and the film was finally scheduled for May 19, 1998. Based on the popularity of Godzilla and the blockbuster success of Independence Day, Devlin and Emmerich’s Godzilla was predicted to be the top box office hit of 1998. [2] Designs Patrick Tatopoulos was contacted early on by Emmerich and asked to design the new Godzilla . According to Tatopoulos, the only specific instructions Emmerich gave him was that it should be able to run incredibly fast. [3] Godzilla, originally conceived as a robust, erect-standing, plantigrade reptilian sea monster, was reimagined by Tatopoulos as a lean, digitigrade bipedal iguana that stood with its back and tail parallel to the ground. Godzilla's color scheme was designed to reflect and blend in with the urban environment. [3] At one point, it was planned to use motion capture from a human to create the movements of the computer-generated Godzilla, but it ended up looking too much like a human in a suit. [4] Conceptual artwork Add a photo to this gallery Modeling and robotics The final fate of Godzilla : The remains of the 1/6 scale animatronic Godzilla rusts away on the Sony backlot. Photo by Bob Johnson. © 1998 Toho Co., Ltd./TriStar Pictures, Inc. Add a photo to this gallery Filming When it came to filming scenes on the Kualoa Ranch in Oahu, Hawaii, where films like Jurassic Park and Pearl Harbor also have been filmed, several gigantic artificial footprints of Godzilla were created. [5] Today this site has been part of a TV and movie-tour on the island. [6] Add a photo to this gallery Music and sounds The soundtrack for the 1998 film was composed by David Arnold . The sounds and roars of Godzilla and the Baby Godzilla were made by Frank Welker . Promotion During 1998, prior to the release of Godzilla, several advertisements for the film could be seen everywhere. Ads on a FLXIBLE 9322 bus said "His foot is as long as this bus." [7]  Several trailers, teasers and TV-spots also aired on television to promote the new film. Flxible 9322 on route 22 at the Eastridge Transit Center in May 1998 is wrapped for the Godzilla movie. Flxible 9322 on route 22 at the Eastridge Transit Center in May 1998 is wrapped for the Godzilla movie. Flxible 9322 on route 22 at the Eastridge Transit Center in May 1998 is wrapped for the Godzilla movie. Flxible 9322 on route 22 at the Eastridge Transit Center in May 1998 is wrapped for the Godzilla movie. Flxible 9322 on route 22 at the Eastridge Transit Center in May 1998 is wrapped for the Godzilla movie. Godzilla Hershey's Twizzlers counter display. Godzilla Sprint ad page. Release Theatrical run In interviews promoting The Day After Tomorrow, Emmerich admitted regretting the production of Godzilla, particularly due to the rushed shooting schedule that was required for a Memorial Day weekend release and the studio's insistence on not test-screening the film. However, he defended the film as better than critics gave it credit for, as it was financially successful, and out of all the films he directed, it was the one which parents told him their children enjoyed the most. [10] At its release, the film was much criticized by Godzilla fans the world over. Kenpachiro Satsuma, the actor who portrayed Godzilla in the second series of films (1984–1995) walked out of a Tokyo screening and told reporters that, "It's not Godzilla, it does not have the spirit". [11] Godzilla was initially projected to break the four-day Memorial Day long weekend opening record of $90,161,880 set by The Lost World: Jurassic Park a year earlier. [10 ] Instead, Godzilla's four-day opening weekend gross returned $55,726,951 in ticket sales. [11 ] 00:35 GODZILLA® (1998) - Interview with Doug Savant at the 1998 Premiere Screening Home media Following its cinematic release in theaters, the Region 1 widescreen edition of the film was released on DVD in the United States on November 3, 1998. Special features for the DVD include; photo galleries, visual effects and special FX supervisor commentaries, the music video of "Heroes" by The Wallflowers, Behind the Scenes of Godzilla with Charles Caiman, theatrical trailers, a featurette, director/producer and cast biographies, a photo gallery, music video, and Godzilla Takes New York (before and after shots). [12] Additionally, a special edition DVD was also released by Sony Pictures Home Entertainment on March 28, 2006. The DVD contains all of the above features as well as the "All-Time Best of Godzilla Fight Scenes" featurette, 3 episodes from Godzilla: The Animated Series, and a "never-before-seen" production art gallery. [13] The widescreen high-definition Blu-ray Disc version of the film was released on November 10, 2009. Special features include the visual effects commentary, the "Behind the Scenes of Godzilla with Charles Caiman" and "All Time Best of Godzilla Fight Scenes" featurettes, as well as the music video of "Heroes" by The Wallflowers. [14] A supplemental viewing option for the film in the media format of video on demand is available as well. [15] The film was re-released on Blu-ray 1080p "Mastered in 4K" format on July 16, 2013. [16] Reception Critical response Among mainstream critics in the U.S., the film received generally negative reviews. [17] Rotten Tomatoes reported that only 25% of 63 sampled critics gave the film a positive review, with an average score of 4.7 out of 10. [18] At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film received a score of 32 based on 23 reviews. [17] In 1999, at the Huntley Hotel Garden Room in Santa Monica, California, the film won Golden Raspberry Awards for Worst Supporting Actress for Pitillo and Worst Re-Make or Sequel. The film was also nominated for Worst Picture, Worst Director, and Worst Screenplay. [19] Film critic Aladino Debert of Variety was consumed with the nature of the special effects exclaiming, "the title creature is wonderfully designed and the animation is excellent." Complimenting the technical aspects of the film, he summarized, "The integration of the lizard into its surroundings is for the most part very well accomplished, with rigged cars collapsing under the massive weight of Godzilla, and buildings either demolished or partially damaged. The compositing of the debris and pyrotechnics is generally good, especially when the monster runs or walks on the streets: The asphalt gives way convincingly every time the massive feet touch the ground, and a variety of CGI elements are seamlessly composited. Debris flies off buildings with every touch of the monster." [30 ] Rotten Tomatoes reported that 26% of 61 sampled critics gave the film a positive review, with an average score of 4.7 out of 10. [16 ] At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film received a score of 32 based on 23 reviews. [17 ] The film earned five Golden Raspberry Award nominations in 1999, including Worst Picture, Worst Director (Roland Emmerich) and Worst Screenplay. It won in the categories of Worst Supporting Actress for Maria Pitillo and Worst Remake or Sequel (tied with The Avengers and Psycho). [18 ] "Roland Emmerich and Dean Devlin's big-budget lizard-stomps-Manhattan disaster flick has been written with the brain dead in mind. The script isn't just "dumbed down," it's lobotomized. Godzilla lives and dies on special effects alone." —James Berardinelli, writing in ReelViews [20] Barbara Shulgasser, writing in The San Francisco Examiner, said in a one star review, "OK. Maybe the special effects are slightly more sophisticated than they were in Jurassic Park, but the techno-stuff is all getting a bit boring. When a movie is nothing but relentless action, there's little chance for dramatic tension to develop." She wrote that the film was, "devoid of any discernible plot logic." [21] Mick LaSalle in the San Francisco Chronicle, wrote that the film was "an overblown action monstrosity with no surprises, no exhilaration and no thrills... What passes for thrills is a succession of scenes lifted and extended from Jurassic Park and The Lost World. Godzilla, shot mostly from the waist down, steps on cars and strafes the sides of buildings with his tail." [22] Rita Kempley of The Washington Post, said the film "neither draws upon our fears nor revels in the original's camp charms. The picture really isn't about anything unless it is the deep pockets and shallow minds of the honchos who begat this colossal bore." She wrote further, "Size vanquishes both substance and subtlety in the overhyped, half-cocked and humorless resurrection of dear old Godzilla. It might well be titled Iguana Get You Sucka [23] The film however, was not without its supporters. Kevin Thomas of the Los Angeles Times, wrote that the film was an "An expertly designed theme park ride of a movie that packs nonstop thrills." [24] In a slightly positive fashion, Gary Kamiya of Salon.com commented that "The plot is about as ridiculous as you'd expect, but for the most part its absurdities are tolerable." [25] Joe Leydon of Variety, contributed mildly to the positive sentiment by saying "Throughout Godzilla, New York endures the most sustained rainfall in all of movie history. Most of the action takes place at night, but even the daytime scenes unfold under darkly overcast skies, which, of course, makes it all the easier for Emmerich to obscure Godzilla's features for the maximum amount of time to generate the maximum amount of suspense." [26] Writing for the Chicago Sun-Times, Roger Ebert gave the film one-and-a-half stars out of four, bluntly noting that "One must carefully repress intelligent thought while watching such a film. The movie makes no sense at all except as a careless pastiche of its betters (and, yes, the Japanese Godzilla movies are, in their way, better - if only because they embrace dreck instead of condescending to it). You have to absorb such a film, not consider it. But my brain rebelled, and insisted on applying logic where it was not welcome." [27] In an entirely negative review, James Berardinelli writing for ReelViews, called the film "one of the most idiotic blockbuster movies of all time, it's like spitting into the wind. Emmerich and Devlin are master illusionists, waving their wands and mesmerizing audiences with their smoke and mirrors. It's probably too much to hope that some day, movie- goers will wake up and realize that they've been had." [20] Stephen Holden of The New York Times wrote that the film "is so clumsily structured it feels as if it's two different movies stuck together with an absurd stomping finale glued onto the end. The only question worth asking about this $120 million wad of popcorn is a commercial one. How much further will the dumbing down of the event movie have to go before the audience stops buying tickets?" [28] "In Howard Hawks' "The Thing," there is a great scene where scientists in the Arctic spread out to trace the outlines of something mysterious that is buried in the ice, and the camera slowly pulls back to reveal that it is circular — a saucer. In"Godzilla," the worm expert is standing in a deep depression, and the camera pulls back to reveal that he is standing in a footprint. Which he would have already known." —Roger Ebert, writing for the Chicago Sun-Times [27] Michael O'Sullivan of The Washington Post queried, "The question is this: Are the awe-inspiring creature effects and roaring battle scenes impressive enough to make you forget the stupid story, inaccurate science and basic implausibility?" Thoughtfully disillusioned, he wrote, "The cut-rate cast seems to have been plucked from the pages of TV Guide. There's Doug Savant from Melrose Place as O'Neal, a scaredy-cat military man who looks like Sgt. Rock and acts like Barney Fife . There's Maria Pitillo (House Rules) as Nick's soporific love interest, Audrey; The Simpsons‚ Hank Azaria and Harry Shearer as a wise-cracking news cameraman and superficial reporter; Vicki Lewis of NewsRadio as a lusty scientist. Shall I continue?" [29] However, in a more upbeat tone, Owen Gleiberman writing for Entertainment Weekly thought "There's no resonance to the new Godzilla, and no built-in cheese value, either. For a while, the filmmakers honor the sentimental paradox that seeped into the later Godzilla films: that this primitive destroyer, like King Kong, doesn't actually mean any harm." He opined that the film contained "some clever and exciting sequences", but ultimately came to the conclusion that, "It says much about today's blockbuster filmmakers that they could spend so much money on Godzilla and still fail to do justice to something that was fairy-tale destructo schlock to begin with." [30] Film critic Aladino Debert of Variety was consumed with the nature of the special effects exclaiming, "the title creature is wonderfully designed and the animation is excellent." Complimenting the technical aspects of the film, he summarized, "The integration of the lizard into its surroundings is for the most part very well accomplished, with rigged cars collapsing under the massive weight of Godzilla, and buildings either demolished or partially damaged. The compositing of the debris and pyrotechnics is generally good, especially when the monster runs or walks on the streets: The asphalt gives way convincingly every time the massive feet touch the ground, and a variety of CGI elements are seamlessly composited. Debris flies off buildings with every touch of the monster." [31] Toho says the biggest difference between the Japanese and the United States versions is the "overwhelming speed" of the Hollywood dinosaur, which bounds on sinewy legs through the highrises of the Big Apple. Kenpachiro Satsuma, who has worn the Godzilla suit in sevenfilms between 1984 and 1995, says Hollywood "should have followed the original form". "I'm not pleased about this computer-graphic thing being called Godzilla", he toldNewsweek. Others have said the new Godzilla was not as fearless as his predecessor. Film director Shusuke Kaneko told SPA "it is interesting the United States version runs about trying to escape missiles", while Japan's Godzilla stoically stood against military attack. "They seem unable to accept a creature that cannot be put down by their arms", Kaneko observed. Noriaki Ikeda, a special effects critic, praised the Hollywood remake, which he said "energetically smashed the ceiling of visual impact for monster films". Toho says it is unfair that some Japanese suddenly claim Godzilla as their own after having for years dismissed the monster as childish. "Hollywood realised the sophisticated computer graphics and other technically impossible things here in Japan", said Masahiko Suzuki of Toho's marketing division, suggesting that Godzilla's life had run its course and it was time for a fresh, imaginative take. "The film is enjoyable even for long-time Godzilla fans", he said. [32] Veteran Godzilla actors, Haruo Nakajima and Kenpachiro Satsuma were also critical of the film and its character. Nakajima stated "its face looks like an iguana and its body and limbs look like a frog." [33] Satsuma walked out of the Japanese premiere of the film and commented, "it’s not Godzilla, it doesn’t have his spirit." [34] The "Godzilla" on the film was considered so different from the original Godzilla that the term GINO (acronym for Godzilla In Name Only) was coined by critic Richard Pusateri to distinguish the character apart from the original Godzilla [35] however, Toho (Godzilla's parent owners) later recognized the creature as a totally different monster and officially renamed it as Zilla for later appearances only. [36] [37] [38] In a 2012 interview with Entertainment Weekly, co-writer and producer Dean Devlin commented, "I know I screwed up my Godzilla. I'd be very happy if they pull it off and do a great one. I always wish I had another shot at it. But, listen, Godzilla is something that I grew up loving. We worked hard to go make one. We kind of blew it. I think everyone gets one." [39] In an interview with Bloody Disgusting, Devlin blamed the script he and director Emmerich co-wrote, stating, "I think the problem with that movie was the script I wrote. I think Roland did an amazing job directing it, I think the actors are great, I think when people look back now on the Blu-ray and see the visual effects, it's a lot better than what people said at the time. The problem was the script! I made some big errors in that script. I wish I hadn't, I wish I had a chance to fix it." [40] When asked about his thoughts on Gareth Edwards' upcoming Godzilla film , Devlin has expressed his support of the project, having said, "I'm happy. You know, to get another shot at getting that one right, I understand why they want to do it, and I really hope the best (for them). I hope they get it right." [41] He also added, "I wish them nothing but the best. I would love it if the whole Godzilla franchise was revitalized for a new generation." [42] Interview To kick off the events of G-CON'98, long time kaiju fan Aaron J. Smith arranged with the SciFi Channel an online interview with Godzilla suitmation actors Haruo Nakajima and Kenpachiro Satsuma: "Moderator: Welcome. Moderator: Before we begin, will you introduce yourself Gcon98 and explain how things are working on your end? Gcon98: This is Jim posting from the location of G-CON `98 in Chicago. I have with me Mr. Haruo Nakajima and Gcon98: Mr. Kenpachiro Satsuma, the Men Who Were Godzilla. Moderator: We`re very pleased to present two actors who have brought to life The King of All Monsters for moviegoers around the world. Moderator: Haruo Nakajima who originated the role of Godzilla in 1954. Moderator: And Kenpachiro Satsuma who portrayed Godzilla for over a decade. Gcon98: We have a translator who will translate their answers to your questions. Gcon98: I will identify who is answering. Moderator: Gentlemen, would you please say hello and tell the fans a little bit about Moderator: yourselves and your work? Gcon98: Mr. Nakajima: Thank you very much for your warm-hearted interest in Godzilla. Gcon98: Mr. Satsuma: My dear American Godzilla fans, thank you very much for inviting us to the United States this year. Gcon98: Mr. Satsuma: If we have a chance, hopefully we will have time to talk to create US-Japan Godzilla. Gcon98: Mr. Nakajima: We are deeply expecting to see you at G-CON `98 on the 23rd and 24th! Gcon98: Mr. Nakajima: In that case, let`s talk about OUR Godzilla as detailed as we can... Gcon98: Jim: Please ask any questions that you have... Moderator: First, the question everyone wants to ask... Moderator: to : For both: what is their opinion of the new, Hollywood version of Godzilla? Gcon98: Neither Mr. Nakajima and Mr. Satsuma have seen the new film as of yet. Gcon98: They will see it tommorrow night. Gcon98: Do you want to know their impressions of what they have seen so far? Moderator: to : Mr. Satsuma, Mr. Nakajima, Have you seen a photo of the new Godzilla? If so how do you feel about it? And I thank both of you for all the years of great fun you have given me! Gcon98: Mr. Nakajima: To me, its face looks like an iguana and its body and limbs look like a frog. Gcon98: Mr. Satsuma: Honestly speaking, I am a bit disappointed. Gcon98: Mr. Nakajima: As long as we see its legs, it seems to have an ability to run fast... Moderator: to : Did you have fun playing `Godzilla?` Gcon98: Mr. Nakajima: Absolutely! Gcon98: Mr. Satsuma: It is painstaking, but worth doing... Moderator: to : What animal in nature did the actors most Identify with when playing G? Gcon98: Mr. Nakajima: In my case, in the zoo I observed bears, monkeys and anything big like an elephant. Gcon98: And I studied the movements of these animals. Gcon98: Bears movements, especially really helps me to act as Godzilla. Gcon98: And for the leg movements, elephants really helped. Gcon98: Mr. Satsuma: I studied no particular living animal. I just imagined the Satsuma Godzilla alone. Moderator: to : I would like to know what motivated Godzilla to attack Tokyo. Was it just animal instinct or was he just passing through and didn`t mean to cause mass destruction? Gcon98: Mr. Nakajima: This is a question you`d better ask the scriptwriters! Gcon98: Mr. Satsuma: Since it is a Japanese brand monster, it is obvious that it attacked Tokyo, the center of society, culture and everything in Japan. Moderator: to : How much lattitude did the directors allow the actors in their role as Godzilla? Any creative stomping around? Gcon98: Mr. Nakajima: About 50% planned and 50% my improvisation. Gcon98: Mr. Satsuma: In my case, it is 90% my creation! Moderator: to : Which, of all of the 22 Japanese films, do they think best represents the Godzilla mythos? Gcon98: Mr. Nakajima: All 22 films! Gcon98: I`ll tell you why: all 22 scripts are treated by the directors, cast and staff as best as possible. Gcon98: Mr. Satsuma: In terms of monster performance, I really love the battle sequence in the Ashinoko Lake in Godzilla vs. Biollante. Gcon98: Although its quality is not as high as that sequence, Godzilla vs. Destroyah -- it is a very painstaking and impressive one. Moderator: to : What was the biggest challenge in playing Godzila? Gcon98: Mr. Satsuma: In Godzilla vs. Space Godzilla, the sequence in which Godzilla emerges from the sea to the coast looking for Little Godzilla. Gcon98: Mr. Nakajima: Since I did everything I could in all Godzilla movies, I can hardly answer which one was most difficult. All works were challenging! Moderator: to : what methods did you use to help cool yourself while in those massive rubber suits Gcon98: Mr. Nakajima: There was no air conditioning at that time. Fighting spirit was the only method to keep me cool until the end of each scene. Gcon98: Mr. Satsuma: I didn`t have any method to cool myself. Exactly the same as Mr. Nakajima with one exception: my studio was air conditioned. Moderator: to : Were there a lot of animatronics in the suits, and did you have to operate them yourselves? Gcon98: Mr. Nakajima: The mouth, eyes are remote controlled. The tail was hung by wire and the staff did not control the tail; the staff just followed my actions. Gcon98: Mr. Satsuma: The mouth, eyes and neck movements were remote controlled. The tail is the same as Mr. Nakajima; the staff just followed my actions. Moderator: to : Do either one of you feel suitmation has reached its limit? Do you ever see an end to the traditonal kaiju film? Moderator: (for those who have recently joined us, please send your questions as private messages to me - /msg Moderator) Gcon98: Mr. Nakajima: I never think that the traditional style of kaiju films will end. Gcon98: The limitations of monster suit expression totally depends on the script. Gcon98: Once you receive the script, it is the actor`s duty to expand the expression as much as you can. Gcon98: Mr. Satsuma: I never think it can end either. Gcon98: With one condition: just with much lighter monster suits, you can expand the possibilities of expression. Gcon98: . Moderator: to : Did any of these gentlemen ever suffer injuries while playing GODZILLA on the set?? Gcon98: Mr. Nakajima: Although I once got burned in the shooting, it is confidential, so I can`t tell you which film it is! Gcon98: Mr. Satsuma: I was about to die countless times; I could just about see the gate of Hell several times!! Moderator: to : Mr. Nakajima: What did you think of the idea of Godzilla when you first were asked to play him in 1954? Gcon98: ONe example from last question... Gcon98: Mr. Satsuma: Falling into the water pool due to the loss of oxygen; you are automatically going to drown. I am sorry I can`t tell you which film because Gcon98: I did experience these types of things several times in one film! Gcon98: Okay, Guyver`s question... Gcon98: Mr. Nakajima: Up until that time, there was no kaiju genre; so, all I could do was just imagine it myself. Moderator: to : What was your favorite monster that Godzilla faces? Gcon98: Both gentlemen think that these are very good questions! Gcon98: Mr. Nakajima: Mr. Sekita, another monster actor, was the best match for me, so the monsters that he played such as Ebirah, Gorosaurus and MechaniKong and Sanda are my favorite monsters. Gcon98: Mr. Satsuma: I love all rivals of Godzilla that I fought because they are all my students (the actors who played the other monsters). Moderator: to : Did you play any of the other Monsters that appered in Godzilla Movies ? Gcon98: Mr. Nakajima: I played Rodan, King Kong, Gaira, Varan, Baragon... Gcon98: Even the huge rat, man-bat and gryphon in Latitude Zero. Gcon98: I also played many monsters and robots in the Ultra series. Gcon98: Mr. Satsuma: I also played Gigan and Hedorah (the Smog Monster) before I played the Heisei Godzilla. Moderator: to : so is there any hint that there may be a new kaiku film from Toho featuring one of you as the new young Godzilla we saw in the Destroyah movie Gcon98: A little more from Mr. Satsuma on the last question... Gcon98: Mr. Satsuma: I also played the eight headed serpent in Yamato Takeru and I also did Pulgasary, the North Korean monster movie. Gcon98: Mr. Nakajima: No. Gcon98: As you know, I am a bit too aged; I am now sorry to say I am 69 years old! Gcon98: Mr. Satsuma: I completed my work as a Godzilla actor; I already officially declared retirment as a Godzilla actor. Moderator: to : What was it like to work with Ishiro Honda? Gcon98: Mr. Nakajima: He was truly a gentleman; he never showed any anger toward his staff nor the cast. Moderator: to : How much of yourself is in the big guy`s character? Gcon98: Mr. Nakajima: As long as I receive the script, I have to make myself 100% Godzilla! Gcon98: When you see Godzilla on screen, you can not calculate how much is me and how much is Godzilla. Gcon98: Mr. Satsuma: 150% of myself is expressed on the screen. Gcon98: I become Godzilla totally. Moderator: One final question: Moderator: to : Why do you think Godzilla has developed such a vast amount of fans from all over the world? Moderator: Thank you both for taking the time out of your busy U.S. schedule to chat with Moderator: Godzilla fans on the Internet. Moderator: (oops, that was early. ;) Gcon98: Mr. Nakajima: As an actor, all I can say is that I did my very best in each film. Telling you the reason why is beyond my comprehension. Gcon98: GODZILLA ALONE KNOWS THE ANSWER! Gcon98: Mr. Satsuma: Though I can think of several reasons (like Godzilla`s nuclear theme) for the huge popularity throughout many generations and lanuguages, Gcon98: all I can say is THE VICTORY OF IMAGINATION!!! Moderator: Thanks again for coming online with us to chat with Godzilla fans all over the world. Gcon98: Mr. Nakajima: My deepest thank you to fans all over the world. Gcon98: Please keep loving Toho movies in the future! Gcon98: Mr. Satsuma: All I can say is thank you. If we have another chance, I would like to know the impression of the American Godzilla film on fans all over the world. Gcon98: G-Con: Thank you very much to Sci-Fi for allowing the Men Who Played Godzilla to chat with their fans. Gcon98: Thank you also to Aaron J. Smith who organized this chat." [43] Awards, accolades and nominations The film was nominated and won several awards in 1998–99. Award Nominated Box office Godzilla premiered in cinemas on May 20, 1998 in wide release throughout the United States for the Memorial Day holiday weekend. [1 ] During that 4-Day period, the film opened in 1st place grossing $55,726,951 in business showing at 3,310 locations. [11 ] The film Deep Impact opened in 2nd place during that weekend with $19,381,788 in revenue. [11 ] The film's revenue dropped by 59% in its second week of release, earning $18,020,444. For that particular weekend, the film remained in 1st place as the romantic drama Hope Floats overtook Deep Impact for 2nd place with $14,210,464 in box office business. [39 ] During its final week in release, Godzilla opened in 19th place grossing $202,157. For that weekend, Lethal Weapon 4 starring Mel Gibson made its debut, opening in 1st place with $34,048,124 in revenue. [40 ] Godzilla went on to top out domestically at $136,314,294 in total ticket sales through an 8-week theatrical run. Internationally, the film took in an additional $242,700,000 in business for a combined worldwide total of $379,014,294. [1 ] For 1998 as a whole, the film worldwide would cumulatively rank at a box office performance position of 3, behind Saving Private Ryan and Armageddon. [41 ] Legacy and sequels Cancelled sequels Two sequels to "Godzilla" were planned,  Godzilla 2  and  Godzilla 3 , but they were cancelled after falling into development hell and because of TriStar's rights to the Godzilla-character expired in 2003. Animated series Main article: Godzilla: The Series An animated series called "Godzilla: The Series" was produced as a continuation of the storyline of the film. In the series, Dr. Tatopoulos accidentally discovers the egg that survived at the end of the film before it hatches, in a minor change from the ending of the film. The creature hatches after Niko stumbles onto it and assumes Dr. Tatopoulos as its parent. Subsequently, Dr. Tatopoulos and his associates form a research team, investigating strange occurrences and defending mankind from dangerous mutations. [42 ] Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack Godzilla '98  was briefly referenced in the 2003 film Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack as a fan-service. Godzilla: Final Wars The American Godzilla species made its latest appearance on film when the new character Zilla made its first and last appearance in the 2004 film Godzilla: Final Wars . Zilla was created by the director Ryuhei Kitamura exclusively for Final Wars to please dissatisfied fans, unfortunately it went as far as that the fans misinterpreted Zilla as a canonization of the American Godzilla and as a name change of all American Godzilla characters, but Zilla is officially a different character with a different name. Reboot An American reboot on the Godzilla-franchise is planned for a summer 2014 release in 3D. There were rumours that the reboot was a sequel to the 1998 film, yet has been claimed to be more close to the Japanese Godzilla character rather than the American Godzilla. The film will show the creature currently known as Godzilla (2014) . Trivia Three voice actors from the comedy series The Simpsons appear in the film: Harry Shearer , Nancy Cartwright  and Hank Azaria . Dean Devlin maintains that the tagline for this movie, "Size Does Matter", was meant simply to differentiate the movie from Jurassic Park, hence the original "museum" trailer, but that the advertisers for the studio took it too far with their overzealous campaign (e.g. "His foot is as long as this bus"). The ads became the biggest focus of the backlash against the movie. The film's first teaser trailer began appearing in theaters a full year before the movie was released. The trailer featured a shot of Godzilla 's foot coming through the roof of a museum and crushing a T-rex skeleton. This scene was cut from the final version of the movie. It cost $600,000. [44] The film is dedicated to Tomoyuki Tanaka , who produced all of the Japanese Godzilla movies and died only a month before this film began actual production. [45] Matthew Broderick's character's last name is "Tatopoulos." Godzilla's designer and supervisor is Patrick Tatopoulos. The first sequence of the AH64-Apache gunships chasing after Godzilla through the streets references both Star Wars: Episode V - The Empire Strikes Back with the line, "Echo 4 to Echo Base", and Star Wars with "He's right on my tail! I can't shake him!" Both lines were spoken by Luke Skywalker. The first sequence of the AH64-Apache gunships hunting Godzilla through the streets references both _Empire Strikes Back, The (1980)_ with the line "Echo 4 to Echo Base" and _Star Wars Ep. IV (1977)_ with "He's right on my tail! I can't shake him!". Both lines were spoken by Luke Skywalker. [46] The music that plays on an elevator in a scene with Matthew Broderick is "Danke Schoen", which Broderick lip-synchs in a memorable scene from Ferris Bueller's Day Off (1986). Elevator music in a scene with Broderick, Matthew is "Danke Schoen," which Broderick lip-synchs in a memorable scene from Ferris Bueller's Day Off (1986). A tornado disrupted filming in Jersey City on May 6, 1997. The film crew managed to get some footage of the disaster filmed. [47] The extra killed in his car when Godzilla first arrives in Manhattan was cast as a look-alike for J.D. Lees, editor of G-Fan Magazine, because he said disparaging remarks about the information that leaked out about the film prior to its release. [48] The Japanese freighter attacked and destroyed by Godzilla in the opening of the film is named Kobayashi Maru, in homage to Star Trek II: The Wrath of Khan. The Histeria! episode "More Explorers" opened up with a cold opener in which a gigantic Big Fat Baby rises from the sea and goes on a rampage. The film is directly referenced right at the end of the segment by way of the caption "Smell does matter." In the film Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, it is mentioned that a creature had attacked New York City  and that American officials thought it was the  Japanese Godzilla  but the Japanese didn't think so; it is obvious that they are referring to TriStar's Godzilla remake. The characters of the mayor (Lerner) and his advisor are clearly caricatures of Roger Ebert and Gene Siskel. Reportedly, the less-than-flattering portrayal was because both had given negative reviews of Dean Devlin and Roland Emmerich's earlier film, Independence Day. When the actual Siskel and Ebert reviewed Emmerich's Godzilla on their show, it received two thumbs down and Siskel commented on being spoofed in the film, saying it was "petty". After the release of Godzilla (1998), it's main featured music "Come with me" by Puff Daddy became very popular in Swedish culture, commercials and TV-shows such as the Swedish version of the TV-show Gladiators (franchise) and in the Swedish Vasaloppet. The 1998 film has since its release become the most well known, most popular and most loved Godzilla-film in Sweden. There are also many people, not necessarily fans, in other countries such as USA who also loves the new Godzilla and who thinks the old Godzilla is forgettable in comparison, but which is still liked. The number of the cab used in the chase at the end of the movie is "MN 44." Moon 44 (1990) is the title of an earlier film that was directed by Emmerich, Roland and in which Devlin, Dean appeared. [49] Director's Trademark (Roland Emmerich):[44]: Cab in final chase sequence is cab MN 44. [50] A small statue of an alien from Independence Day (1996) (also directed by Emmerich, Roland) is visible in the broadcast booth at Madison Square Garden. Enough lumber was used for the sets to build 50 homes. [51] Over 1,000 4'x8'x16' Styrofoam blocks were used to build portions of the sets, including the subway tunnels. [52] 35 tons of steel were used to build the sets. [53] There was enough paint used on the film to paint the entire Golden Gate Bridge. [54] 2.4 million gallons (~321,000 cubic feet), of water was used to create rain for the film. [55] Enough non-toxic smoke was created on the film to completely fill the Los Angeles Coliseum 24 hours a day for one week. [56] There were a total of 16 different cabs used to create the entire cab sequence. 2,000 foam fish were made to create the fish pile. [57] Over 1,000 soft architectural pieces were created for falling debris. [58] 20 "car thumpers" were built to lift cars on the street as Godzilla walked. [59] The television station call letters, WIDF, are a reference to the film Independence Day (alias ID4), also made by the team of Devlin, Dean and Emmerich, Roland. [60] Before Azaria, Hank's character runs atop cars to get footage of Godzilla, he looks up and says "Aw Jeez," using the voice of his character "Moe" on "The Simpsons". [61] The policeman seen during Godzilla's arrival is the same policeman (both played by same actor) seen suddenly leaving his patrol car in the middle of an intersection in Independence Day (1996). [62] All the footage of nuclear tests at the start of the film is American, not French. Most of the detonations shown are at Bikini and Eniwetak Atoll in the Marshall Islands, Pacific. [63] See also ↑ http://americangodzilla.darkbb.com/t5-facts-about-godzilla-1998-movie Further reading Tsutsui, William (2004). Godzilla on My Mind: Fifty Years of the King of Monsters. Palgrave Macmillan. ISBN 978-1-4039-6474-8 . Cerasini, Mark (1998). Godzilla at World's End. Random House Books. ISBN 978-0-679-88827-7 . Kalat, David (2010). A Critical History and Filmography of Toho's Godzilla Series. McFarland. ISBN 978-0-7864-4749-7 . Powell, Eric (2011). Godzilla: Kingdom of Monsters, Vol. 1. IDW Publishing. ISBN 978-1-61377-016-0 . Ciencin, Scott (1998). Godzilla: Journey to Monster Island. Random House Books. ISBN 978-0-679-88901-4 . Mamet, David (2008). Bambi vs. Godzilla: On the Nature, Purpose, and Practice of the Movie Business. Vintage. ISBN 978-1-4000-3444-4 . Ragone, August (2007). Eiji Tsuburaya: Master of Monsters: Defending the Earth with Ultraman and Godzilla. Chronicle Books. ISBN 0-8118-6078-7 . Ito, Michiko (2006). In Godzilla's Footsteps: Japanese Pop Culture Icons on the Global Stage. Palgrave Macmillan. ISBN 978-1-4039-6461-8 . Brothers, Peter (2009). Mushroom Clouds and Mushroom Men: The Fantastic Cinema of Ishiro Honda. AuthorHouse. ISBN 978-1-4490-2771-1 . West, Mark (2008). The Japanification of Children's Popular Culture: From Godzilla to Miyazaki. Scarecrow Press. ISBN 978-0-8108-5121-4 . Ryfle, Steve (1998). Japan's Favorite Mon-Star: The Unauthorized Biography of "The Big G". ECW Press. ISBN 978-1-55022-348-4 . Smith, David (2009). Godzilla Is In Purgatory: Featuring the Promise of a Gift for all Humanity. Xlibris. ISBN 978-1-4415-9444-0 . Bart, Peter (2000). The Gross: The Hits, The Flops: The Summer That Ate Hollywood. St. Martin's Griffin. ISBN 978-0-312-25391-2 . Shapiro, Jerome (2001). Atomic Bomb Cinema: The Apocalyptic Imagination on Film. Routledge. ISBN 978-0-415-93660-6 . Lichtenfeld, Eric (2007). Action Speaks Louder: Violence, Spectacle, and the American Action Movie. Wesleyan. ISBN 978-0-8195-6801-4 . Feil, Ken (2006). Dying for a Laugh: Disaster Movies and the Camp Imagination. Wesleyan. ISBN 978-0-8195-6792-5 . Jess-Cooke, Carolyn (2009). Film Sequels: Theory and Practice from Hollywood to Bollywood. Edinburgh University Press. ISBN 978-0-7486-2603-8 . Valantin, Jean-Michel (2005). Hollywood, the Pentagon and Washington: The Movies and National Security from World War II to the Present Day. Anthem Press. ISBN 978-1-84331-171-3 . Matthews, Melvin (2007). Hostile Aliens, Hollywood and Today's News: 1950s Science Fiction Films and 9/11. Algora Publishing. ISBN 978-0-87586-497-6 .

New York

Which star of Cheers co-starred with ?Whoopi Goldberg in Made in America?

Godzilla Online | The American Godzilla Wiki | Fandom powered by Wikia [ show ] Overview Godzilla Online is a fast-paced action game that takes place soon after the events of the 1998 reboot film Godzilla. New York City has come under attack by newly hatched Baby Godzillas. Players can assume the role of a soldier with his sights set on eradicating the baby Godzillas. Scientists attempt to take blood samples of the baby Godzillas while defending themselves from the soldiers and the new baby godzilla threat. Baby Godzillas strive to evolve into a larger Godzilla while defending themselves against soldiers and scientist. The Reporters main goal is to film all the chaos between the three opposing groups and avoiding getting killed at all costs. Godzilla Online is further noteworthy, as it is one of the few games (and fewer multiplayer games) to use voxels to render its characters and environments. [3] Add a photo to this gallery Roles There are four roles to choose from in Godzilla Online. Each have their own strengths and weaknesses, and depending on the match mode, can either be on teams or against each other. Also, each role gains experience points, and can progress through ranks to become stronger. Soldier The soldier carries standard military equipment such as assault rifles and rocket launchers, and their main goal is to eliminate the Baby Godzillas. Add a photo to this gallery Weapons Machine Gun - The basic weapon of the soldier class. Has infinite ammo, fires in three round bursts and has bullet tracers to assist player aim. Shotgun - A pump action shotgun. Holds ten rounds and does more damage than the Machine Gun. Rocket Launcher - Hard hitting rocket. Low ammo and a slower moving projectile than the Shotgun or Machine Gun, but does a large amount of damage. Hand Grenade - A thrown explosive. Executing a good throw can be tricky but does a considerate amount of damage and can be bounced off walls. Fired Grenade - CO2 fired. Allows extra long range when throwing this grenade. Proximity Mine - A sneaky device. Placed on the ground and does devastating damage to those who come in contact with it. Soldier ammo pickups are scattered around each arena and are green. Class information With the exception of the Machine Gun. All the other weapons have limited ammo and will require the ammo pickups around the arena. Soldiers can use medkits to heal some of the damage they have taken. These are scattered around the arena and require the soldier to be completely stopped to use. Standing on a Proximity Mine is a great way to create a sneaky trap. Soldiers gain service points by competing in matches. The soldier will rise in rank from Private through General. Scientist The scientist's main goal is to search out baby Godzillas and take blood samples while using his array of futuristic weapons to defend himself against Soldiers and Baby Godzillas. His weapons can stun his opponents and can do damage as well. The Scientist was not available on release, but was added after v0.53 (May 1998). Weapons Capacitive Dart - The basic weapon of the Scientist class. Has infinite ammo but shoots only single shots. Air Taser - Electrical weapon. Delivers a damaging shock to anything it hits but drains the scientists battery in the process. Stun Baton - A beefed-up taser. Does a large amount of damage and can stun an enemy for several seconds. But has a short range and drains the scientists battery. Pepper Spray - A stream of pepper spray. Does damage to any enemy who comes in contact with it. Pepper Grenade - A thrown object. When it explodes, a cloud of pepper spray is created for a few seconds, damaging any enemy that comes in contact with it. Foam - A sticky substance. Placed on the ground and drastically reduces the movement speed for a few seconds to those who come in contact with it. Scientist ammo pickups are scattered around each arena and are orange. Class Information Scientists regenerate health over time. With the exception of the Capacitive Dart. All other weapons will require Battery, Pepper, and Foam pickups around the arena. Scientists can take DNA samples from dead Baby Godzillas. Only once sample can be taken from each body. Foam allows for easy escape from bad situations. Scientists gain points for competing in matches. The scientist can eventually attain the rank of Lab Director. Baby Godzilla The Baby Godzillas begin as hatchlings and are equipped with melee attacks and breath weapons to destroy the Soldiers and Scientist. Baby Godzillas can also eat colored fish to grow stronger and more powerful. Add a photo to this gallery Weapons Baby Bite - A Swift attack. A basic attack, this attack is quick but does low damage to enemies. Tail - Random stun. The tail attack has wide range and a random chance to stun the enemy for two seconds, but only does average damage. Baby Breath - Highly corrosive steam. A projectile attack that does a large amount of damage, but can only be used sparsely. Baby Lunge - Leap through the air. A powerful attack that launches the Baby Godzilla towards the enemy target. Class information Eating gray colored fish restores some lost health. Eating colorful fish helps evolve the Baby Godzilla from stage one to eventually stage three. Evolved Baby Godzillas are faster and stronger. Using breath attacks will lower your strength and eventually disallow use until some strength is regained. Baby Godzillas can use the Tail attack to hit an enemy in front or behind them. The Lunge attack can also be used to escape from a bad situation. Baby Godzillas acquire points for competing in matches and eventually rise to the rank of Adolescent. Reporter The Reporter is a non-violent class that attempts to get the chaos on film between the three other classes while avoiding getting killed himself. The Reporters video feed can be viewed by other players in and out of the game to assist them in locating where the action is taking place.

i don't know

What was Pierce Brosnan's first outing as 007?

James Bond 007 :: MI6 - The Home Of James Bond 2003 - Everything or Nothing (voice & likeness) "Acting allows me to explore new worlds, to discover characters by delving into their lives, and ultimately to become someone else entirely."   Biography Pierce Brendan Brosnan was born into a somewhat broken family on the 16th of May, 1953. Father, Thomas Brosnan, promptly abandoned the family after Pierce's birth and as a result, he grew up living with grandparents while his mother, Mary, trained as a nurse. Brosnan was born and raised in Navan, Drogheda, a small town north of Dublin, Ireland before the unfortunate death of both grandparents and young Brosnan was moved from family-member to family-member and even into boarding houses. Brosnan recalls his childhood as neglected yet certainly memorable - reflecting later that his chosen profession was perhaps stronger because of it. As a boy, he spent a short spell in a strict and over-zealous Catholic school, whilst staying with a foster parent Eileen Reilly, as well as long hours at his Aunt's pub before, at the age of 11, being retrieved by his mother to live with her in England. Mary (who preferred to be called May) was at this point about to re-marry and Brosnan's soon-to-be step-father would take him on regular outings to the cinema. One film that particularly caught his eye was " Goldfinger ". Pierce and step-father, William Carmichael, began to develop a strong relationship and Brosnan began to relish having a stable father figure in his life. During his childhood in England, Brosnan and family lived in Putney, where he was educated at Elliott School, a modern state school in the area. Here he was landed with the nickname "Irish" - for obvious reasons. Growing tired of the same jibes, Brosnan quickly learned to mimic the accents of the area and soften his Irish accent. During his schooling years, the young Brosnan thrived on English and Arts but elected to drop out of school at the young age of 16. Pierce was already enrolled in an Art School with the hopes of becoming a commercial artist and attending local drama classes at night. Brosnan was first accepted into an acting troupe when he applied to join the Kennington Oval House Theatre Club (on advise from a friend) where he volunteered as an Assistant Stage Manager in 1973. In order to persue a carreer in the theatre, Brosnan took any job going, from cleaning hotel rooms to waiting tables. Three years later, Brosnan would graduate from art school and join the York Theatre Royal, where he stage managed several successful productions before appearing on stage in his first performing role - "Wait Until Dark".   During a run at the York based theatre, Brosnan was witnessed by highly-regarded playwright, Tennessee Williams who commissioned Pierce Brosnan to appear in his newest production - giving Brosnan an amazing boost in popularity. He performed the part of McCabe in "The Red Devil Battery Sign" which received an amazing response from audience and reviewers. By the end of the production, Williams issued a telegram to Brosnan, which read simply "Thank God for you, my dear boy" - a prized possession of Brosnan's today. After the success of "The Red Devil Batter Sign", Brosnan was invited to perform in London's Lyric Theatre where he'd play opposite Joan Plowright in a production of "Filumena". This production earned Brosnan further kudos and the Franco Zeffirelli directed production ran for 18 months solid. "I had good luck and a bit of talent somewhere in the back pocket that I could kind of polish and nurture, but I dreamt and wished for all of this, then you get all of that and you've just got to show up and work." In 1979, Brosnan began dabbling in television, including successful searies' such as "The Professionals" and "Murphy's Stroke". By 1980 he had made his first feature film, "The Long Good Friday". The same year, he went on to play in Guy Hamilton directed, Agatha Christie classic "The Mirror Cracked". Brosnan held small role but during the shooting was able to shake hands with the likes of Tony Curtis and Angela Lansbury as well as the director of "his" first Bond film! While his career bounds successfully on, Brosnan was unsuccessfully reunited with his biological father - who'd effectively cut all ties with his son in the first weeks of his life. Pierce felt even more distant from father, Thomas, than when he'd never known him. Happily, 1980 also saw the actor meet the lovely Cassandra Harris - although twelve years older than him, the pair were quickly married by December of the same year. Brosnan became a father figure for Charlotte and Christopher, children from Harris' previous marriage while the pair soon had a son of their own, Sean. When his wife was shooting Roger Moore 's fifth outing as 007, " For Your Eyes Only ", Brosnan took the golden opportunity to witness a Bond-filming and meet and greet. Cubby Broccoli and Michael Wilson were present, and immediately taken with the tall, striking Pierce Brosnan, vowing to work with him in the future. "Being an actor in Hollywood involves lots of things beyond acting. Charm really helps. And it's a good idea to incorporate a little Bond into all your dealings."   Brosnan moved to American to extend his resume and work in a variety of television series before his star-status breakthrough. Spending a high-paced two weeks auditioning for various roles in Los Angeles, Brosnan came to be considered for a the ground-breaking role of mysterious PI, Remington Steele. Stephanie Zimbalist had already been confirmed the co-star and producers were looking for a tall, dark, handsome stranger to cast in their series - they found Pierce Brosnan to be the perfect blend of cheeky humor and a relatively unknown face in the US. Brosnan shot his first scenes as Steele in 1982 and was a nation-wide hit. Some US newspapers went as far as to proclaim Brosnan the next Carry Grant and out of the success of Steele, Brosnan landed several Hollywood feature films. When, in 1986 Roger Moore announced he was standing down from the role of 007, Broccoli thought to turn to Brosnan to fill the secret agent's shoes. Despite some tough negociating with Brosnan's existing bosses, Broccoli could not get Pierce released from his "Remington Steele" contract any earlier. Ultimately, Timothy Dalton would claim the role and shoot two Bond adventures before legal action ceased the filmmakers' flow.   By late '87 Brosnan was released from his contract and was able to focus on the feature film industry - at first, shooting a picture with soon-to-be "Die Hard" director John McTiernan. Despite a sketchy period in features, Brosnan made his meet in mini-series including "Nobel House", where he performed the role of rich, prevalent and slightly twisted, Ian Dunross as well as starring in the classic adventure story, "Around the World in 80 Days" in which Pierce is the charismatic and eccentric Phileas Fogg. In a tragic turn of events, Brosnan's wife of 11 years passed away on the 28th of December 1991 from a long, troubled period of cancer. Cassandra Harris was just 43. Brosnan bounced back into features with the Robin Williams hit-comedy "Mrs. Doubtfire" - a surprising role in a surprising film for Pierce but one that would boost his career. On the 8th of June 1994, on the set of the fated 17th James Bond film, Pierce Brosnan was introduced to the world as the new 007. His first film as Bond would be "GoldenEye", which ultimately cleared $350 million at the box office, and marked a big-time comeback for Bond producers. While he might have had a shot at clinching the role in '87, 1994 proved to be a far more appropriate year for Brosnan - he was older and far more worldly and jumped into 007's shoes with vigor and determination. Brosnan make a streak of Hollywood blockbusters in the '90s including the comic "Mars Attacks!", a dramatic adventure "Dante's Peak" and a slick and sophisticated remake of the "Thomas Crown Affair". On top of these successes, Pierce Brosnan made three further Bond films ("Tomorrow Never Dies", "The World Is Not Enough" and "Die Another Day"), becoming an increasingly popular Bond for the new generation. In 1994 , Brosnan met Keely Shaye Smith, a journalist and retired actress he met during an interview. Their romance was kept relatively quiet until marriage in 2004. The pair have two children Dylan and Paris. "I've been very lucky in my life. Very lucky. I have been able to go through quite a few lives and still retain a certain identity and love of life. I have a new life, a new woman, a new baby. I also have a new realization, as a man and as an actor: This is where you belong." Brosnan was caught up in a change of direction when the franchise began to reconsider 007 for the new millennium. While heated talks that would dictate whether Brosanan was Bond continued behind the scenes, he would star in several adventurous, non-Bond outings, including "The Matador" and "After the Sunset". During this period he focused his own production company, "Irish Dreamtime", which produced several of his more alternative filmmaking ventures including "Evelyn" - in which Brosnan plays a father fighting for the rights to keep his children. "I think I was caught up between the egos of the producers and the studios, really. They (the producers) didn't know whether to go younger, they didn't know what to do, period." On the 2nd of February 2005, Pierce Brosnan confirmed fan fears that he would not return for the untitled 21st 007 adventure. In 2006, Brosnan played alongside Liam Neeson (a hot candidate in the press's eyes for 007 when Pierce won the role) in a bruatal Civil War drama, "Seraphim Falls" and most recently, Brosnan is set to sing and dace in Abba's hit musical "Mamma Mia!".   Brosnan and wife Smith regularly donate time to a host of environmentally aware organisations, including the Natural Resources Defense Council (NRDC). In 2003 Brosnan was given an honorary OBE for his charitable work and in 2004, he was given duel Citizenship, between the US and Ireland. Awards Role Model award at the 2005 Young Hollywood Awards            Best actor for "The World Is Not Enough" at the 2000 Empire Awards Favourite actor - Drama/Romace for "The Thomas Crown Affair" at the 2000 Blockbuster Entertainment awards Favourite actor - Action for "The World Is Not Enough" at the 2000 Blockbuster Entertainment awards Best Actor for "Tomorrow Never Dies" at the 1998 Saturn Awards  

Goldeneye

Which The Bridges of Madison County star became a father again aged 65?

Pierce Brosnan - Biography - IMDb Pierce Brosnan Biography Showing all 148 items Jump to: Overview  (3) | Mini Bio  (1) | Spouse  (2) | Trade Mark  (1) | Trivia  (61) | Personal Quotes  (76) | Salary  (4) Overview (3) 6' 2" (1.88 m) Mini Bio (1) Pierce Brendan Brosnan was born in Drogheda, County Louth, Ireland, to May (Smith), a nurse, and Thomas Brosnan, a carpenter. He lived in Navan, County Meath, until he moved to England, UK, at an early age (thus explaining his ability to play men from both backgrounds convincingly). His father left the household when Pierce was a child and although reunited later in life, the two have never had a close relationship. His most popular role is that of British secret agent James Bond. The death, in 1991, of Cassandra Harris , his wife of eleven years, left him with three children - Christopher and Charlotte from Cassandra's first marriage and Sean from their marriage. Since her death, he has had two children with his second wife, Keely Shaye Brosnan . - IMDb Mini Biography By: Icycalm <[email protected]>, corrected Spouse (2) ( 27 December  1980 - 28 December  1991) (her death) (3 children) Trade Mark (1) Has a scar on the right side above his top lip. He was hit by a stunt man on the making of Tomorrow Never Dies (1997). Trivia (61) He adopted his first wife Cassandra Harris 's children, Charlotte Brosnan (b. 1971, d. 2013) and Christopher Brosnan (b. 1973), after their father died in 1986. Pierce Received American Citizenship at the US District Court House in Los Angeles in 2004. He has dual citizenship: Irish and American. He was made a Freeman of Navan, Co. Meath, Ireland (the town he lived in until he moved to England in 1964) on 11th November 1999. His primary residence is in Malibu, California. Owns his own production company, Irish DreamTime. Its first release was The Nephew (1998). Chosen by People (USA) magazine as one of the "50 Most Beautiful" people in the world. [1996] Chosen by People magazine as one of the "50 Most Beautiful People" in the world. [1991] The very first film he claims to have seen is the 007 movie Goldfinger (1964). Enjoys fishing on the River Towy in Carmarthenshire, South Wales. Jimmy Carter (former American President) also enjoys the same fishing spot. At the Genesis Awards Ceremony, reunited with Remington Steele (1982) co-star Stephanie Zimbalist . [1996] On December 28, 1991, one day after their 11th wedding anniversary, his wife, Cassandra Harris , died in his arms. She died of ovarian cancer. His mother, May, was 19 when she gave birth to him. She had married his father, Thomas, on August 16, 1952. However, his parents separated when he was still a baby, and from the age of 4 he was raised by his maternal grandparents, Philip and Kathleen Smith, while his mother went to London to train as a nurse. When he was 6, both grandparents died and he was passed around amongst relatives until Eileen Reilly took him into her lodging house. Finally, when he was 10, his mother was able to take him to her home in Putney, London. While in London, May had met a man, named Bill Carmichael, who had asked her to marry him, but she wanted approval from her son. Pierce gave his approval and the couple were married. From that point on, Bill treated Pierce as his real son and they got along fine. It was Bill who took Pierce to see his first Bond movie, Goldfinger (1964), and it was at that point that decided to take up acting. At the age of 11 he was almost six feet tall, making him a target of bullies. Voted "Sexiest Man Alive" by People Magazine in 2001. Is claustrophobic, which made the filming of certain scenes in Dante's Peak (1997) very difficult. He was voted sixth in the Orange 2001 film survey of greatest British film actors ever. In addition to his salary for his James Bond movies, Brosnan received a car. The BMW Z3 from GoldenEye (1995), an 8-series BMW (instead of the 750iL) from Tomorrow Never Dies (1997), and the Z8 from The World Is Not Enough (1999). Early in his screen career, he portrayed the title role in the TV series, Remington Steele (1982). His character was a career criminal gone "straight" as a private investigator, with an amazing knowledge of and obsession with classic cinema. In the episode, Remington Steele: To Stop a Steele (1983) (original air date 2/11/83, episode 15), Steele equates the case he is working on to The Thomas Crown Affair (1968), starring Faye Dunaway and Steve McQueen . Sixteen years later, Brosnan starred in the remake of that movie, The Thomas Crown Affair (1999). He was given an honorary OBE by Britain's ambassador to Ireland, Stewart Eldon, on 8/19/03. Honorary OBEs are awarded on merit by the Queen to non-British citizens who have made an important contribution to British interests. The award formally makes him "an Officer of the Most Excellent Order of the British Empire". After the release of Die Another Day (2002), he was approached by a man in a Dublin bar who asked to shake his hand. He complied and then cracked up when the man said, "That's the closest my hand will ever get to Halle Berry 's arse [butt].". He says that his favorite Bond films are From Russia with Love (1963) and For Your Eyes Only (1981), and that his least favorite Bond film is On Her Majesty's Secret Service (1969). Became an American citizen on 23 September 2004 but still plans to keep his Irish citizenship. He studied under Yat Malmgren , a dancer and drama teacher who also worked with Sean Connery in the 1950s and is credited with helping him develop a strong sense of movement and presence. According to the James Bond tailors in London, he has been both the lightest and heaviest of all the James Bonds. The tailors who fitted him for his Bond films state that in his first Bond movie, GoldenEye (1995), he weighed 164 pounds, making him the lightest actor to play Bond. However, in his fourth Bond movie, Die Another Day (2002), he weighed 211 pounds, making him the heaviest actor to play Bond. He says that the first two films he saw at the cinema, Goldfinger (1964) and Lawrence of Arabia (1962), are also the two films that have had the most influence on him. Graduated from the prestigious acting course at the Drama Centre London . After Timothy Dalton was unavailable, Brosnan was chosen to play 007 in 1986 and was given the script to The Living Daylights (1987). Although he was contracted to Remington Steele (1982) for seven seasons, NBC decided to cancel the show at the end of the fourth season, which meant that Brosnan was free to play "James Bond" in The Living Daylights (1987) the following year. However, shortly after the end of the fourth season, NBC had second thoughts about canceling "Remington Steele" and, subsequently, approached the Bond producers, directly, in an attempt to strike a deal that would allow Brosnan to play both "James Bond" and "Remington Steele" the following year. NBC also offered to completely reschedule the shooting of "Remington Steele" to ensure that there were no scheduling conflicts. But eventually, Albert R. Broccoli famously told NBC that "James Bond will not be Remington Steele and Remington Steele will not be James Bond". Accordingly, Brosnan would only play Bond if the show remained canceled. NBC had a 60-day deadline to revoke their decision to cancel the "Remington Steele" series and, at 6:30 pm on the 60th day of the deadline, Brosnan learned that NBC decided to make a fifth season. So, the role of the new James Bond went back to Timothy Dalton . NBC went on to make only six episodes of the fifth season of "Remington Steele" before finally canceling the show for good. Was considered for the role of Batman/Bruce Wayne in Batman (1989). Brosnan's Bond was mainly dressed with shirts and ties from Turnbull & Asser, shoes from Church's, and suits from the Italian company Brioni. The cuff links and the belts were mostly Dunhill's. In 2004, Quentin Tarantino expressed an interest in directing Brosnan in a version of Casino Royale (2006), but was turned down by the Bond producers. He is a professional "fire eater", having performed a fire eating act in a circus at a young age. Knowing this, the writers for Remington Steele (1982) asked him to hone his skills as a fire eater for an episode during the series' second season, entitled Remington Steele: High Flying Steele (1984), where Remington and Laura are to go undercover in a circus. He also performed the act in Muppets Tonight: Pierce Brosnan (1996). Is a fan of Doctor Who (1963). He has two roles in common with Sean Connery : (1) Connery played James Bond in Dr. No (1962), From Russia with Love (1963), Goldfinger (1964), Thunderball (1965), You Only Live Twice (1967), Diamonds Are Forever (1971) and Never Say Never Again (1983) while Brosnan played him in GoldenEye (1995), Tomorrow Never Dies (1997), The World Is Not Enough (1999) and Die Another Day (2002) and (2) Connery played King Arthur in First Knight (1995) while Brosnan played him in in The Magic Sword: Quest for Camelot (1998). Quit smoking cigarettes before the release of Tomorrow Never Dies (1997). While it may be incorrect to suggest that Brosnan was fired from the role of James Bond, because technically the producers simply chose not to renew his contract, they had agreed in principle to collaborate on a fifth Bond film before the producers pulled from negotiations. This makes Brosnan the only Bond to end his reign not of his own accord. Supported John Kerry in the 2004 presidential election. He's an only child. Met his Bond predecessor Sir Sean Connery for the first time at The 76th Annual Academy Awards (2004), but only for a few minutes. Due to rising budgets and declining audiences, Brosnan's last three Bond films were the only ones in the series to not take more than five times their cost. Timothy Dalton 's two films took in more than five times their budget, and George Lazenby 's one Bond film ( On Her Majesty's Secret Service (1969) more than ten. Whether you go by budget-to-gross, or inflation-adjusted ratios, Brosnan's films did average business. Die Another Day (2002) in particular, made the smallest profit on its theatrical run of any Bond movie - a major reason for revamping the film series. Sean Connery 's Bond films remain the most successful, with Thunderball (1965) having taken 22 times its cost at the worldwide box-office. He is a vocal supporter of same-sex marriage, gay adoption, gun control and protecting the environment. The production of Tomorrow Never Dies (1997) was a troubled one, owing in part to the producers agreeing to have the film ready for a December release. Brosnan rejected the script after it had been rewritten; it was then rewritten again during filming by the writer of the original script; director and scriptwriter were not talking to each other, and Brosnan and Teri Hatcher were not compatible. The film cost around $110 million, but only took in more than $346 million at the box office worldwide. Shares two roles with two previous James Bonds. He and Sean Connery have also both played King Arthur. He and David Niven have also both played Phileas Fogg, Niven in Around the World in Eighty Days (1956) and Brosnan in Around the World in 80 Days (1989). In addition to playing a small role in The Broken Chain (1993), actor Girard Swan briefly worked as Brosnan's stand-in. Spent three years studying acting at The Drama Centre, in north London in his early years. Nicknamed "Colonel Chunky" by the crew on Mamma Mia! (2008). Attended Elliott Comprehensive School, Putney, in the 1960s After being chosen to play "James Bond", Brosnan wasn't allowed to wear a tuxedo in any other film. This posed a problem for the wardrobe staff of The Thomas Crown Affair (1999). He's Meryl Streep 's close friend. His favourite comic actor is the former "Monty Python", John Cleese . Lives in Malibu, California. Fan of Fulham Football Club (English Premier League soccer club). Fellow fans include Elizabeth Hurley , Lily Allen , Hugh Laurie , Hugh Grant , Benicio Del Toro , Daniel Radcliffe , Andrew Johnston and the late Michael Jackson . Is the third actor to play James Bond in more than two films, along with Sean Connery and Roger Moore . The fourth one is Daniel Craig . Became a father for the 1st time at age 30 when his 1st wife Cassandra Harris gave birth to their son Sean William Walter Brosnan, aka Sean Brosnan , on 13 September 1983. Became a father for the 2nd time at age 43 when his girlfriend [now 2nd wife] Keely Shaye Brosnan gave birth to their son Dylan Thomas Brosnan on 13 January 1997. Became a father for the 3rd time at age 47 when his fiancée [now 2nd wife] Keely Shaye Brosnan gave birth to their son Paris Beckett Brosnan on 27 February 2001. A lifelong Catholic, he regularly attends mass at his local church in Malibu, California. Currently in Cape Town, South Africa filming the movie Barry . [February 2009] He appeared in three films with Joe Don Baker in as many years: GoldenEye (1995), Mars Attacks! (1996) and Tomorrow Never Dies (1997). To date, is the only Bond actor to have never technically appeared in a Bond film based off of an original Ian Fleming novel or short story. Of the four James Bond movies he made, GoldenEye (1995) is the only one where he isn't laying on top of the female lead in the final shot of the film. In 1993, he was willing to play the small role of Stu in Mrs. Doubtfire (1993). Chris Columbus thought him a phenomenal actor. During the restaurant scene in Mrs. Doubtfire (1993) when her teeth fell into a wine glass, the cast didn't know Robin Williams would do that, and their reactions on film were genuine, mirroring the shock of the crew. Director Chris Columbus is a big James Bond fan and he was crushed when Brosnan didn't get cast when he was offered the part during the making of Remington Steele (1982) but they wouldn't release him from his contract. When they worked together in Mrs. Doubtfire (1993), Columbus told Brosnan he'd make a great James Bond but he thought that ship had sailed. In 1995, MGM called Columbus telling him they're looking for the new James Bond and Brosnan was one of the choices so Columbus recommended him; his little contribution to the James Bond saga. Personal Quotes (76) [on his marriage to Cassandra Harris ] Our marriage gives me a stability that makes me feel that I can tackle the world. [on his good looks] I don't see myself as the "Hunk of the Month". [about his deceased wife, Cassandra Harris ] Cassie has made me the man I am, the actor I am, the father I am. She's forever embedded in every fiber of my being. [on why he thinks he would have regretted winning the James Bond role in 1986] It's a role better suited to someone who is in his 40s, old enough to have the confidence and the sophistication and strength to be able to stand there and just let the moment sit. Bond is a man with the greatest of confidence. And playing that takes practice. In 1986 I think I was 33 or something like that, and I still looked like a baby. Finally, I'm growing into this face of mine. That takes time. [about the movie industry] There's too many people in seats of power who just haven't got a clue what they're doing. They're bean counters, and it just pisses me off because consequently our kids go to see this crap movie . . . there's nothing with meaningfulness. [on why, after the 1987 demise of Remington Steele (1982), he appeared in a series of movies that were box-office flops] I had to make a living. I had the mortgage to pay, I had the school fees to pay. I had bread and butter to put on the table. You know your worth as an actor, but you have to get a job. I think that all the films I've ever made are personal, even James Bond, because it's so much of myself, so much of who I am as a man and as an actor. You have to invest yourself in every character that you portray. And certainly in those dark days, in the '50s in Ireland, if you were a single parent living in that society, you were somewhat shamed and stigmatized. I can certainly relate it to my parents, especially my mother. The old man took to the hills and my mother never saw him again, and suddenly you are spoken about in the Sunday service in church, never directly but they would bring up the issue of being a single parent and of marriage falling apart. . . . there's that lovely line from that wonderful epic picture that I made called Grey Owl (1999) where they say to Archie Belaney, "A man becomes what he dreams. You have dreamed well." Part of the dreams go back to my childhood and when I left Ireland in 1964, I discovered the cinema. One of the first films I saw was Goldfinger (1964) - I didn't want to be James Bond but the seed of cinema and pictures was sown there in Putney High Street. And then I discovered Clint Eastwood and Steve McQueen and the movies. There was only one Bond for me, and it was Sean Connery . That made the role daunting. I know most actors say otherwise, but I like sex scenes. Bond was supposed to be this great lover, but I always found the love scenes in those movies a little dull. It's lovely to work out the fantasy of it all in celluloid and then go home to my wife. To my eye, women get sexier around 35. They know a thing or two, and knowledge is always alluring. Bond is an enigma. He's smooth and bigger than life, but he's vague as a personality. It's a little like doing a period piece. Look, I'm thankful, the role made me an international star. I've been in the backwaters of Papua New Guinea and heard, "Hey, Bond." Being an actor in Hollywood involves lots of things beyond acting. Charm really helps. And it's a good idea to incorporate a little Bond into all your dealings. [March 2004] They're too scared. They feel they have to top themselves in a genre which is just spectacle and a huge bang for your buck. But I think you can have your cake and eat it. You can have real character work, a character storyline and a thriller aspect and all kinds of quips, asides, the explosions and the women. We're just saturated with too many overblown action films with no plot. That's ludicrous. It's so damn crazy! That's absolutely sheer lunacy because "Casino Royale" is the blueprint of the Bond character. You find out more about James Bond in that book than in any of the other books. I would love to do a fifth Bond and then bow out, but if this last one is to be my last, then so be it. My contract is up. They can do it or not. [on former James Bond George Lazenby ] George is just an angry, old, pissed-off guy. He was never an actor, but some pissed-off Aussie who doesn't know how to show his feminine side. I met him, and he's got that kind of brittle edge to him. When you look at Ian Fleming 's work, it's there on the page. The martinis, the drugs, the cigarettes, the casino, the blood on the hands. But they never went there. Hopefully, they will go there with Daniel [ Daniel Craig ]. They have the product, they have the man, and I'm sure they will. I have nothing against Republicans, but this government has made decisions which we are to suffer the consequences of for a long, long time. You want to have faith in your leaders but it's very hard to have faith in President George W. Bush . Look at what he's done to the environment and this savage war that has started. You speak up as an actor and people will shoot you down hard and fast. But you don't speak as an actor. You speak as a man, a working actor with a family. It never made it in to the papers, but I've had my face sliced open by a stuntman and a knee injury. But it's all part and parcel of being Bond. It never felt real to me. I never felt I had complete ownership over Bond. Because you'd have these stupid one-liners - which I loathed - and I always felt phony doing them. I'd look at myself in the suit and tie and think, "What the heck am I doing here?" Such sentiments were nothing new. That was always the frustrating thing about the role. Barbara Broccoli and Michael G. Wilson play it so safe. The pomposity and rigmarole that they put directors through is astounding . . . I can do anything I want to do now. I'm not beholden to them or anyone. I'm not shackled by some contracted image. I was trained as an actor and I was led to believe that I had a number of performances in me. The fact that I've just given the same performance, well, maybe . . . If I can get away with it, why not? But I've reached a point now where I'd better start trying to find some performances and challenge myself. You're not even allowed to show a bloody nipple. It's pathetic. What Bond needs is a good, palpable killing sequence and a good sex scene - and it doesn't have to be graphic, you can use your imagination. We had a good one in The Thomas Crown Affair (1999) - a really classy, sexy scene. [on the widely criticized federal government response to Hurricane Katrina] This man called President Bush [ George W. Bush ] has a lot to answer for. I don't know if this man is really taking care of America. This government has been shameful. People should be allowed to marry and gay marriage should be out there. If a man or a woman has a good partner and they love each other with their heart and soul, let them marry. I am very much for gay marriage. I think the rest is censorship and conflict and really no one else's business. [on George Lazenby ] George seems to be an unhappy camper about Bond. He gets pissy and spits the dummy out. Tim [ Timothy Dalton ] was fantastic. He really had the balls to go out there and play it on the nose - Ian Fleming undiluted. But where were the laughs? Sean [ Sean Connery ] was brilliant, he played it dead on the money. And Roger [ Roger Moore ] really made it his own and went for the laughs. I think those two were the best. I think Daniel [ Daniel Craig ] is a very fine actor. These are rocky waters, but I think he will have the last laugh. You get twisted some way or another if you throw yourself into it. There's going to be mishaps. I was young, frivolous, and full of abandon - a hippie with long hair down to my shoulders and a little goatee beard. Why? Because I thought I was gay. But no, I'm not gay. [on Casino Royale (2006)] I'm looking forward to it like we're all looking forward to it. Daniel Craig is a great actor and he's going to do a fantastic job. [on Casino Royale (2006)] I always wanted to go back, because it's the blueprint of Bond's character. It's the one where Fleming [ Ian Fleming ] really painted in the details of what Bond was about, so I was disappointed that it didn't happen, but you can't go around with that in your heart. It's all such a game really, and you win some, you lose some, you're there, you're not there. Getting the part of Bond and playing the part of Bond was a blessing and a curse, which I think [ Sean Connery ] has spoken about, and I'm sure Daniel [ Daniel Craig ] is just getting the full taste of right now. So, you know, one can really only look at the blessings in life. [on Seraphim Falls (2006)] I've always wanted to do a western, growing up as a boy in Ireland watching cowboys and Indians. When I left and went to London, Clint Eastwood came into my life with all of the great films that he made, and then of course I got my education in cinema and John Ford . The Irish are very much steeped in the cowboy genre, and historically of course we have the great rift of the civil war. Shooting the film entirely on location in Santa Fe enhanced my performance, because it's just you and the landscape. This is a story of two very hollow men, men who have lost everything in life due to war. There's nowhere to hide in a story like this and nowhere to hide as an actor. So you just hope you've done your homework well and that you've understood the story correctly and leave the rest to chance. It was a physically tough shoot in the sense that you are down in Santa Fe, it's got an elevation and my character is being pursued throughout the film, so I was constantly running, just being pursued on foot or by horseback. And the condition was very cold or extremely hot. There's nothing like going off and doing a film in Nigeria, Papua New Guinea or Santa Fe, it's the best and most exhilarating. I mean it sorts the men from the boys, really, where you have to figure out who really wants to do it and who's good at their job. When you go off to distant locations, especially if they're tough, it weeds those people out, but hopefully you don't have to weed anybody out, because you've got everybody on board who really wants to go out and work hard - fourteen-, sixteen-, eighteen-hour days in the wilderness, in a great city or some backwater, but those are the best. [on success] I've worked for it, and I wanted it. I had good luck and a bit of talent somewhere in the back pocket that I could kind of polish and nurture, but I dreamt and wished for all of this, then you get all of that and you've just got to show up and work. Hopefully you can stay at the table. It's related to acting really. I wish I had his career. I remember being in Remington Steele (1982) and seeing Bruce Willis go out there and just do it. I thought, "He's making movies and I'm still here". I just remember that. I remember, ironically, in 1986, I remember going into the old La Scala in Malibu. Bruce was there with Demi [ Demi Moore ], I had just been offered the Bond in '86 and he said to me, "Well done, man, you got out, way to go." I said, "Thanks, Bruce". Of course, two months later I was high and dry without any Bond in my life or even "Remington Steele". The next thing I see him and he's off doing his feature films. I always wanted to do movies. I've stopped trying to pick myself. Hopefully, you reach a point in life where you leave yourself alone and make peace with your shortcomings, whatever they may be. Education is something for me. I left school at fifteen, sixteen, so I'm always feeling like I got to catch up, got to catch up, got to catch up. That's something that, you know, you find yourself in a meeting and you're like, oh boy, we're going into deep waters. I haven't read that piece of literature, that's a piece of information I should have known. It would have been great to light up and smoke cigarettes, for instance. It would have been great to have the killing a little bit more real and not wussed down. It's all rather bland. I remember doing a sex scene with Halle [ Halle Berry ] - I mean frolicking in the bed - and there was director Lee Tamahori right under the sheets with us. But the way we ended up doing it was almost like the old days in Hollywood - kissing the girl but still having your feet on the floor. [2005] A few years ago I would have said I could imagine playing James Bond in a more ferocious way. Like a sort of Quentin Tarantino character - but now, at 52, I am definitely too old. I've been identified with James Bond or Thomas Crown for so long - suave, elegant, sophisticated men in suits. It's like you've been giving the same performance for 20 years. (1997 quote on his career) I've been very lucky in my life. Very lucky. I have been able to go through quite a few lives and still retain a certain identity and love of life. I have a new life, a new woman, a new baby. I also have a new realization, as a man and as an actor: This is where you belong. It's a great feeling, knowing you don't have to prove yourself or step on tippy toes to be seen or be heard. Just to be comfortable in who you are. Mrs. Doubtfire (1993) was a wonderful, beautiful ray of sunshine in my career. For the first time, I was in a studio picture and I was working with wonderful actors who were all working at the top of their game. It allowed me to do comedy and play a character who was viewed as a jerk. (On his first trip to America and landing Remington Steele (1982)) The trip to America, it was such a great joy to go there with Cassie, to take that leap of faith and go to the New World -- all that nonsense you read about in books. But, again, it was a liberation. In Los Angeles, I rented a car from Rent-A-Wreck, a lime green Pacer, with a cushion, because the springs were coming through, and I got a map and went on my first interview in Hollywood. Somehow, I found my way out to Laurel Canyon. I got up to the top of Mulholland Drive and the car broke down, blew up. I did eventually get to the interview and saw a casting director from Mary Tyler Moore Productions. Boom! They were looking for "Remington Steele". The last thing I was looking for was a TV series. I went to America thinking I was going to work with Martin Scorsese . Taxi Driver (1976), I'd seen about 10 times and Mean Streets (1973); that's where my brain was at. I was going to do movies. But I needed work. I went through several more interviews and then Cassie and I came home to Wimbledon. Then, the call came: would I return for a screen test? And it was, 'My God, what have we done? What have we done? What are we going to do?' Panic, panic, panic. Don't panic! We'll go to America. We'll take the kids to America. So Cass, the two kids and I hopped on a plane and went to America. When I found acting, or when acting found me, it was a liberation. It was a stepping stone into another life, away from a life that I had, and acting was something I was good at, something which was appreciated. That was a great satisfaction in my life. I've always been a bit of a loner. I've always felt like an outsider, and because I didn't have a mother or father figure, I brought myself up. I made my own rules, and from the pain of not having a mother there came the great strength of being able to deal with things on a one-to-one basis throughout my life. Cassie, I think, took it harder than I did. Because you want for your partner in life, you want the best for your partner. It just didn't happen. Timothy Dalton was signed the next day. And I became the guy who coulda been, shoulda been, might have been Bond. [recalling his late wife's reaction to the news that he had lost his chance to play "James Bond"]. [on Tomorrow Never Dies (1997)] I remember starting the first day on that film in an aircraft, flying a jet and it was 102 degrees, and I'm wearing a helmet and sweater, and then I'm being strangled over and over again, and I thought, 'Oh my God, this bloody character is going to kill me.' The press tour for that film was 22 countries. When I did it I knew the movie wasn't up to speed; it wasn't as good as GoldenEye (1995) and you have to bang the drum loudly to get the attention. [on his portrayal of the character of James Bond] I never felt that I really nailed it. (On his early years in Ireland) I remember being very much a loner. Very solitary childhood. I didn't have the guidance of a mother and father. I remember missing my mother. I used to think she was in the Congo working in this war zone. In reality she was a nurse in London, but I lived in my imagination. (On getting "Bell's palsy" in 1984 directly before going on The Tonight Show Starring Johnny Carson (1962)) I thought I was having a stroke. I remember being in the fucking dressing room beforehand doing my tie up. Suddenly, my face was half-numb and I couldn't close one eye. Then I felt my arm going numb. Oh jeez, I thought, I'm having a stroke, and just then came, "knock, knock ... ready for you now, Mr. Brosnan". It was not a good evening. (1995, on losing his wife Cassie) I just feel very alive. In losing her, watching a life dwindle down, you could taste life, you could really sense it. Because everything slows down, everything revolved around the house and small accomplishments. And then with her passing and as the pain gets lesser, you realize what you've come through, that you're still breathing, feeling, thinking, making decisions. It's quite euphoric, the feeling. It gives you a great strength. (On the actors he most admires) There's Marlon Brando , Robert De Niro , Al Pacino , Gene Hackman , Spencer Tracy - and Cary Grant . The Fourth Protocol (1987) and Mister Johnson (1990) weren't box-office hits, but they were successes for me. "Mister Johnson" is very close to my heart. Bruce Beresford gave me confidence and direction. Nomads (1986) didn't do anything for me. but it did for John McTiernan . Why didn't it work for me? My beard. I should have gone for a sleeker, more cosmetic image. (On meeting his father for the first time) I was in Ireland doing one of the last episodes of Remington Steele (1982) in '86. He came to the hotel on a Sunday afternoon. I had tea and biscuits ready and, when I opened the door, there he was. Tom. He was a stranger. I expected him to be this very tall man. He was very lively, a wiry bantam cock of a man with great energy. We talked, had a couple of pints of Guinness, he took some photographs, and then he drove off. It was our only contact. The ultimate question was, "Why did you abandon me?" - but I never asked. [on playing James Bond] For me, the Bond that I played was caught in a time warp between what had gone before and what Daniel Craig does now. I always felt the restraints of the storytelling and it just didn't have enough bite to it. It was in the writing. The ghosts of Sean Connery and Roger Moore were there for me. It was hard to pull away from that because they were written in such a vernacular of what had gone on prior. [on The Thomas Crown Affair (1999)] It was trying to enter into the world of Steve McQueen . How do you act The King of Cool? I was so damn nervous before that movie came out in New York. I remember having panic attacks in taxis and thinking, "Jesus Christ, what have we done?" I came out in hives or something. I couldn't breathe. It was terrifying. [on working with Jack Nicholson on Mars Attacks! (1996)] I was speechless that morning, working with him. I was having a cup of coffee by the bagels, desperately trying to remember my damn lines. Suddenly I look up and it's Jack. "Hey Pierce," he says. I keep stirring my coffee. Jack Nicholson is talking to me and I'm dumbstruck. Inside my head, I'm yelling at myself: "Jesus, just shake the man's hand." I couldn't move. I was immobilised by the Jack-ness of it all. [on Tomorrow Never Dies (1997)] I still don't know what the movie's about. I honestly couldn't tell you. Assault weapons should be banned without question and guns should be monitored. The gun law in America is absolutely crazy and out of control. [on the Boston Marathon bombing in 2013] I have deep feelings on the issue. I am so connected to Boston being an Irishman, and now being an American citizen. It has a numbing effect on one's senses and creates deep fear in our hearts and deep sorrow. We are somewhat powerless to do anything, but to extend our sympathy to the victims of such a tragedy and hope that mankind will come to its senses and stop killing each other. The kill ratio in movies is overwhelming and I never really took the violence in the Bond movies too seriously, the plot was not so real. [on The Expendables 4 ] The offer has come in for the next Expendables. I just worked over in Bulgaria with Avi Lerner who makes them. He said, 'Would you like to be in The Expendables? I'd love to have you', and I said, 'Why not?' So we'll see. I have no desire to watch myself as James Bond. 'Cause it's just never good enough. It's a horrible feeling. [Being Bond was like being] an ambassador to a small nation. It's the gift that keeps on giving, that allowed me to create my own production company and make my own movies. [his feelings towards the role of James Bond, looking back] I felt I was caught in a time warp between Roger [Moore] and Sean [Connery]. It was a very hard one to grasp the meaning of, for me. The violence was never real, the brute force of the man was never palpable. It was quite tame, and the characterization didn't have a follow-through of reality, it was surface. But then that might have had to do with my own insecurities in playing him as well. [facing reality in 2014] My wife had given me a great birthday party the night before in Malibu, and sent me off with all my birthday cards and said 'you must put them all up' which I dutifully did when I got in. The next morning all the birthday cards were there and there was one in the middle that said '60'. Just that number alone. It's so manicured and codified in America. They don't venture into the realms of reality when it comes to the relationships of men and women. They go to the market of youth...But I do love the notion of the younger woman as I am now the older man. You see it in men: that fear that the clock is ticking, the clock is ticking, and women become more and more beautiful, every age group. It just becomes this lustfulness of yearning and want. I have a strong faith, being Catholic Irish, that has been maintained throughout my life. I enjoy the ritual of church, prayer. I'm not consistent in it, but it's within me. The dark times and the troubles , they'll come regardless. You just hope you have the strength and courage toad address them and endure. [on the possibility of being in The Expendables 4 ] Sylvester Stallone is the one that's given us these wonderful platforms for actors who have and had careers to go play and have fun and to entertain. To bring a bunch of guys together who saved the world, fought the bad guys, and put them all on the same stage, that's crazy good. I went and met with Tim Burton for the role of Batman (1989), but I just couldn't really take it seriously, any man who wears his underpants outside his pants just cannot be taken seriously. That was my foolish take on it. It was a joke, I thought. But how wrong was I? Don't get me wrong, because I love Batman, and I grew up on Batman. As a kid in Ireland, we used to get our raincoats and tie them round our neck and swing through the bicycle shed. [on playing 'Devereaux', a retired CIA man] This agent has grit and gravitas. He really is a cultured badass. [on why he undertook The November Man (2014), another spy thriller] Having completed the James Bond series, and after saving the world four times, there was a kind of a void left in my life. [on choosing to act as a film producer] When it's your project, you have certain paternal feeling toward it. I always try to create a home and a safe place. I think my strength is bringing actors together. [on working with Robin Williams on Mrs. Doubtfire (1993) and his death in 2014] I had the time of my life. Every day was sheer magic with the man. His humanity, his grace and his brilliance of heart and mind and soul, his reverence and sincerity. It's a deep loss [on lessons he learned about himself that he still carries] That I'm a survivor. That I can dream well. That I can work hard. That I have some kind of faith that keeps me in check, keeps me grounded in life. And just really good fortune to have traveled through the fair and still be at the table, so to speak. I had good luck and a bit of talent somewhere in the back pocket that I could kind of polish and nurture, but I dreamt and wished for all of this, then you get all of that and you've just got to show up and work. [on why his tenure as James Bond ended] I think I was caught up between the egos of the producers and the studios, really. They (the producers) didn't know whether to go younger, they didn't know what to do, period. [on Daniel Craig in Spectre (2015)] He's a mighty warrior, and I think he found a great sense of himself in this one with the one-liners and a nice playfulness there. Just get a tighter story and he'll have another classic. [on Spectre (2015)] The story was kind of weak - it could have been condensed. It kind of went on too long. It really did. It is neither fish nor fowl. It's neither Bond nor Bourne. Am I in a Bond movie? Not in a Bond movie? [on the end of playing James Bond] I was in the Bahamas, working on a movie called After the Sunset (2004) and my agents called me up and said, "Negotiations have stopped." [Producers Barbara Broccoli and Michael Wilson ] are not quite sure what they want to do. They'll call you next Thursday. (...) I sat in Richard Harris 's house in the Bahamas, and Barbara and Michael were on the line - "we're so sorry." She was crying, Michael was stoic and he said, "You were a great James Bond. Thank you very much," and I said, "Thank you very much. Goodbye." That was it. I was utterly shocked and just kicked to the curb with the way it went down. [2015] Salary (4)

i don't know

Who was the star of the dark thriller 8mm?

8MM Reviews & Ratings - IMDb IMDb 163 out of 185 people found the following review useful: A dark, graphic view into the underworld of pornography from London 29 October 2004 Firstly, this film is hugely under-rated. For those reviewers who call this film a "waste of time" or place it in the "hall of shame", maybe they should go back to watching more obvious and simple films. 8mm focuses on "snuff" movies and follows Nicholas Cage as he ventures into the dark underworld of the pornographic industry. I'm not a great fan of Nicholas Cage (I still wonder how he ever made it as a movie star), but in 8mm felt he redeemed himself from past performances. Other actors in the film put on great performances, notably Joaquin Pheonix, and James Gandolfini (of Sopranos). What makes the film worth watching though is the emotion, dark imagery and tense moments throughout the film. The storyline too is very well thought out although does have a few holes and untouched areas that may have helped develop the film further. There is no Hollywood ending, forced propaganda, or marketing. What you do get is graphic scenes, moderate violence, and an insight into "snuff" movies (which really is quite disturbing). Having said that this movie is not for the faint hearted, so if you're a "puppy-dogs and ice-cream" kind of person I'd suggest watching something else. If however, you feel you will be able to stomach such a film then prepare yourself for a moving film, which will leave you feeling that little bit darker at the end. I highly recommend this film. 8/10 Was the above review useful to you? 172 out of 207 people found the following review useful: Well made, but disturbing. Watch with care. from Helsinki 27 February 1999 I walked into the movie theater last Friday not expecting at all what I was about to see. I'd heard about it, thought "Oh, another Seven". Same screenwriter, but I was way off track. I can stomach a lot, having no problem stuffing down popcorn during very graphic scenes. In 8MM, my coke had trouble going down. 8MM did not have consistent gory/violent scenes, but the way the movie was made made you fill in the blanks of what the makers of the movie could not screen. And if you pay attention and immerse yourself, you fill in more blanks than you really think you could, or want. As Max put it: "the devil changes you." The perversity and deep rottenness of the human minds displayed in 8MM is what disturbs you. Then you realize, that "snuff"-movies are real, that there are individuals twisted enough to endorse/enjoy/take part in it. And worst of all, that these individuals don't look like monsters, they're perhaps just overweight nearsighted men who look like your dad, your son, your brother, even yourself. And if you don't look out,(no matter how secluded you think you are in your suburban home, with a wife, a daughter, and a dog named Shep) you dive into the pit of perversion and rottenness as well, finding no way out. In conclusion: excellent music, acting very sufficient, the plot: a must see. Just don't bring popcorn, and prepare to walk out of the movie theatre disturbed, asking questions, and a little bit more suspicious of those walking around you, and yourself. Was the above review useful to you? 104 out of 141 people found the following review useful: A Haunting and disturbing Brilliant Realistic Masterpiece!! from Massachusetts, USA 26 February 1999 The intensely intriguing storyline of 8MM follows the haunting search by a private investigator (played superbly by Nicolas Cage) for the makers of a grotesque and disturbing snuff film in which a young woman is murdered. Starting by looking through endless missing persons files (in an attempt to identify the victim), Cage ultimately follows leads to the world of underground seaze films and the people who are involved in making them. Throughout his creepy investigation, Cage becomes more and more disturbed by the Snuff film and stops at nothing in an attempt to track down answers to what really happened. This film is So intriguing and suspenseful, there are scenes that will leave your heart pounding in anticipation of what's to come. I don't know if I have ever seen such an intriguing and suspenseful Drama/Thriller ever before! This film is so realistic, there are times when you feel as if what is going on is real, and you begin to feel more for the characters than you usually do in a film. The last 20 minutes of the film are heart pounding and breathtaking! Director Joel Schumacher delivers one of the most mind haunting dramas you will ever see and gives us a story that won't be easy to forget. It's dark, moody, creepy, brilliant, and disturbing! And when all the pieces finally come together, you'll be glad you went along for the ride. Wow, It's a sick world we live in!! I give this movie 4 out of 4 stars! Was the above review useful to you? 71 out of 87 people found the following review useful: Beware Of Brutal Topic from United States 3 May 2006 Wow, this is a tough subject but not as sordid a film as I figured it would be, although be warned the last 30 minutes are really rough in spots. Speaking of spots, this is a bloody movie in spots, too and very profane after the first 40 minutes. Yet, despite the unpleasant nature of the story (making a "snuff film" - filming the killing of people) it's a riveting one, well-acted and doesn't overdo the violence. The characters in here are some of the most despicable you could find - killer and porn kings. Even our hero here, played by Nicholas Cage, starts off as a clean-cut fairly straight dude, and changes for the worst, too. Joaquin Phoenix has a good line in here, with the prophetic statement, "The devil doesn't change; he changes you." James Gandolfini and Peter Stormare play characters about as bad you'll ever find in a movie. This film is not, as they say, for all tastes. It will turn off a lot of people but it is interesting and good revenge story, if you like that sort of thing and know what you're in for before watching this. Was the above review useful to you? 63 out of 83 people found the following review useful: Fantastic!! from Hayes, Middlesex, England 30 October 2002 8MM was a very dark and powerful film featuring the seedy underground world of pornography and snuff movies. It was, to be frank, fantastic. Nic Cage, rapidly becoming one of my favourite actors, walks through with a disgusted air and even Joaquin Phoenix, who I've never been that impressed with, hit the nail as a porn shop manager Deeply disturbing, yes. Highly compelling, yes. A good buy... you bet! Was the above review useful to you? 53 out of 74 people found the following review useful: Disturbing from Brooklyn, NY 25 August 1999 Admittedly, I haven't seen a lot, if any, of the movies or read the books other people have said have covered this territory already, but I found myself caught up in the story and not bored or thinking, "Ho-hum." I haven't liked Joel Schumacher lately(his two BATMAN movies were a joke, and A TIME TO KILL was exploitation at its worst), but this one was pretty good. Admittedly, like in A TIME TO KILL, this sometimes comes close to an exploitation movie(particularly through the performances of James Gandolfini and Peter Stormare), but that's only part of the time. Most of the time you feel sadness and outrage, and like in Schumacher's very good FALLING DOWN, you aren't asked to condone Cage's actions near the end, you're just asked to understand them. This might not be the type of part Cage is known for, but I found him compelling in the role(and if something upsets the man who ate a cockroach on film, you KNOW it's heavy-duty stuff). I do admit the film would have been a little unrelenting without the presence of Joaquin Phoenix, though; he was like a breath of fresh air, and I liked how matter-of-fact he was. I can't say I enjoyed this movie, but I'm not sorry I saw it. Was the above review useful to you? 37 out of 45 people found the following review useful: Very gritty and dark from Chicago, Illinois 1 November 2007 When I watched 8 MM, I didn't know what to expect, but I noticed that Joel Schumacher directed it and I am a fan of his. Also it stars two other terrific actors like Nicholas Cage and Joaquin Phoenix, so usually that equals a great film. 8 MM turned out to be a terrific dark drama that I'm not so sure that I understand it's low rating. I was actually expecting it to be in the 7.0 range when I went to check it out on IMDb, but it's in the low 6.0's. I understand that it's an extremely dark movie that not too many people would wanna take a look at, but for what it was, I thought it was great. It took us into the deep dark world of porn and what some sick people get off on. It's not just about that, but also it takes us into a detective type of drama that makes it into a scary type of thriller. Tom Welles is a detective that is given a strange short movie called a "snuff film", where a beautiful young girl is being brutally raped and then murdered on film. While it's supposed to be fake, it looks incredibly real and terrifying. Her relative asks him to find out wither it is fake or real and if she's still alive. This means he has to go deep into a world of brutal porn that is out of his league. With the help of a porn salesman, Max, they go to find out if this girl is really alive or not, but end up getting into some serious trouble when the directors and "actors" find out about them. 8 MM is in no way for the faint of heart, there are some extremely disturbing images that I really wouldn't like to see again, I'm sure most wouldn't either, but this is a great dark drama that I would recommend for a watch. Nicholas did a great job, but Joaquin really takes the show here. He made his character incredibly believable and almost sympathetic. Joel really made me believe the story, he shot it wonderfully and didn't over do anything. I would recommend this film for a watch, it's a great thriller that is impressive as well as scary. 8/10 Author: Le Froque 3 February 2002 Some sensitive-minded people may surely be disturbed by the dark revenge and self-justice in this film, but "Se7en"-author Andrew Kevin Walker has done another fine work with his script! Although the storyline is obviously taken from Paul Schrader´s "Hardcore" (1974,?) the film is suspense-packed, violent and endowed with good performances of its actors, especially Peter Stormare did a brilliant job with playing the weird bondage-porn director Dino Velvet! I also was truly surprised how good director Joel Schumacher had created a morbid atmosphere, just in unhappy memory of his disastrous "Batman & Robin"-flick..! Another pleasant fact is, that "8MM" doesn´t deal with the Hollywood-typical stereotypes and clichés, so finally we´ve got something we could really call a dirty mainstream production - or at least a nice try of it! Was the above review useful to you? 49 out of 71 people found the following review useful: Disquieting but effective for mature audiences. *** out of ****. 9 March 2000 8MM / (1999) *** Starring: Nicolas Cage, Joaquin Phoenix, James Gandolfini, Peter Stormare, Catherine Keener, and Amy Morton Directed by Joel Schumacher. Written by Andrew Kevin Walker. Running time: 123 minutes. Rated R (for strong sexual content, nudity, violence, and for strong language). By Blake French: Joel Schumacher's new disquieting thriller, "8MM," is the kind of movie that starts out hesitantly calm, but contains an atmosphere where potentially detestable material may become apparent, as if the film is preparing us for something much more bellicose. Sure enough, a half hour into the picture, we take possession of plot points regarding subjects beyond human imagination. Our very effective condition propels us into a sleazy world of hard core adult contents. "8MM" is a tense, dramatic production with tantalizing dialogue and a driving theme of action. There is a scene in the film in which a character explains a relative, although somewhat overlooked, concept. "When you dance with the devil, you don't change the devil--the devil changes you," he declares as he walks down a long, dark ally with another character. Nicolas Cage stars as Tom Welles, a highly acclaimed private detective living with his wife Amy (Catherine Keener), and their newborn son in a homey, relaxed country house. As the film opens, he is called upon by the widow of an important political man, Mrs. Mathews (Amy Morton). This elderly woman has discovered the contents of her late husband's secret safe and his extremely concerned about some of them. Most of the objects found in the safe are normal. One in particular, however, a film strip, is not what you would call ordinary, but suspicious and concealed. Mrs. Mathews explains to Tom what he will see on this tape is something of unimaginable terror. Tom views the 8mm tape, watching in horror as a young girl is raped and brutally beaten to death in front of a camera operator, a silent viewer, and a muscular man wearing all sorts of S&M clothing. The well-developed conflict brought to our attention at this point: Mrs. Matthews is requiring Tom to find out if the tragic events that occur on tape are real or not, and if her husband had anything to do with this atrocity. Welles opens a missing person's case and reports to his wife that he will be away for a few weeks on duty. He first searches through countless files containing young kidnapping victims. The results: a fifteen year old girl named Marianne who ran away from home six years ago with the company of her boyfriend as they were heading towards Hollywood, California. Next, he converses with several key characters including her depressed mother, a scruffy acquaintance, and her so called boyfriend who is now serving time in prison. He claims Marianne ran off to work at a strip club. These characters point Tom in the direction of an underworld of "snuff" movies, where he meets an adult book store clerk named Max California (Joaquin Phoenix). He and Max become friends. After some negotiating, our fellow porn genius agrees to share his knowledge with Tom and lead him to the makers of the 8mm snuff film. There we meet Eddie Poole, a perverted photographer, (James Gandolfini), Dino Velvet (Peter Stormare), a disquieted man who believes smut to be a form of art, and The Machine, the man in the S&M mask who murdered Marianne in the video Mrs. Mathews found. "8MM" has an excellently developed setup. A setup that indicates us on the snuff film, as well as the setting, character motives, personalities, dramatic premise, and plot points. The only component that is missing is the history and or in depth elaboration on Tom Welles. With such an important character, one who drives the entire narrative through line, we need to feel a lot of empathy so that we may root for him. Unfortunately, the filmmakers present the audience with only the minimum introduction. The side characters are also descriptive. In their own presence, contribute to both the story and atmosphere. Director Joel Schumacher's work has always been some of my favorite. With movies like "Falling Down," "Flawless," and "Batman & Robin," I was never expecting him to construct a dark, grim, film such as "8MM." This feature is tasteless and nasty, repulsive and unsettling--while all these bases are relentless within the context of the plot. No doubt many audiences will be offended throughout, perhaps even to the point of where they walk out of the theater. This is a production on the verge of an NC-17 rating and is adult in every atom of its being. The perverse and gritty character motives and mature subject matters all fitted appropriately here, but the film still goes over the top in many areas. Some of the movie's characters are a bit too obvious. The villain, for instance, I could predict from the first five minutes he is on screen. Whenever there is a character who seems to have no cause or purpose in the plot, he is normally the bad guy. Here, although the character twists are effective and the casting is brilliant, we receive several clinches that many views will be able to detect immediately. Nicolas Cage is obviously the right choice for Tom Welles, a man who is more submissive than brutal, but is placed in a situation where deep down he desires bloodshed, but knows his morals challenge him otherwise. "8MM" is a movie that frolics with this character's emotions and values, and at the same time lives up to a premise that is way out of his league. Brought to you by Columbia Pictures. Was the above review useful to you? 34 out of 47 people found the following review useful: Festering from Sydney, Australia 21 February 2002 "8mm" sucks you in from the moment you watch the snuff film with Nicholas Cage, not letting you go until the very end, where it spits you out encased in a cocoon of bloody phlegm. The director successfully creates a gritty atmosphere that remains constant right up until the end, but the plot isn't so lucky. As others have pointed out, things get ridiculous towards the films finale, which if crafted with more tact could have made "8mm" a great film rather than simply an entertaining one. Cage gives a good, rather sombre performance as the private investigator hired to determine the authenticity of a snuff film found in the late husband of a senator's safe. From there on he's plopped into the festering world of deviant pornography, forced to explore the seedy bowels of stomach-churningly filthy underground sexual practices. Amy Morton's performance as Mary Ann's mother is perfect, conveying the emotions of a distraught, depressed mother beautifully. Joaquin Pheonix steals the show as the charismatic owner of a sex-shop. Full of suspense, this film should at least entertain you as you watch with disgust and repulsion some of the dirtiest human habits imaginable. 7 out of 10.

Nicolas Cage

Where was the 1990s version of Dickens' Great Expectations set?

Screenwriter Andrew Kevin Walker Wants A '8MM' Remake Screenwriter Andrew Kevin Walker Wants A ‘8MM’ Remake Posted on Wednesday, October 7th, 2015 by Jack Giroux This year marks the 20th anniversary of director David Fincher‘s (The Social Network) breakout film, Se7en. The thriller not only launched Fincher’s feature filmmaking career, but it also made Andrew Kevin Walker an in-demand writer. Walker’s followup, 8MM, made less of a cultural, critical, and box-office impact. Director Joel Schumacher (Tigerland) turned his hot spec script into a so-so thriller. Walker, personally, wouldn’t mind seeing a 8mm remake. Learn why after the jump. Nicolas Cage played Tom Welles, a private investigator hired to find out if a “snuff film” is legit. For a studio movie, 8MM is unexpectedly bleak at times, but it never fully commits to its darkness or its implied themes. Walker has never had kind words to say about the finished film, especially in this interview with The Guardian . It was such an inherently depressing experience that the very least I can do is protect myself from the miserable experience of actually watching it. Here’s this movie with my name on it and, just from the trailers I’ve seen, there are lines I don’t want to take credit for. ‘You dance with the devil, the devil don’t change, the devil changes you.’ That wasn’t my favorite thing. One of the things I’m realizing is how inherently unsatisfying the career of screenwriter can be. There’s a handful of excellent scenes in 8MM, like when Joaquin Phoenix‘s character offers the investigator a battery-operated vagina. Phoenix and Cage are a fine pairing, but Cage is left adrift. On multiple occasions, Max California (Phoenix) suggests to Welles he’s in too deep, and yet you never get a sense of that, despite Welles’ cheesy black leather jackets and dark t-shirts. The character’s arc is murky, and so is the rest of the film. California frequently mentions the devil, as if he’s making important thematic statements, but the movie never really has anything to say about evil. In a new interview with Uproxx , Walker is asked about his thoughts on the inevitable Se7en remake; it’ll happen one day, let’s be honest. The screenwriter is not particularly fond of that proposal, but he’s open to an 8MM remake. Half-jokingly my reaction would be, why don’t we leave Seven alone and I think it’s time to go re-make 8MM, which I would love to do. But if they want to make Seven into a TV show, if they want to make Seven into a cartoon — there was a comic book exploring John Doe’s character, which I think is not an interesting exploration — you don’t have any control over it. You just have to go with the flow. But it’s been nice that it’s been this movie that has not be remade or sequelized or prequelized. That’s been terrific. 8MM is a fine, occasionally above-average film, but with its concept, it could’ve been so much more than “fine.” Schumacher doesn’t even come close to capturing the tension and emotion of Fincher’s thriller. On top of that, the ending isn’t half as powerful as Se7en‘s. Nobody wants a remake of the classic 1995 picture, but a redo of 8mm isn’t a bad idea, especially if it’s more faithful to Walker’s script. Over the past few years Fincher and the screenwriter have attempted to make a handful of projects together , like 20,000 Leagues Under the Sea and and The Reincarnation of Peter Proud. The screenwriter has done uncredited rewrites on some of Fincher’s films, but we haven’t seen a movie with his name on it since 2010’s The Wolfman. The last great project we saw from Walker was the BMW short film, The Follow, directed by Wong Kar-wai (In the Mood for Love), a 10-minute commercial I often revisit. Cool Posts From Around the Web:

i don't know

Which important US building has its roof ripped off in Superman II?

Superman II (1980) Superman II (1980) d. Richard Lester, 127 minutes, 116 minutes Superman II (2006), Richard Donner's cut, with 83% Donner original footage Film Plot Summary This film began by reviewing short clips from the previous film, beginning with the trial of three criminals: General Zod (Terence Stamp), Ursa (Sarah Douglas), and Non (Jack O'Halloran), on seditious treason charges before Krypton's Council of Elders. The trio had stealthily entered the Council Chamber where the neck of a guard was broken. However, the Council was prepared against their coup d'etat attempt and the group was apprehended. They were encircled by descending, spinning, imprisoning rings as they were declared guilty. The three were banished from the planet Krypton into the revolving, two-dimensional Phantom Zone, their prison, causing them to be flattened. Under the credits, Krypton's respected scientist Jor-El (Marlon Brando), fearing that Krypton would be destroyed by a collision with its sun, prepared a space capsule/rocket (with one green crystal) to bear his son Kal-El safely away, just before the planet exploded. There was a brief recap of Kal-El's crash landing in a wheatfield in Kansas, his encounter with adoptive parents, his summoning by the green crystal and trek to the North to create the Fortress of Solitude, Clark Kent's (Christopher Reeve) subsequent employment as a reporter in Metropolis at the Daily Planet, and Superman's first public demonstration when he rescued fellow reporter Lois Lane (Margot Kidder) from a crashing helicopter. The summary ended with the previous film's concluding sequence, in which Superman saved the West Coast from catastrophe when villain Lex Luthor (Gene Hackman) detonated a nuclear missile on the San Andreas Fault. At the Daily Planet Office, chief Editor Perry White (Jackie Cooper) ordered his oblivious reporter Clark Kent to do a background story on a terrorist group (disguised as repairmen) that had seized the Eiffel Tower in Paris, and taken about 20 tourists as hostages. They were making demands of the French government, while threatening to explode a Hydrogen bomb (hidden in an oil drum) and level the city. Lois Lane had already been sent to Paris as White's "best reporter" to get the story. Worried about her, Clark hurriedly left the building, darted into an alley, and magically transformed himself into Superman at running speed (on camera) - rapidly soaring toward Europe. Meanwhile, ambitious and determined Lois arrived at the scene where the terrorists had released the remaining hostages. To get the story (Lois hoped for a Pulitzer or Nobel prize!), she evaded one security guard with her tourist's translation phrase book, and climbed under the lift-elevator mechanism - after which it was raised high into the air, carrying the terrorists and the bomb. To capture the terrorists, French gendarmes with cable-cutters snapped the elevator's thick steel supports, plunging it down the shaft to the ground (with Lois pinned and clinging underneath), as one of the terrorists inadvertently triggered the timer device with only 60 seconds until detonation. Superman caught the out-of-control elevator, told Lois: "I believe this is your floor," left her off on a lower level, and pushed the elevator (with the bomb) up the shaft and into outer space past Earth's moon. When it exploded, the concussion force of its shock-wave rings caused the Phantom Zone, traveling nearby, to shatter and break open - unwittingly freeing and restoring the Kryptonians as three-dimensional beings, who then flew on toward Earth. Outside the Daily Planet office, Clark jaywalked to reach Lois across the street, and was directly hit in the legs - but unhurt - by a Checker taxi, which suffered major front-end damage. He was bewildered as he entered the office, where the day's paper (an exclusive article by Lois) announced: "MERCI SUPERMAN - French Terror Scheme 'Bombs'." In the prison where bald Lex Luthor (calling himself the "greatest criminal mind...the greatest genius in this world") and bumbling assistant Otis (Ned Beatty) were held to serve a life sentence "plus 25," they worked in the laundry room. Luthor had discovered that his nemesis Superman would always fly North - that was thought to be "his vulnerable point" and the crafty Luthor announced his new invention, a black box alpha wave detector: "My little black box is just about ready." It was designed to go "beyond any conventional radar - it tracks alpha waves...Those alpha waves will take me North to his secret. And his secret will give me Superman." Shortly later, the two made a deceptive getaway using Luthor's inventive holographic device to project their images (innocently playing chess in their cell) - discovered only at 'lights-out' curfew time within their cell block. In the prison yard, Luthor climbed up a ladder into a hot-air rescue balloon piloted by his moll girlfriend Eve Teschmacher (Valerie Perrine), but Otis (too heavy as "ballast" for the balloon) was left behind. [They proceeded due North, and later, arrived at "Superman's home" -- the crystalline Fortress of Solitude, where Luthor exclaimed as they wandered about: "It's fantastic...it's beautiful...This place is genius." At the control panel console, they accidentally activated "a voice from the past" of one of the Elders in the Kryptonian memory bank, reading poetry from Earth literature (Joyce Kilmer's "Trees"). Another crystal conveniently brought up a recorded image of Kal-El's mother Lara (Susannah York), Keeper of the Archives, who told them of "the darkest episode in our planet's history" - about how Krypton's three arch-criminals, with the same powers as Superman, were placed in the Phantom Zone to be imprisoned for all eternity. She told how it was "cracked by a nuclear explosion in space" - and they escaped. Their presence explained why Luthor had received three Alpha Waves on his black box detector, and he planned to be their equally-evil, super-villainous contact on Earth: "Someone with the same wonderful contempt for life, liberty, and the pursuit of happiness."] Houston's NASA Control Center was monitoring astronauts on the Moon, flown there in the Artemis II (it was a joint US-USSR "detente" mission). They had been there for 45 days, conducting geological surveys. One of the astronauts noted the arrival of butch-punk henchwoman Ursa, who magically drifted down onto the Moon's surface - as "an unidentified flying object." She confronted one of the US astronauts, asked: "What kind of a creature are you?", and then stole his patch as she ripped open his spacesuit - depressurizing it and killing him. General Zod discovered a second Soviet astronaut, and commented: "What a fragile sort of life form this is," before snapping his lifeline and floating him away. The third US astronaut, attempting to launch and flee in the lunar excursion module, was crushed and killed by Non. General Zod realized why they had super-human powers: "The closer we come to an atmosphere with only one sun, a yellow sun, the more our molecular density gives us unlimited powers." They decided to go to "Houston" - "To rule!" when they mistakenly believed that the Houston Space Center transmissions designated the planet's name - Houston. Meanwhile, Clark and Lois arrived at Niagara Falls at their Honeymoon Haven Hotel suite (a pink monument to tackiness and bad taste with heart-shaped cushions, lava-lamp pillars, a "Flames of Love" central gas fireplace with a pull-chain, an open-jawed pink bear-skin rug, a vibrating bed, a heart-shaped bathtub, a complimentary corsage and cheap bottle of Champagne, etc.). They were posing as the Smiths - a newlywed couple, to an unctuous bellhop, in order to do a Sunday Magazine report to "expose a honeymoon racket." Clark enjoyed pretending to be married more than Lois, especially after she pointed out the sleeping arrangements - he would sleep on the couch. Out by the guard railing near the falls, where they were surrounded by happy, romantic couples, Lois removed Clark's eyeglasses to clean them from the mist - she did a double-take and became suspicious when he looked similar to Superman without his disguise. Although he was awed by the natural sights, she replied unimpressed: "Once a girl's seen Superman in action, Niagara Falls kind of leaves you cold." When a boy fell from the railing and disappeared in the misty water, Clark (who was off buying lunch of hot dogs and freshly-squeezed orange juice for Lois) came to his rescue as Superman, and brought him safely back to the observation deck, while snubbing and ignoring Lois' presence. When Clark returned with lunch afterwards, she remarked: "It just seems kind of strange to me that every time Superman's around, you disappear." To test whether Superman might be Clark in disguise, as they stood next to exhibits about those who had attempted going over the falls, she told him: "I'm so sure that you're Superman that I'm willing to bet my life on it...If I'm right, you'll turn into Superman. And if I'm wrong, you've got yourself one helluva story." Clark told her that she had a tremendous imagination - when she suddenly threw herself over the railing into the raging water upstream of the falls - expecting to be saved. As a panicked Clark ran alongside, she struggled to stay afloat as she called out: "Superman!" Refusing to reveal his identity, Clark used his X-ray Heat-vision to fell a great tree branch into the water, and then yelled out: "Grab the branch." She was able to swim out of the swift current to the calm shore bank, where she had to save him as he fell in and thrashed about: "You were what I thought was Superman?" In their suite room afterwards, Lois told Clark she felt like an "idiot" for trying to summon "Mr. Wonderful - who obviously had better things to do." As he handed her a hairbrush, he stumbled over the bear-rug and his hand plunged into the flames of the fireplace. Noticing no burns on him, she exclaimed: "You are Superman!" He was forced to reveal himself - he removed his glasses and stood upright - and suggested that they talk. She thought he had a reason for showing himself: "Maybe you didn't want to with your mind, but maybe you wanted to with your heart." She told him: "I'm in love with you." Then, he decided to tell her everything: "Now that you know, I think you should know it all" - and he proposed taking her to his secret place -- the Fortress of Solitude. The three Krypton criminals descended upon what they believed was planet Houston - a rural lake fishing area in the state of Idaho. General Zod levitated and then 'walked on water' from the center of the lake to join his compatriots on land. Ursa was bitten on the hand by a rattlesnake ("a primitive life-form") and surprised herself by glowering at the snake with her vision, and immolating it with her powerful Heat-vision: "I have powers beyond reason here." The giant Non struggled to duplicate Ursa's vision powers that he had not yet mastered. On the outskirts of East Houston, Idaho (a "Middle-American town"), the three Kryptonites blocked the road, denying passage to a police car carrying the paunchy local Sheriff (Clifton James) and his deputy Dwayne (Peter Whitman). When the trio confiscated the deputy's shot-gun (a "crude noisemaker"), they revealed their levitation, Heat-vision and indestructible, super-strong powers to the awe-struck officers. Non ripped the cherry red-light off of the top of the sheriff's car - a reminder of Krypton's red sun. Superman flew protectively next to Lois to his Fortress of Solitude, a "very special place," where he gave her a tour and reverentially held the green crystal that had "called" to him and brought him there. The energy crystal built the Fortress, where he discovered his identity and his mission in life: "That's when I found out who I really was and what I had to do." Not realizing what she was doing, Lois placed her purse over the misplaced green crystal. He flew to a tropical rainforest (in Hawaii?) to pick some elegant-looking 'bird of paradise' flowers for Lois, and to gather dinner items from other exotic places around the world. When she left the control panel area of the Fortress to join him for dinner, she picked up her purse - not noticing the green crystal left sitting underneath it. In the small town of East Houston, Zod and Ursa (wearing a NASA patch and the deputy's badge) entered a hole-in-the-wall saloon/restaurant where one red-neck remarked: "The circus is in town." Ursa demonstrated her strength in an arm-wrestling match with another local named J.J. (Bill Bailey) and broke his arm through the table, while Zod propelled Boog (Dinny Powell) through the outer wall, into a truckload of chickens, and onto the street, and also levitated (with his finger) and dropped gun-brandishing Dino/Jody (Jack Cooper) from 30 feet in the air. Soon after, a news reporter announced that the town's three new arrivals had brought havoc and "destruction in their wake" - and the town was "gripped with fear." Armed troops ordered them to surrender, but they and their weapons were completely useless. The commentator noted: "I haven't seen the likes of this since Superman." Even the US President was alerted and felt powerless: "These people have such powers, nothing can stop them." And Superman was nowhere to help. Non caught a bazooka bare-handed and crushed it in half, and when a fleet of helicopter gun-ships arrived to fire upon them, their rockets had no effect. Ursa unleashed her Super-breath on the 'flying machine' to send it out of control and crashing to the ground in flames. Zod declared, on television: "I win. I always win. Is there no one on this planet to even challenge me?" He demanded: "I am your ruler. Yes, today begins a new order. Your lands, your possessions, your very lives will gladly be given in tribute to me, General Zod. In return for your obedience, you will enjoy my generous protection. In other words, you will be allowed to live." Zod told the commanding five-star General (Don Fellows) that the US President (E.G. Marshall) would soon be answering to him. Back at the Fortress, Superman had prepared an elegant, romantic dinner (with champagne) for Lois, and then confided that he was grateful to Clark, almost a separate entity: "If it weren't for him (Clark), I never would have met you...For the first time in my life, everything's clear." After he took her hand, she wished to change into a satiny, loose-fitting, low V-necked nightgown: "I'm going to go change into something more comfortable." When she returned, she overheard him confiding to his mother Lara that Lois was his perfect mate and lover: "She's all I want in life." He listened to her answer: "If you intend to live your life with a mortal, you must live as a mortal. You must become one of them." He would need to undergo the irreversible process of entering a crystal chamber where the rays of the red sun of Krypton had been stored and harnessed. After exposing himself to those rays -- all of his great powers on Earth would disappear forever: "Once it is done, there is no return. You will become an ordinary man. You will feel like an ordinary man. You can be hurt like an ordinary man. Oh, my son, are you sure?" Superman responded: "Mother, I love her," and then entered the chamber to be transformed. The walls glowed a deep red color and there were violent flashes of light, as the molecular restructuring chamber was activated. A mortal Clark Kent appeared and walked away from his immortal, fading Superman form. Lois was stunned by his ultimate sacrifice: "You did all that for me? I don't know what to say." Clark replied: "Just say you love me." They hugged and kissed and then walked into an interior part of the Fortress. Meanwhile, Zod and his fellow Kryptonites flew by the Mount Rushmore historical monument and defaced three presidential faces, and crumbled the fourth Abraham Lincoln carving. They then flew onto Washington, D.C., as Clark and Lois laid in each other's arms in the sleeping chamber of the Fortress, after a blissful evening of sex. The trio crashed through the ceiling of the White House, where they overcame Marine soldiers and Secret Service agents whose bullets bounced harmlessly off them. They burst into the well-barricaded Oval Office of the President, where Zod forced the US commander to kneel and surrender to him. However, the President threatened Zod with the presence of the invincible Superman, although of unknown whereabouts at the present time: "But there is one man here on Earth who will never kneel before you." At the same time, Clark and Lois were on a long car drive back from the North to Metropolis - she was still astonished by what he had given up for her. At an Alaskan roadside diner, Clark was forcibly engaged in an altercation with a local bullying trucker named Rocky (Pepper Martin) who called him "four-eyes," and he was hit from behind and sent through a glass window frame. Feeble, hurt, and embarrassed, Clark was stunned by the sight of his own blood, and sickeningly realized his own physical limitations. When Lois attempted to comfort him, "I want the man I fell in love with," Clark noted that he wished Superman was there to help: "I wish he were here." Clark was again punched in the stomach and in the face, and went down a second time, in terrible pain. Afterwards as they sat at one of the tables, they listened in disbelief to a TV broadcast, in which the worried President abdicated "all authority and control over this planet to General Zod." The humbled President urged strict obedience to Zod to prevent the loss of millions of innocent lives. Then he burst out: "Superman, can you hear me?" Zod took charge and defied Superman on the national broadcast: "Come to me, Superman. If you dare. I defy you! Come! Come and kneel before Zod." With Earth doomed, Clark realized that he must return to the Fortress to attempt to restore his super-powers: "I have to go back...I have to. I've got to try, damn it. I've got to try something. Anything!" -- Clark numbly trudged along in the snow by himself on a bleak northern highway in the frozen landscape. Exhausted, he finally reached the Fortress, now desolate, cold, dark and silent. Needy and desperate, he called out to his father and mother in vain, wishing they could hear him in the echoing space. He frustratingly admitted: "I failed." In the darkness, he saw the glowing green crystal on the floor. (During their earlier visit when Superman called her to dinner, Lois had not seen the green crystal, out-of-sight and hidden under her purse.) Would it be possible for him to restore his Superman abilities with the intensely-glowing crystal? In the White House's Oval Office, General Zod and his companions were deathly bored without a rival arch-nemesis, until interrupted by the brazen arrival of boastful Lex Luthor, who planned to partner-in-crime with them: "I can give you anything you want. I can give you the brass ring, the unlimited freedom to maim, kill, destroy. Plus Lex Luthor's keen mind. Lex Luthor's savvy. Lex Luthor's career guidance. Lex Luthor's School of Better..." He offered them the son of Jor-El -- better known as Superman. Zod was intrigued: "Revenge. We will kill the son of our jailer...We will bring him to his knees." To gain Zod's cooperation and trust, Luthor promised to locate Superman, in exchange for becoming the ruler of the "beachfront" continent of Australia. Back in the office of the Daily Planet in Metropolis, Lois, Jimmy, and Perry White were speaking about Superman's unusual "disappearing act" (with Lois uncertain about where he was since he left her to return to the Fortress), when suddenly, the trio of Kryptonite villains (accompanied by Luthor) crashed in and smashed up the offices and furniture. They were there to kidnap Lois - "the next best thing" besides Superman, according to Luthor: "Hold onto that little lady and he'll be along." A stack of the latest Daily Planet newspapers fluttered, with the headline: "WHITE HOUSE SURRENDERS," as a restored and rejuvenated Superman flew into the city, and landed on a horizontal flagpole outside Perry White's office. As Zod demanded that the "son of Jor-El" kneel before him, Superman defiantly challenged the three villains: "Would you care to step outside?" and then flew away to await their arrival atop another skyscraper. Their destructive Herculean conflict in the skies high above the city also carried over to the Hudson River and into the cavernous areas between the towering buildings. Superman found the three of them to be as formidably strong as he was, especially since he was outnumbered and the fact that he was also protecting innocent bystanders from falling debris (i.e., the top of the Empire State Building). Zod proclaimed he knew Superman's weakness: "He actually cares for these Earth people," and began setting cars and gas tanks ablaze with his Heat-vision to draw Superman away, although the Man of Steel thwarted him by reflecting back the Heat-vision beam with a rear-view mirror, and freezing a heated gas tank (under a gasoline tanker truck) with his breath. The fight was taken underground, causing the ground to tremble and manhole covers to explode open. One of the covers was tossed into Superman's stomach like a frisbee. Superman hurled Zod into a giant, lighted Coca-Cola sign, and then absorbed the impact of an imperiled, tossed-aloft city bus with passengers aboard. The three villains used their Super-breath to cause a tremendous hurricane-force gale, producing more devastation and chaos (flying cars, phone booths, fire hydrants, etc.). Deciding that it wasn't safe to continue to confront the three with so many innocent people around, although he was deemed a "coward," Superman soared off to a more secluded place. Zod declared: "Our victory is complete. The son of Jor-El has fled." But Luthor knew the fight wasn't over - he persuaded Zod to not kill him by promising to lead them to Superman's address (at the Fortress of Solitude), while Ursa added that they should increase his handicap by taking Superman's "favorite" human (Lois Lane) with them, to trap him. Both Luthor and Lois were flown northward to the Fortress by the Kryptonians. When they reached their destination by flight, Non sprang towards Superman, who magically tossed the plastic "S" insignia from the chest of his costume onto the villain - a cellophane net to wrap around him and subdue him. Zod proposed that the three Kryptonites combine their strength together, and they each beamed their red-hot Heat-vision rays onto Superman, but he repelled their rays with the palm of his hand. When the villains quickly teleported to shift their positions, causing disorientation by being in different places, the "real" Superman projected three copied images of himself in the same way into three different areas of the Fortress, to fool the villains about his own multiple whereabouts. Superman was forced to release Zod, held in a head-lock stranglehold, when the other two - in a tug of war - threatened to pull Lois' arms from her body. Superman's love for Lois always functioned as his major weakness, and he had no recourse but to release Zod, who then proclaimed: "The son of Jor-El will be my slave, forever." Superman had to admit defeat (with Lois as their hostage), as Zod ordered: "Destroy this place." Luthor was momentarily upset that promises made to him were not being rewarded by Zod, and complained to Superman about the Kryptonites' treachery ("Promises were made, gifts exchanged"). Superman plotted with the deceitful Luthor to trick the three into entering the Kryptonite molecular chamber to lose their super-powers -- but then Luthor predictably betrayed his secret to Zod: "Don't go in there, General. It's a trap!" Luthor activated the machine while Superman was forced to enter the chamber. However, this time, the lights in the entire interior of the Fortress turned red (Kryptonian sunlight), not inside the chamber. [Superman had cleverly reconfigured the machine before they arrived to reverse its effects, knowing that Luthor would betray him, so that anything outside the chamber would lose its powers when the machine was activated.] Superman appeared to writhe in agony in the chamber, and then emerged humiliated, to disgrace himself and penitently kneel before Zod to "swear eternal loyalty." He took Zod's hand - and crushed the bones in it - and then hurled the helpless Zod through the air into a far wall and to his doom in a crevasse. Non fell to his death in a second crevasse when attempting to fly away, and Lois punched Ursa in the face, sending her into the depths of a third crevasse. Although double-crossing Luthor claimed to Superman that he was in on the plot: "I was with you all the time," and tried to bargain for his release: "I promise to turn over a whole new leaf," Superman wouldn't listen, and left Luthor standing there. Superman flew Lois back to Metropolis and deposited her on her outdoor penthouse terrace, as she promised: "I'll never tell them who you really are." The next day in her private office cubicle, Clark Kent came to speak to Lois, who had been up all night crying and trying to listen to the "voices of reason." She admitted being selfishly in love when it came to him: "And I'm jealous of the whole world," and described the pain she felt about keeping his identity a secret. Lois told him he would be a "tough act to follow" if she was told to find someone else. When he kissed her to reassure her of his love, it somehow erased her memory of her past few days of his being Superman - allowing her to function without that painful knowledge, and to keep his identity secret and safe so that he could continue to dutifully protect Earth. In the film's epilogue, Clark entered the Alaskan diner where Rocky had beaten him up, and this time provoked the bullying truck driver into punching him in the stomach. Rocky's fist cracked as he hit solid rock, and then Clark spun Rocky's diner stool at a dizzying speed. He placed Rocky on the counter ("This order's to go") and shoved him down its entire length into a pinball machine, reading TILT. Clark paid the astonished, open-mouthed owner for the damage, and then casually explained: "I've been working out." In the final scene, Superman flew the American flag back to the top of the White House. He stood on the roof and apologized for being away so long. He then assured the President: "I won't let you down again," before soaring into the stratosphere above Earth, to vigilantly keep protective watch. Film Notables (Awards, Facts, etc.) With a production budget of $54 million, and box-office gross receipts of $108 million (domestic). Warner Bros. released the film in Europe at the end of 1980, but waited about seven months later to release it in the summer of 1981 in the US. Director Richard Donner who directed the original film was replaced by Richard Lester for the sequel, amidst controversy between Donner and the producers Alexander and Ilya Salkind. Superman II combined director Richard Donner's 1977 footage with Richard Lester's 1979 footage. Approximately 25-30% of Lester's Superman II was Donner's footage. General Zod

White House

What is the name of the Darth Vader-to-be in the Star Wars Prequel, Episode 1?

Superman II: The Richard Donner Cut (2006) – the agony booth by Dr. Winston O'Boogie · June 3, 2014 For decades, the “ Donner Cut ” of Superman II was the stuff of legend among Superman fans. As I previously discussed in my review of the theatrical cut , director Richard Donner had already filmed a significant amount of Superman II when he was unceremoniously fired by producers. Richard Lester came onboard to finish the film, reshooting some scenes and cutting out large chunks of what Donner had filmed, leaving (literally) tons of unused footage to be sealed away in the Warner Brothers vaults. Some of this footage did see the light of day over the years, most notably in extended TV and home video cuts, and many a fan attempted to edit together these additional scenes to give a fuller picture of what Donner originally intended. But after 25 years, it seemed that a release of the full, complete Donner Cut would remain nothing but a pipe dream. But then a lot of events transpired, the key among them being Marlon Brando’s estate allowing footage of Brando as Jor-El to be used in Superman Returns . This opened the door for his unused Superman II scenes to finally be seen, and from there, it wasn’t long before WB finally cleared away all the legal obstacles to putting out the unreleased footage that fans had been demanding for decades. The article continues after this advertisement... When the Donner Cut was first announced, there was much rejoicing. And then it was revealed that Richard Donner’s involvement would be minimal, and he would only serve in an advisory role. As you might glean from the DVD special features, Donner still hasn’t gotten over being fired from Superman II, even after all these years, and it’s hard to blame him. Consequently, he refused to get too intimately involved with the making of the Donner Cut because he found the old footage too hard to watch (though, I believe he eventually took on a more hands-on role as things progressed). And so, the job of assembling this cut was turned over to Michael Thau, whose directorial credits prior to this were mostly limited to a couple of special features on the restored DVD of the first Superman, and an episode of Tales from the Crypt. Alas, his lack of filmmaking experience shows. In this version, we basically transition back and forth between footage cut together by Oscar-nominated editor Stuart Baird, and a guy who once edited episodes of Dawson’s Creek. The difference in quality is obvious, particularly in the way Thau bludgeons us with crossfades, and the way he fails to give many of the scenes enough time to breathe. Also, it appears WB wasn’t going to spend a dime actually scoring any of the restored footage, so as a result, a lot of the existing music gets reused, over and over and over throughout the film. Also, the Donner Cut uses rather substandard CGI to complete some of the scenes. I suppose we should be thankful that special effects technology even exists that makes it affordable to recreate stuff that was never filmed, but frankly, I’ve seen better CGI in movies made by the Asylum. Add to that how they reluctantly had to include some of the Lester footage to tell a complete story here, and it seems the Donner Cut was already handicapped from the get-go. But regardless, there’s still plenty of worthwhile stuff to see here; you only have to adjust your expectations accordingly. I won’t go into a full synopsis of the film, because with only a few major exceptions, the plot is identical to the theatrical release of Superman II, and you can read my review of that if you haven’t already. Here, I’ll mostly be covering what’s different. Though, be aware I haven’t exactly watched the two versions simultaneously side-by-side to be able to spot when the camera lingers on Margot Kidder’s face for three seconds longer than in the other cut, but I’ll try my best to note the changes. We get a nice dedication to Christopher Reeve before the main show, and then the film begins the same way as the Lester Cut. We’re on Krypton, watching the three criminals being sentenced to the Phantom Zone. But here, we actually get to see Marlon Brando as Jor-El trying the three of them and describing their crimes. They’ve also taken out the part where they get arrested, so Zod’s crime is no longer snapping a glow stick, but rather (as established in the first movie) attempting to “establish a new order amongst us. With himself as the absolute ruler!” This all plays out nearly the same as the opening of the first Superman, though as revealed in the special features, different takes were used to show new angles on the action than what we’ve been seeing all these years. It’s cool once you know about it, but it’s not something most people would notice without it being pointed out. And also, the editing moves along a lot faster here, as it does for the entire movie, which overall is one of the downsides of the Donner Cut. The three criminals are swept up into the Phantom Zone album cover, and in this version, there are more shots of the criminals inside the album cover as it floats through space. We see them witness the destruction of Krypton, and there’s more footage of them trailing behind Kal-El’s rocket, to better explain how they made it all the way to Earth. There’s also a moment where we briefly enter the Phantom Zone and see digitally warped shots of the criminals, though this really doesn’t add much besides being new. Kal-El’s rocket crashes on Earth, and we abruptly transition to the end of the first Superman, with Lex Luthor’s nuclear missiles being launched, and Luthor putting the Kryptonite necklace on Superman, and Miss Tessmacher saving his life. This is all hacked up with crossfades a-plenty, and as a result it feels pretty clunky and montage-like. Eventually, we get to the escape of the Phantom Zone criminals as originally conceived. Donner intended both films to be one complete story, and so in this cut we see how the events of the first film directly set the plot of the second one in motion. The entire Paris sequence has been jettisoned, and instead, we get a repeat of Superman catching the nuclear missile destined for Hackensack, New Jersey and hurling it into space. This is followed by a CGI recreation of the missile flying past the Moon. It then detonates, and the Phantom Zone album cover gets pulled into the resulting implosion. Instead of the terrible cartoon of the Lester Cut, we get a CGI sequence where the cover first splits in three, and then explodes, leaving the criminals floating through space (though, one wonders how this effect was originally intended to be accomplished without CGI). We get additional footage of the criminals floating around (with some new, digitally added space backgrounds) and getting their bearings before figuring out how to fly. Zod cries, “Free!” as they make their way to the Moon, and we go right to the new credits. (And it seems this footage was originally intended to be used as a cliffhanger ending for the first movie, until they decided to change the ending during filming.) The opening credits are a decent CGI attempt to replicate the credits of the first movie, and unlike the theatrical cut, there’s no clip show of the first movie. Though, there’s an odd moment at the start where we get a big roman numeral “II” slamming together like this is a Men in Black sequel. Afterwards, we go to the Daily Planet, where they’ve just put out the story about how Luthor tried to nuke California and Superman saved the day. While looking at her own article, Lois suddenly gets a crazy look of realization in her eyes, and she begins to doodle a hat and glasses on the picture of Superman. So without much buildup, it seems Lois has already figured out Clark is Superman. In this cut, we actually get to see Perry assign Lois and Clark to cover the Niagara Falls honeymoon racket. According to him, the “hotels are bilking those kids for every cent they can get!” Um, nope, still not clear on what this “racket” is all about. What, are they charging them for room service they never ordered? This hardly seems worthy of the Planet’s two star reporters. The whole time, Lois is elbowing Clark in the ribs and dropping hints about feeling “super” this morning and how they can just “fly” up to Niagara Falls. Perry leaves and Lois shows off her doodle and directly accuses Clark of being Superman. He tries to laugh it off, but Lois is “willing to bet my life on it”, and she’s already cooked up a scheme along those lines. She throws herself out of what appears to be a 30th-floor window while yelling, “You wouldn’t let me die, Superman!” And to me, this just seems ridiculously insane, reckless, and stupid, even for Lois Lane. Using a bit of added digital effects, Clark becomes a blur as he races down to the street to use his super-breath to slow her fall. He then uses his heat vision (which none of the passersby can see, for some reason) to roll out an awning. Lois gently bounces off the awning, landing on a fruit cart and ending up all covered in fruit. And if you watch this scene in the theatrical cut, it actually starts with a lingering shot of a fruit cart before cutting to the Lester footage, and now you know why. Clark races back up just in time for Lois to see him up in the window, and then she faints. The punchline comes when someone asks Clark where Lois went and he says, “She just stepped out for minute.” This scene appears to have been completed with brand new footage using body doubles. Whoever we see falling from the building, it’s definitely not Margot Kidder, and it’s rather obvious that the shot of Clark up in the window is also a double for Christopher Reeve. (There were rumors they used Brandon Routh as a stand-in, but I’m pretty sure it’s just some random actor.) So it appears this idea eventually morphed into the scene in the Lester Cut where Lois throws herself into the rapids at Niagara Falls, and I have to admit, while the Niagara version wasn’t as spectacular, it was a lot more believable. The Donner Cut version is just insane, and making it even more insane is how no one ever talks about it again. Except for one throwaway line, there’s no mention of how Lois Lane miraculously survived jumping out of a skyscraper, which you’d think would be a bit more noteworthy. Then we get the scene of Lex in prison with Otis, which plays out about the same as the theatrical version, except with a bit more dumb, ad-libbed humor. There’s a joke involving “pasta fazool” and a moment where Lex tells another prisoner, “I want my Liberace record back tonight!” Uh… Maybe it’s just me, but it doesn’t seem all that wise for a man in prison to admit to being a Liberace fan. The biggest change happens when Lex is doing laundry, and he looks at some other guy’s underpants and notes that “Slasher Fogelstein’s a bedwetter.” He tells Otis, and Otis passes on this information to a guy who turns out to be Slasher Fogelstein. End scene. And I’ll just assume “Slasher” is the guy’s prison nickname, otherwise I think his parents kind of sealed his fate by naming him that. We then cut to the astronauts on the Moon as part of that joint US-Soviet mission, with Cliff Clavin down at Mission Control, and this all plays out pretty much the same. The criminals arrive and kill all the astronauts, before making their way to “Planet Houston”. The one big difference (and marked improvement) is how the stupid conversation at Mission Control about a “curl” being slang for a comet has been cut. Which is odd, because I’m fairly certain that was Donner footage. Then we get Lex escaping from prison, which plays out pretty much the same, with the 3-D holographic projector and Lex and Otis sneaking out onto the prison yard looking for Miss Tessmacher’s hot-air balloon. The main difference is the two men have shtick where they hear Tessmacher going “pssht”, and Lex asks Otis, “Did you just go ‘pssht’?” and Otis replies, “I wish I had, Mr. Luthor, before we left!” Between this and the bedwetting and another joke coming up, this version has an odd fascination with peeing. Lex and Otis say “pssht” to each other a few more times, and this basically “explains” why in the theatrical cut, Otis says “pssht!” for no apparent reason before going out to look for Tessmacher’s ladder. Lex climbs up into the hot-air balloon, and this plays out pretty much the same, with him ditching the ladder and Otis. But in this version, it’s followed by footage of Lex and Tessmacher in the balloon, where a nighttime skyline has been digitally added in behind them. It’s cool to see this previously unseen footage, but it unfortunately doesn’t add much to the story. We do get to see Lex pull out his alpha wave detector, and Tessmacher says she hopes they’re going someplace she can wear a bikini. She’s sure that Lex “must have thought about me in a bikini while you were in prison!” No, I think he was too busy listening to Liberace records for that. He says he imagined her in a “parka” and tells her to head north. And there’s more shtick as it turns out he’s pointing in the wrong direction. In Niagara Falls, we get the scene where Clark and Lois pretend to be newlyweds and get shown to their room. This was clearly a Lester scene, because the rest of it is cut out. Lex and Tessmacher are now on a snowmobile heading north, and there’s an added bit where the snowmobile turns into an inflatable hovercraft that allows them to cross the water. They make it to the Fortress of Solitude, and Tessmacher says it’s “funny” that there’s no front door. To which Lex replies, “Funny is a person trying to smile without any teeth!” Indeed. Moving on. There’s added footage of them climbing their way up, and more dumb shtick as they enter. Without really getting into it, there’s a moment where Tessmacher wonders why Superman doesn’t put up “bullfighting posters”. I doubt I need to say more. They find Superman’s crystals and use them to call up various recordings. And finally, instead of a random bald dude, they actually pull up a Jor-El hologram that says most of the same things as the random bald dude. Jor-El recites the “Trees” poem, and after a while he’s just a giant disembodied head floating around the Fortress, telling them about the three criminals. In this version, we learn that Zod’s attempted “insurrection” was one of the darkest days in Krypton’s history. And this time, he’s even got a holographic flashback to images of the criminals posing, and a flashback to them getting sent to the Phantom Zone. Though, unlike Lara, he doesn’t have an awkward expository line about them possibly being freed by nuclear explosions in space. After watching this, Lex makes a speech about corruption that was just a voiceover in the Lester Cut (and also done by a Gene Hackman impersonator, I think), and declares the existence of the Kryptonian criminals “Too true to be good!” Earlier in this scene (just like in the theatrical version), there was a moment where Tessmacher wondered where the bathroom was. But this cut goes the extra mile by actually playing a toilet flushing sound effect while Tessmacher yells, “I found it!” And people accuse the Lester Cut of being goofy and campy why, exactly? Actually, she goes “I found it! …I think.” So there’s a good chance she just took a crap in Superman’s mylar bean bag. Then we get the sequence at Niagara Falls where the kid falls into the water and Superman saves him, and this all plays out pretty much the same. Though, there’s a bit of a disconnect where Lois sees Clark without his glasses, and is suddenly realizing Clark is Superman all over again, even though she was previously so sure of it that she threw herself out of a skyscraper. Meanwhile, the three criminals land on “Planet Houston” and all of this is about the same, as Zod figures out how to levitate and walk on water. This brings us to another big change. This replaces the scene where Superman accidentally reveals his secret identity by tripping on a rug. Instead, we get a scene where Lois and Clark are getting ready for a “newlywed’s dinner”. Since this scene was never actually filmed for real, they’re using footage from Reeve and Kidder’s screen tests. Most of this footage was already available on the DVD of the first movie, so this is not really a revelation, but it’s nice to finally see it in context. Of course, you can tell it’s screen test footage because Reeve’s hair changes drastically from shot to shot, and he clearly hasn’t started working out at this point. Also, Lois in the screen test is a lot harsher than in the actual movie, and spends the whole scene putting down Clark. Finally, he fights back, telling her he’s a good reporter and a good friend to her. He says he can never live up to somebody like Superman and she just has to deal with that. Lois seems to suddenly remember that she in fact thinks Clark is Superman. She wonders why Superman would be in Niagara Falls today, of all days, “with thousands of children potentially falling off something lethal all around the world”. She then pulls a gun on Clark, telling him her previous attempt to prove his identity was flawed because “I risked my life instead of yours!” (Forget about the honeymoon racket, write about Lois’ gun racket!) She shoots him, and since he’s invincible to bullets, this proves he really is Superman. He finally comes clean and takes off the glasses. Then he tells her that if she’d been wrong, she would have just murdered Clark Kent like the psychopath she is in this version. Lois holds up the gun and says, “With a blank?” And then she goes, “Gotcha!” to end the scene. Compared to Clark falling into a fireplace, this scene is a lot cleverer, but it has its own problems. Even if Superman is invincible to bullets, he can still feel them, right? And wouldn’t he have realized that he didn’t feel an actual bullet hit him? And there’s also the matter of there not being a bullet hole in his clothes. And he probably should have been able to use his x-ray vision to figure out the bullet was a blank in the first place. Also, ending the scene on “gotcha!” means we lose all the emotion we get in the theatrical cut after Superman reveals himself to Lois. Though, I think we can mostly chalk that up to this being a screen test, and having to end things on a strong punchline. Meanwhile, the criminals are still strolling around in the outdoors (in the theatrical cut, this scene came directly after Zod walking on water). We get the moment where Ursa burns up a snake, though they cut the comic relief moment when Non tries to use his heat vision and fails. Superman then takes Lois to the Fortress, and this mostly plays out the same. Then we get those redneck sheriff’s deputies driving up on the criminals, and in a small blessing, their entire stupid conversation about the restaurant that serves beans and fish has been cut. This plays out about the same otherwise. Then it’s over to Superman and Lois having dinner at the Fortress, and this is all about the same, though again, the editing is definitely more rushed. Then we get the three criminals’ assault on East Houston, where all of the violence against rednecks has been cut, and we go straight to them already fighting the military. Except, in this version, the fight is severely truncated. Ursa using her super-breath to take down a helicopter has been cut, as well as a pretty good stunt where a jeep goes flying through a billboard. Instead, all we see is a soldier climbing out of the already overturned jeep looking shell-shocked. Bizarre. But on the plus side, some effects have been redone, and when the military attacks Zod with a flamethrower, the flames actually look like flames and not a bad cartoon. Then comes a new bit to replace the cringe-worthy part where the criminals change Mount Rushmore to show their own faces. In its place, we get a rather cheaply-done CGI bit where they destroy the Washington Monument, allowing them to use the same shot of the President watching it happen on TV and saying, “Thousands of hours to create, and they defaced it in seconds!” I realize the Rushmore thing was pretty goofy, but this Washington Monument scene is so underwhelming as to be completely pointless. I think they could have safely cut this out completely and no one would have missed it. Chalk this up as one case where the “silly” choice is probably better than the serious version. The breakneck editing continues as we go back to the Fortress. And now Superman is cuddling with Lois in the mylar bean bag, so we can assume they’ve already had sex. In the theatrical version, this didn’t happen until after Superman gave up his powers, though I can’t say this shifting around was done for any profound thematic reason. It seems to have primarily been done so they could use unseen footage of Lois wearing Superman’s shirt afterwards, as she watches him talk to Jor-El. Here, we get another Jor-El scene that was reshot with Lara in the theatrical version. Superman is already in his shirt and slacks as he tells Jor-El that he no longer wants to serve humanity, and he wants a chance at happiness for himself. Jor-El tries to reason with him, saying that he should find happiness in helping mankind, but Superman has already made up his mind that he wants to give up being Superman and be with Lois. Jor-El tells him that to live as a human, he must “become one of them”. Though, in this version, Superman was already intimate with Lois, so it doesn’t really make sense that he has to give up his powers anymore. Regardless, we see the power-removing crystal chamber, though here it’s not that crappy plexiglas thing from the Lester footage. Despite Jor-El repeatedly saying, “Think, Kal-El,” Superman enters the chamber, and it’s obvious this bit was filmed in 2006-ish and achieved via the use of a stand-in. But there’s no acid trip sequence this time as Superman’s powers are taken away. The place simply glows red, and the crystals all blow up. This explosion also includes some added (and frankly, kind of unnecessary) effects where the debris nearly hits Lois. But towards the end of the scene, the Jor-El hologram actually shoots a nasty look over at Lois, which is kind of hilarious. Next, the criminals assault the White House, and this action sequence is a little longer than in the Lester Cut. There are a few new bits here, like Ursa winking at a guy before kicking him in the face, and another moment where Zod picks up a gun and begins shooting people, which is also kind of hilarious (if a bit out of character). Finally, they enter the Oval Office, and this plays out mostly like before, with the bald guy pretending to be the president, before E.G. Marshall steps forward. Except here, the action is interrupted with some previously unseen footage. As the President goes to kneel before Zod, Ursa walks over to some of the gathered military men to declare, “What a backward planet this must be, where the men wear the ribbons and the jewelry!” I have to say, for a woman in the middle of taking over an entire planet, she’s a bit hung up on traditional gender roles. She rips off a general’s medals, and then we go back to E.G. Marshall, who finally kneels before Zod. So yeah, that’s actually one of the things Lester improved. As far as I can tell, they only put this bit back in to explain why, in the theatrical cut, Ursa suddenly appears standing over with the military men, and one of them is holding his chest where she just ripped off his medals. Which I highly doubt many viewers ever noticed in the first place. It appears a significant amount of footage has been put back in just to explain continuity gaffes in the Lester Cut that only hardcore OCD Superman fans ever cared about. We again get Lois and Clark driving down from the Fortress in stock footage. We still don’t find out where they got a car, but at least this time around, the stock footage is actually of a car driving along snowy roads, as opposed to the lush Arctic greenery seen in the Lester Cut. We get a repeat of the scene where they go to a diner, and Clark gets into a fight with a trucker, and it’s all pretty much the same, except with a few added lines dubbed in. When Clark sees the President on TV surrendering to Zod, Lois tries to reassure him that he didn’t know this would happen. Clark says, “He knew. I heard him. I just didn’t listen.” Apparently, this was the original line before it got dubbed over with “They knew. I heard them” because they had to replace all of Jor-El’s scenes with Lara. Next, Lex shows up at the White House to inform the three Phantom Zone criminals that he knows where to find Superman, who also happens to be the son of Jor-El. This plays out pretty much the same, except for a dumb bit where Zod eagerly asks, “Jor-El, our jailer?” and Lex puts on a strange (Spanish?) accent and says, “No, Jor-El, the baseball player!” What? Cut to Clark walking back to the Fortress. He gets there and pleads for Jor-El to come back, and his “FaTHHHaaAAA” is even more hilarious and over the top this time. He spots the special green crystal among the ruins. I guess it just survived on its own this time, with no help from being under Lois’ purse, though it appears the shot of him picking it up is new footage using a double. He slides it in, and here we get a new scene where we see the crystal mask of Jor-El previously seen in the first movie, which then transforms into Jor-El’s face. It seems he anticipated that Kal-El would make a big boneheaded mistake like this, and came up with an out: He’ll get all his powers back, but only by absorbing whatever energy is left in the crystals. Essentially, Jor-El will die for good, and according to him, this means the “Kryptonian prophecy will be fulfilled,” though I’m pretty sure we haven’t heard one word about a prophecy before now. But this prophecy evidently means “The son becomes the father, the father becomes the son” and so forth. Jor-El says, “Farewell, Kal-El,” and Brando actually appears in the flesh on the Fortress set to touch Clark, who starts having a seizure and glowing. There’s a flash of light, and then a shot of Clark passed out. So it’s nice to finally see a scene that was just kind of hinted at in the Lester Cut. Cut to the three criminals bursting into the Daily Planet, which plays out mostly the same. But now there’s a bit where Non crushes Jimmy’s camera, then lifts him up as Zod asks if he’s the son of Jor-El. Jimmy replies, “No, but I bet you’re a son of a—” before Lois shushes him. Whoa, check out Jimmy getting all sassy in this cut! As in the theatrical cut, there are shots of people on the streets of Metropolis feeling a big gust of wind. Superman then appears on the flagpole outside of the Daily Planet window as before, and then says… Well, the line from the Lester Cut was, “General, would you care to step outside?” Which made sense. It’s what he said to the trucker who kicked his ass at the diner. Here, however, he says, “General? Haven’t you ever heard of freedom of the press?” And that… is not in any way, shape, or form a better line. In fact, one might charitably call that line god-awful. So score one more for the Lester Cut. This leads to the big brawl in Metropolis, and most of it is the same, though we get a few different lines scattered throughout the battle. There’s a moment where Zod taunts Superman by saying he’s “merely a fool! Like father, like son,” and another where Superman’s about to slug Ursa but she stops him with, “What? You hit a woman?” This version also features a lot more cutaways to the characters at the Daily Planet, simply watching the action, but the movie is not really better off for it. Though I guess we should be thankful they cut out Lois’ sudden friend Leueen, AKA Ms. “The big one is just as strong as Superman!” There’s a new bit where Zod knocks Superman into the Statue of Liberty’s torch. It’s cool to see this sequence for the first time, though I wouldn’t say it has any real profound impact on the scene. Superman gets thrown under the bus again, and the criminals unleash their super-breath on the city again. As you’d expect, most of the really goofy parts of this have been cut out. Though I’m happy to report that Sparkly Vest Roller Skates Guy still shows up, rolling in just under the wire. Finally, Superman comes out of the wreckage, and we get a new, added close-up of the logo on his chest as he pulls himself out. But the close-up is clearly new footage shot circa 2006, and I’m afraid I can’t really see why they made the effort. Superman flies off again, and the criminals return to the Daily Planet to menace everyone some more. We get a few extra lines here, which include Lex saying he knows “Superman’s address” using that same weird Spanish accent. The scene ends with him promising to bring them to the Fortress of Solitude in exchange for also being declared ruler of Cuba. Ugh. The “ruler of Australia” gag was only mildly funny in the first place, and didn’t really need to be repeated. They get to the Fortress, and the whole stupid fight sequence with the big cellophane S and finger-lasers and holograms that turn to stone has been cut out. In its place, we get, well… it’s kind of hard to describe what happens in this scene, because there’s not really much of a through-line here. It honestly feels like we’re watching six actors just kind of randomly wandering around the set. And there’s a lot, and I mean, a lot of pointing going on here. Superman points at Lex, and Non points at Lex, and Non points at Superman, and there might be some other pointing I missed. But eventually, Zod demands that Superman become his slave, and they threaten to kill Lois unless he complies. Superman goes along with this, but Lex can already tell this is some kind of ruse. During all the random wandering, he wanders over to Superman, who reveals the existence of the crystal chamber. Lex then turns around and reveals it to the criminals, who force Superman to get inside. Superman re-enters the crystal chamber (but clearly it’s the stand-in again), and pretends his powers have been taken away, but it’s really the criminals whose powers have been taken away. He lifts up Zod, and this happens in a much wider shot this time (is it to make the armpit sweat less noticeable?). And just as before, the three criminals end up down in the ice and snow around the Fortress. The scene finishes up with Lex telling Superman he has a “proposition” for him, saying, “We’re in the North Pole, right?” And then… the scene just ends. If you’ve watched the deleted scenes, you know this leads directly into a bit where Lex, before getting taken away by the “Arctic Police”, jokingly tries to convince Superman to fake his own death and come back as a boxer called the “Metropolis Masher”. They cut out that part, and yet, they kept all the lines leading up to it. I realize the Arctic Police bit was kind of dumb, but it at least closes up the plot hole where we never find out what happens to the three criminals. Why not just throw in that scene, especially if they were going to include everything leading up to it? Lois and Superman fly away from the Fortress, and now Lex is nowhere in sight. So in addition to not explaining where the criminals went, this movie also makes you think Lex might still be in the Fortress. Which becomes an even bigger problem when Superman then uses his heat vision on the Fortress, completely destroying the place. Combined with the rather maniacal look on his face, this version basically makes it look like he just killed the three criminals, and also Lex. Why? Just… why? Superman takes Lois back to her apartment as before. They have an emotional conversation, which is similar in content to the conversation they have in the theatrical cut at the Daily Planet the following day. The gist of it is that she can’t be with him now that he’s Superman again, even though, in this version, nothing stopped them from hooking up before he gave up his powers. And that brings us to the big changed ending. It begins, bizarrely enough, with Perry White waking up to brush his teeth. Meanwhile, Lois (or rather, her double) is typing up a story about General Zod’s defeat. Suddenly, clouds form over Metropolis. A blob of toothpaste hangs in front of Perry’s face, slows to a stop, and then goes back in the tube. Lois’ typewriter starts moving backwards as the words get un-typed. We get a shot of crowds on the street (which weirdly appears to be footage filmed in 2006) as they start to move backwards. Finally, it’s revealed what’s happening here: Superman is flying around the Earth and turning back time. Yes, just like the ending of the first movie. In the original script, this was meant to be the ending of Superman II, but at some point the decision was made to use it for the ending of the first film, and come up with a different ending for the second film later. While assembling the Donner Cut, there was apparently some debate about whether or not to use Lester’s ending or reuse the same ending from the first film, and eventually the turning back time thing won out. As the earth rotates backwards, the Statue of Liberty’s torch reassembles, as does the Washington Monument. And then in a really odd turn of events, the criminals get put back into the Phantom Zone, thus rendering the entire movie pointless. The criminals even scream “NOOOO” in forward time as the Phantom Zone album cover reassembles, almost like they’re aware of time moving backwards. And yes, this does raise the obvious question of why Superman didn’t turn back time immediately after getting his powers back, and thus avoid all the mayhem and destruction we just witnessed. Admittedly, the ending of the first movie raises similar questions, but at least there Jor-El’s voiceover gave us the impression that turning back time was a dangerous, immoral thing to do. Here, Superman’s got a shit-eating grin on his face like he’s having the time of his life interfering in human history. Also, doesn’t this mean the Fortress and the crystals and Jor-El have all come back, thus rendering Jor-El’s sacrifice completely pointless as well? Not to mention the moment we literally just saw where Superman blows up the Fortress. Why did he bother to destroy the place if he was just going to undo that in the very next scene? The only real bright side here is we don’t need that memory-wiping kiss, because thanks to the time travel shenanigans, Lois never knew Superman’s secret identity in the first place. Cut to the Daily Planet where it’s… the same day we started on? The following day? Clark sees Lois, and she’s apparently still having residual memories of the previous timeline. But she shrugs it off and tells Clark to go out for pizza. She then types up her new headline, which is “Superman Takes Day Off!” And that seems to resolve everything, even though there’s really nothing to stop Lois from figuring out Superman’s secret identity all over again. They really should have just left things there, but it seems the jerk at the diner still needs his comeuppance, and so we get the scene where Clark beats him up. The only problem being, in this timeline, he never beat up Clark in the first place. So as far as the trucker knows, some random tall nerdy guy is pounding on him for no reason whatsoever. It’s even worse than the theatrical cut, in that Superman is not only beating up a guy with no powers, but a guy who did absolutely nothing to him. And that, sadly, is the note we end on (other than the standard shot of Reeve flying over the earth). I really wish I could say that this is a better movie than the Lester Cut. A lot of things make more sense now, and it’s great to finally see some of the footage that sat in the Warner Brothers vaults for so long. But the missing segments and the nonsensical ending really make this feel like an unfinished film. The assault on the rednecks of East Houston was dumb, but it serves an important purpose in setting up the criminals as a real menace. Without it, the three of them barely do anything evil before taking over the White House. And there are several other scenes, like Lois throwing herself into the rapids instead of jumping out of a building, that are clearly better in the theatrical cut. (Though, I have to say I don’t miss the Paris sequence one bit.) And with the noticeably inferior editing, the Donner Cut overall feels more like an extended two-hour reel of deleted scenes than an actual movie. Despite the existence of this cut, we’ll never really know what Donner’s Superman II would have been like. Obviously, Donner would have done reshoots once he came back to finish the sequel, and there’s plenty of stuff in the Donner Cut that probably never would have made it into the finished film. And of course, the Donner Cut reflects the sensibilities of the Richard Donner of 2006, who’s clearly not the Richard Donner of 1978. This is the guy who made Timeline , after all. Still, based on what’s presented here, it doesn’t seem like Donner’s Superman II would have been significantly better than Lester’s version. The real heartbreak here is not the Superman II we didn’t get, but rather the Superman III we might have gotten had Donner not been fired. And from there, who knows where the franchise would have gone? In short, I’m glad the Donner Cut exists, and it’s a fascinating time capsule finally unearthed, but the next time I’m looking to watch Superman II just to unwind, I’ll probably put on the Lester Cut. Because at least it feels like a complete movie, warts and all.

i don't know

What was the first sequel to Star Wars?

The 'Star Wars' Sequel That Never Happened The 'Star Wars' Sequel That Never Happened April 29, 2014 @ 11:00 AM Del Rey Books George Lucas had a backup plan. It might not seem like such a bold move today – in the era of blockbuster franchises – to be planning for a sequel before the first movie has even been released. But, in the 1970s, this was downright revolutionary thinking. Especially considering that we’re talking about a movie set in another galaxy in an era where such films were considered inane. (Granted, some people still consider them inane.) But not only did Lucas have a plan for a ' Star Wars ' sequel, he had two plans. One, as you know, became ‘The Empire Strikes Back.’ The other exists as a sort of alternative universe oddity of what could have been – a story titled ‘Splinter of the Mind’s Eye.’ Even after the enormous success of ‘Star Wars,’ its sequel, ‘The Empire Strikes Back,’ nearly bankrupted Lucasfilm – which financed the film independently instead of accepting backing from 20th Century Fox as Lucas had with the first film – and if ‘Empire’ had bombed, Lucasfilm itself would have gone bust. (This, as we know, didn’t happen.) The money Lucasfilm used to finance ‘Empire’ was basically what Lucas had earned on ‘Star Wars’ after Fox took their cut. Now, in this aforementioned alternative universe, let’s pretend ‘Star Wars’ was a modest success and not an entity that changed movies and mainstream culture forever. Under this scenario, Lucas wouldn’t have the money to make a film on such a grand scale like ‘Empire,’ so – before ‘Star Wars’ was even released – he commissioned Alan Dean Foster to write a lower-budget sequel to 'Star Wars' titled 'Splinter of the Mind’s Eye.' "I was originally brought in while 'Star Wars' was still in production, on a two-book contract to do the novelization of the film," Alan Dean Foster told me by phone from his Arizona home, "but he also instructed me to write a novel that could be filmed on a low budget." 'Star Wars' did become a huge hit, so the idea for a ‘Splinter’ film was scrapped for the much more ambitious ‘Empire,’ but the novel was still released in 1978 as a follow-up story to ‘Star Wars’ – due to rights issues with stars Mark Hamill and Carrie Fisher, the book couldn’t even feature their faces, which is why Luke and Leia have their backs turned on the Ralph McQuarrie-painted cover – and the first book of the expanded universe of ‘Star Wars’ stories. The original 'Splinter of the Minds Eye' cover The plot of 'Splinter' is fairly simple. Taking place after the events of 'Star Wars,' Luke Skywalker and Princess Leia Organa – along with C-3P0 and R2-D2 – are on their way to an important meeting with representatives of a system that might join the Rebellion. On the way, the two crash-land on a swamp planet called Mimban (Lucas asked Foster to scrap a space battle that originally led to the crash because it would be too expensive to film), where they soon discover that the Empire has a secret mining colony in operation in an effort to find something called a Kaiburr crystal. Eventually the two are discovered, ending with a showdown between Luke and Leia against Darth Vader. One character missing from the book entirely and only referenced twice (and only once by name) is Han Solo. "I couldn't use the characters of Han Solo and Chewbacca," Foster explains. "Chewbacca because he's Han Solo's buddy and Han Solo because Harrison Ford hadn't yet signed on to do anything related to future developments of 'Star Wars.'" Which, to Foster’s credit, didn’t seem to bother him too much, "It was kind of liberating. The story idea I had in mind focused on Luke, Leia and, in the background of course, Darth Vader. And working a third major character into the storyline would have been a little awkward. It was less that I had to worry about." Solo and Chewbacca aside, due to some very important plot points that are revealed during 'The Empire Strikes Back,' 'Splinter' had a tendency to create a lot confusion for anyone who happened to read it after they watched 'Empire.' It was somewhere between Leigh Brackett’s original 'The Empire Strikes Back' script ( which looks very little like the completed film ) and the second draft when George Lucas had the idea to make Darth Vader Luke Skywalker’s father. So, there was no way for Foster to know that as-of-yet-undecided plot point when he wrote ‘Splinter’ – let alone the twist that Luke and Leia are siblings (which Lucas didn’t decide until after the release of ‘Empire.’) At the time, some of the sexual tension between Luke and Leia might seem fairly PG-13 for a ‘Star Wars’ book, but reading it today it’s a little...uncomfortable, with lines like, "Awkwardly pressed up against him, the Princess seemed to take no notice of their proximity. In the dampness, though, her body heat was near palpable to Luke and he had to force himself to keep his attention on what he was doing." With Luke’s leg trapped under a large rock, it’s Leia who has to duel Vader with a lightsaber. “That would have been very cool,” Foster adds. Foster concedes, "What I was working from, basically, was the kiss in 'Star Wars,' before they swing across the gap. That didn't strike me as a particularly brotherly-sisterly kiss at the time." Though, like 'Empire,' 'Splinter of the Mind’s Eye' ends with the first confrontation between Luke and Vader with a surprisingly similar result to what happened at the end of 'Empire.' Well, sort of. With Luke’s leg trapped under a large rock, it’s Leia who has to duel Vader with a lightsaber, at least at first. ("That would have been very cool," Foster adds at the thought of watching Leia duel Vader on the big screen.) Eventually Luke joins the fight, dismembering Vader’s right arm before sending him down a seemingly bottomless pit. Pretty much the exact opposite of what happens at the end of Luke and Vader’s duel at Cloud City in 'Empire.' "Yeah, that's been mentioned to me, too," says Foster, "but that's fine." He continues, "I have no problem with stuff like that. It's the nature of film that it's a collaborative enterprise. In many cases, something that works in one place gets picked up for another place and you don't know if you had any influence on the situation or not." When I first started research for this project, it was long before the now Disney-owned Lucasfilm disowned all of the Star Wars Expanded Universe as non-canon, thanks to the anticipated release of ‘ Star Wars: Episode 7 ,' leaving just the films as the only things that actually happened in this fictional universe, which looks so silly to actually type out. For Foster, not only did he write the first Expanded Universe book, he was also the first author to have his story stripped from official canon. Could Foster take solace with the fact that even though it wasn’t part of the larger story, he still wrote a novel that many, many people enjoyed? "That's what you have to say," adding, "It's not my universe. So there's no reason for me to get upset about it." Timothy Zahn, who has written a plethora of popular Star Wars novels, offered similar sentiment on his Facebook page this past Monday , "As far as I can tell from the announcement, [Lucasfilm] is *not* erasing the [expanded universe], but simply making it clear that nothing there is official canon. That’s not necessarily a bad thing, nor does it immediately send everything into alternate-universe status." Then adding, "Bottom line: let’s all sit back and relax and see what new adventures are offered to us, both in new books and new movies. It’ll be Star Wars, and that’s what counts." This isn’t the first time that a now J.J. Abrams-directed franchise has squashed a proposed expanded universe. Simon & Schuster commissioned four ‘Star Trek’ novels set in Abrams’ quasi-rebooted ‘Trek’ universe, one written by Foster. But, Foster explains, "Apparently the word came down from Paramount that, no, we're not doing any spinoff novels right now." Which raises another, larger question: Is this the end of expanded universe? At least, how we used to know it? Where, sure, there were plenty of contradictions, but everyone seemed to be fairly okay with that? "As I heard," says Foster, "it is because they didn't want anything to come out that might conflict with any subsequent films or anything Bob Orci and Alex Kurtzman wanted to do – or any other writers wanted to do in any subsequent films. They were worried about that canon/continuity problem. So, they just buried the books." Adding, "I understand why they did it. I kind of wish they hadn't done it. It's a commercial decision. So be it." Plus, as Foster points out, the Internet does lead to more nitpicking, "In the old days, fans didn't have access to something like the Internet where they could check the color of somebody's boots and say, 'These don't line up with the third book in the blankity trilogy.'" Regardless of where any of this fits in our own personal life canon, 'Splinter of the Mind’s Eye' still remains a fascinating look into what could have been if 'Star Wars' wasn’t 'Star Wars.' It's the 'Star Wars' sequel that never happened, yet, somewhere, in an alternate universe, someone right now is popping in a Blu-ray copy of 'Splinter of the Mind’s Eye,' just so he or she can watch that palpable body heat between Luke and Leia. Mike Ryan is the senior editor of ScreenCrush. You can contact him directly on Twitter.

The Empire Strikes Back

Who did Jane Fonda play in the 60s movie of the same name where she repeatedly lost her clothes.

'Star Wars' Author Alan Dean Foster on 'Splinter of the Mind’s Eye,' the Sequel That Might Have Been 'Star Wars' Author Alan Dean Foster on 'Splinter of the Mind’s Eye,' the Sequel That Might Have Been Yahoo Movies• Pin it Share Imagine a version of The Empire Strikes Back without Han Solo, Cloud City or wampas. Instead, picture a lovestruck Luke as he and his non-sibling crush object Princess Leia, try to find a way off a foggy swamp planet called Mimban before being captured by Imperial troops. That’s the plot of Splinter of the Mind’s Eye, a 1978 spin-off novel by Alan Dean Foster that was commissioned as a possible springboard for a new Star Wars  film, should the first one survive its legendary behind-the-scenes problems and become a hit.   Of course, by the time Splinter hit shelves in March 1978, the first Star Wars movie was a confirmed pop culture phenomenon, and when it came to a new Star Wars film, George Lucas and screenwriter Lawrence Kasdan decided to take the story in a different direction for 1980′s The Empire Strikes Back. But Foster’s book remains an intriguing hint of where the Star Wars franchise could have gone, had Lucas adapted the book.  Splinter begins with Luke and Leia crash-landing on Mimban en route to a gathering of key members of the Rebel Alliance. While looking for a way off-planet, the duo cross paths with an elderly woman named Halla, who is in possession of a shard from the Kaiburr crystal —a legendary gem of great power that allows those already in touch with the Force to enhance and amplify their psychic powers (hence the title).  In exchange for aid in escaping Mimban and its vicious ranking Imperial officer, Captain-Supervisor Grammel, Luke and Leia agree to help Halla recover the gem, a mission that takes them deep into the jungle in search of an ancient temple. Meanwhile, one of the few survivors of the Battle of Yavin , Darth Vader, turns up planetside looking for a little payback against a certain Jedi-in-training… Even though Splinter was airbrushed out of official Star Wars continuity, unlike other franchise outliers—like the infamous Star Wars Holiday Special — Foster’s book has never been erased from existence. It remains in print to this day, readily available in paperback or for e-readers. The book even got the graphic novel treatment in 1996, with a four-issue comic book adaptation published by Dark Horse Comics. (The planet Mimban has also been referenced in a number of other non-cinematic Star Wars properties although, again, few of them are recognized as being part of official canon.) Yahoo Movies spoke with the 68-year-old Foster, who continues to write original sci-fi novels and film novelizations (since Star Wars, he’s also adapted The Last Starfighter, The Chronicles of Riddick and Transformers from the screen to the page), about his memories of writing Splinter of the Mind’s Eye and the book’s unique place in Star Wars history.     What were the origins of Splinter of the Mind’s Eye? My contract was originally for two books: the novelization of the first film and then a sequel book, because George — being a student of Disney, I’m sure — wanted more material in case the movie was a success. He wanted something out there that the hoped-for fans would be able to enjoy while he was busy making the second film. The only restriction placed on me was that the follow-up novel had to be filmable on a low budget. That’s why I set it on a fog-shrouded planet. A lot of the action takes place in the fog or underground, which facilitates shooting with cheap backgrounds. The book originally opened with a fairly complex space battle that forces Luke and Leia down on this planet, and George had me cut that out because it would have been expensive to film. What sort of access did you have to footage and behind the scenes material from the first Star Wars? I saw very little. I had a couple versions of the screenplay and they also gave me a 16mm reel of rough footage to take around to a couple of sci-fi conventions to publicize the film, which I was happy to do. I had also visited ILM [Industrial Light & Magic, Lucas’s effects company], which at that time was a rented warehouse in Van Nuys, so I had seen the trenches for Luke’s flyby at the end, as well as the Millennium Falcon and the Death Star. And I had access to some of Ralph McQuarrie’s production paintings. But that was it.   Read More Did the fact that you were mostly left to you own devices make it easier or harder to concoct an original adventure? One reason that I was able to create essentially what I wanted with Splinter is because there was nothing to contradict it. Nowadays, of course, everything is vetted by committee, and if you get someone’s armor wrong, someone will be right there to correct it. Since I was given complete freedom within certain limits, [and] the story of the first film gives you a pretty good background of the whole Star Wars universe, there was enough there that, being a sci-fi writer, you can fill in the blanks in certain places.  Apparently, nothing directly contradicted anything that showed up in the film, or else they would have had me cut it. It wasn’t like we were setting down the Bible and I was working on Exodus. Nobody was really worried at that point about what’s going to happen in Book 6, Chapter 5, Line 23. The hope is just to get Exodus out there so people can see it and then you worry about follow-ups. Nobody at the time, except perhaps George, could see Star Wars becoming what it eventually became. Obviously, the romantic yearning that Luke expresses for Leia is the element of Splinter that’s totally at odds with where the Star Wars series wound up going.     At the time, the indications and the vibe I got from the first film was that they were not siblings and that Luke was interested in her, and she was, casually perhaps, interested in him. And you actually get that [feeling] partway through The Empire Strikes Back, too. [Editor’s Note: This deleted scene from The Empire Strikes Back depicts an almost-kiss between Luke and Leia that’s more in line with their relationship as it exists in Foster’s book.] Why was Han omitted from the book? Since you were writing it before the film came out, did you not expect that character to become as popular as he did? At the time I was writing Splinter, Harrison Ford had not committed to any further participation in Star Wars. Hence I was specifically told not to use the Han Solo character. And without Han, it didn’t seem logical to have Chewie in the book, either. Another sequence that feels different from any of the movies is a battle in an underground cavern where Imperial troopers are massacred by a tribe of aliens. Even though you hide a lot of the details between the lines, it’s a more violent, almost gruesome scene than you expect from Star Wars. George is a very sensitive guy; I picked up on that from the moment I met him. That’s why, I think, the Imperial troopers never take their helmets off [in the original movies]. Because if you’re seeing people get shot all the time and their faces are contorted in agony, it gives you a very different cinematic vibe than if its just a figures in plastic helmets that all look the same. I don’t know this, but I think that was a deliberate choice on George’s part to mitigate the violence. Even though there’s nothing graphic in Splinter, I wasn’t as constrained by that consideration. Like Vader having his arm cut off [in a climactic fight with Luke] —his arm’s cut off! It bleeds, it’s painful.   Did Lucas perhaps borrow that idea from you for the famous Luke/Vader confrontation at the end of Empire? Severed arms play a big role in the Star Wars movies in general.   I have no idea. It’s all of a piece, and it doesn’t bother me one way or the other. When you work for somebody else and you do work for hire, what you do is theirs and they own it. And that’s fine, I have no problem with that. Splinter of the Mind’s Eye author Alan Dean Foster. There’s another memorable Darth Vader moment where he casually kills off Grammel, who has been the main villain up to that point. That’s real world versus the fictional world; in the real world, you kill your opponent. There’s a film I saw as a student at UCLA called Waterhole #3 where James Coburn plays an amoral gambler in the Old West and he’s challenged to a gunfight. He doesn’t want to do it, but he has to do it and the guy is out there in the middle of the street waiting for him. Coburn walks out of the bar, gets behind his horse, takes his rifle out and, from behind the horse, shoots the guy. Then he goes back into the bar and says, ‘What can I do? The guy was just standing there in the middle of the street!’ That’s the way the Old West worked. You didn’t have guys in the middle of the street facing each other; if you could hide behind something and take the guy out with a shot to the back, that’s what you did. Despite having long since being written out of current Star Wars continuity, Splinter of the Mind’s Eye is still in print. What kind of feedback do you hear about the book from fans? It depends how old they are. If they’re my age or a bit younger and were around when the first three films came out, they’re generally really happy with it. But every once in awhile you get an email or you’ll see a comment from someone online who was born in, say, 1995, and they don’t understand the contradictions with the films. The nicest thing I get as far as comments go is that people really appreciate Leia being a strong character in the book. She even picks up Luke’s lightsaber at the end, which actually fits, even though nobody knew she was Luke’s sister at the time. That was just something I put it in there. Has J.J. Abrams been in touch regarding any potential involvement in Episode VII? No, I’ve had no direct contact with J.J. at all, which is kind of funny because I did the novelizations of his two Star Trek films. But again, I understand completely. Directors have no time or life outside of making a film — it’s a 24/7 job. One of these days we’ll run into at each other at a convention or a Wendy’s or a Starbucks and we’ll have a nice chat, but the man is too busy for casual conversation with someone not working directly with him on a project. Reflecting on Splinter of the Mind’s Eye decades later, what are you happiest with about the book? Other than the fact that its still in print and people still regard it as a good read, in spite of the contradictions with subsequent films, I’m pleased that I was able to create an entire world on my own with its own society and set of Imperial villains, and they all still hold up. I like to think that’s a credit to the writing and the fact that I was true to the universe and the character and the situation. [The book] exists on its own terms, because there’s nothing that follows it directly. There’s no reason to mess with it and make it into something it’s not. I thought for many years that it would have made a marvelous made-for-TV movie. It could have been filmed cheaply and then you stick it between Episode IV and V. And in an alternate universe maybe it was! [Laughs] Reblog

i don't know

Which veteran actress Katharine was the first actress to win four Oscars?

1981 Academy Awards® Winners and History Reds (1981) Actor: HENRY FONDA in "On Golden Pond", Warren Beatty in "Reds", Burt Lancaster in "Atlantic City", Dudley Moore in "Arthur", Paul Newman in "Absence of Malice" Actress: KATHARINE HEPBURN in "On Golden Pond", Diane Keaton in "Reds", Marsha Mason in "Only When I Laugh", Susan Sarandon in "Atlantic City", Meryl Streep in "The French Lieutenant's Woman" Supporting Actor: JOHN GIELGUD in "Arthur", James Coco in "Only When I Laugh", Ian Holm in "Chariots of Fire", Jack Nicholson in "Reds", Howard E. Rollins, Jr. in "Ragtime" Supporting Actress: MAUREEN STAPLETON in "Reds", Melinda Dillon in "Absence of Malice", Jane Fonda in "On Golden Pond", Joan Hackett in "Only When I Laugh", Elizabeth McGovern in "Ragtime" Director: WARREN BEATTY for "Reds", Hugh Hudson for "Chariots of Fire", Louis Malle for "Atlantic City", Mark Rydell for "On Golden Pond", Steven Spielberg for "Raiders of the Lost Ark" The Best Picture winner this year was a surprise and major upset win for British producer David Puttnam's low-budget Chariots of Fire, directed by Hugh Hudson, with seven nominations and four wins. It also took top honors for Best Screenplay (Colin Welland), Best Original Score (Vangelis' rich electronic, throbbing score, especially during the iconic opening credits sequence) and Best Costume Design. The win signaled the start of another mini-British renaissance of film awards for this year and the next - with Gandhi (1982) soon breaking all British film Oscar records. (It had been 13 years since another British-made film had won Best Picture, Oliver! (1968)) Chariots of Fire was also the second sports film to win Best Picture (the first was Rocky (1976) ). It also marked the first of four biopics to win the top award during the 80s, joining Gandhi (1982), Amadeus (1984), and The Last Emperor (1987). Of the top five competitors for Best Picture, two were historical epics, two were about senior-citizens, and one was a throwback to the action/adventure films of the past: Chariots of Fire was the inspirational story of the 1924 Olympics running event in Paris and the motivations of two of Britain's runners, Cambridge University students - English Jew Harold Abrahams (Ben Cross) and Scottish Christian missionary Eric Liddell (Ian Charleson). The film, which contained an anti-Semitism subplot, soon became the most-successful foreign film in US box-office history Warren Beatty's $35 million, three-hour long American epic masterpiece and front-runner in the competition, Reds (with twelve nominations and three wins) including Best Director (Warren Beatty), Best Supporting Actress (Maureen Stapleton), and Best Cinematography (Vittorio Storaro, the winner of the same award for Apocalypse Now (1979) .) Reds was the film biography of American communist and romantic figure John Reed, a left-wing radical journalist and author of Ten Days That Shook the World, who journeyed from Oregon to Greenwich Village and then to Russia to cover first-hand the 1917 Bolshevik Revolution on the streets of Petrograd [Beatty received simultaneous nominations as producer, director, co-writer (with English dramatist Trevor Griffiths), and star actor for the film. Only one other director, Orson Welles, had accomplished such a feat (for Citizen Kane (1941) ). Beatty was repeating his acquisition of quadruple nominations - his earlier film Heaven Can Wait (1978) had earned him the same distinction.] director Mark Rydell's favored, all-star family drama On Golden Pond (with ten nominations and three wins), a screen adaptation of Ernest Thompson's play about the members of the Thayer family who conflict and reconcile with each other during one summer at a lakeside New England cabin The other Best Picture nominees were: director Louis Malle's long-shot Atlantic City (with five nominations and no wins), the dual stories of an aging, small-time hood and a struggling oyster-bar waitress in the casino town director Steven Spielberg's (and George Lucas' written and produced) block-busting, entertaining genre film Raiders of the Lost Ark (with nine nominations and five wins, mostly technical awards), an old-style action/adventure film about the heroic exploits of archaeologist Indiana Jones searching for the Ark of the Covenant against the Nazis All five of the directors of Best Picture nominees were likewise nominated in the Best Director category - the third instance in Oscar history. [It also happened in 1957 and 1964 and would not occur again for another 24 years, in 2005.] Warren Beatty won the award as Best Director for Reds. [He was one of the few actors/stars that was also an Oscar-winning director (but without winning an acting Oscar), along with Robert Redford for Ordinary People (1980) the previous year, Kevin Costner for Dances With Wolves (1990) and Clint Eastwood for Unforgiven (1992) and Million Dollar Baby (2004).] Reds had nominations of its actors in all four categories, but only one of the four performers won - Best Supporting Actress. All four of the acting awards winners were elderly, aging actors - the oldest collection of acting winners ever assembled, averaging 70.75 years old: 76 year old Henry Fonda (Best Actor for On Golden Pond) 74 year old Katharine Hepburn (Best Actress for On Golden Pond) 77 year old Sir John Gielgud (Best Supporting Actor for Arthur) 56 year old Maureen Stapleton (Best Supporting Actress for Reds) Other elderly nominees joined the acting winners: 68 year old Burt Lancaster (Best Actor nominee for Atlantic City) 57 year old Paul Newman (Best Actor nominee for Absence of Malice) 50 year old Ian Holm (Best Supporting Actor nominee for Chariots of Fire) The sentimental favorites and actual winners for Best Actor and Best Actress were legendary actors, both co-starring in the same film, On Golden Pond. This was only the fifth film in Oscar history to have Oscars wins for Best Actor and Actress in the same film (it also occurred in 1934, 1975, 1976, and 1978). This was the only time that Henry Fonda was teamed with his real-life daughter Jane, and the only time he starred with veteran actress Katharine Hepburn: Henry Fonda as the gutsy, nearly-80 year-old Norman Thayer, a former college professor who is facing senility, but enjoys sharing life on the lake with the young son of his daughter's boyfriend in On Golden Pond. Henry Fonda's Best Actor award for the film was his first Oscar. It was undoubtedly a 'career' Oscar win - a tribute to his long, distinguished career of film-making. [At 76 years of age, Fonda was the oldest nominee and winner in the Best Actor category in Academy history.] Fonda had been nominated for Best Actor only once before - forty one years earlier for The Grapes of Wrath (1940) , but had lost the award. The gap of time between acting nominations was a record in itself. (Fonda's daughter and co-star Jane accepted her father's Oscar, because he was too ill to attend. He died about four months later. His win made it the first time that a father-daughter team were Oscar-winners: Henry Fonda (for On Golden Pond (1981)) and Jane Fonda (for Klute (1971) and Coming Home (1978)). The second father-daughter Oscar winners occurred in 1999 - for Jon Voight and Angelina Jolie.) Katharine Hepburn as his wise and quietly-strong wife Ethel who urges her crusty husband to reconcile with his daughter (Jane Fonda) in On Golden Pond. The couple portrayed bickering but devoted protagonists. [At 74 years of age, Hepburn became the oldest Best Actress winner up to that time - she was surpassed 8 years later by 80 year old Jessica Tandy for Driving Miss Daisy (1989). Hepburn also set a record with her fourth (and final) Oscar - she became the first performer to win that many Best Actress awards with a record of twelve nominations. The four remaining Best Actor nominees included the following: Warren Beatty (with his third Best Actor nomination) for his role in Reds as radical American communist and journalist John Reed, who faced increasing resistance to the spread of Communism in isolationist 1920s US, witnessed the Russian Revolution and then wrote the book, Ten Days That Shook the World Burt Lancaster (with his fourth and last career nomination) as small-time hood Lou in Atlantic City Paul Newman (with his fifth career nomination) as Michael Gallagher, the innocent victim of an unscrupulous Miami newspaper columnist's report in Sydney Pollack's examination of the ethics of journalism, Absence of Malice (with three nominations and no wins) Dudley Moore (with his sole Oscar nomination in his career) as the drunk, spoiled, amiable and millionaire-rich playboy and title character Arthur Bach in Arthur (with four nominations and two wins) The four remaining Best Actress nominees included: Diane Keaton (with her second of four Best Actress career nominations) as Louise Bryant, Reed's lover (and then wife) and fellow radical in Reds Marsha Mason (with the last of her four unsuccessful nominations) as the brilliant, self-destructive, divorced alcoholic Broadway actress Georgia in Neil Simon's adaptation of his own play (The Gingerbread Lady) in the film Only When I Laugh (with three nominations and no wins) Meryl Streep (with her third nomination and first Best Actress nomination, and her first of three consecutive nominations in the early 80s) as the enigmatic heroine Sarah Woodruff/Anna of the title in two parallel stories in the complex film adaptation of John Fowles' best-selling novel, director Karel Reisz' The French Lieutenant's Woman (with five nominations and no wins) Susan Sarandon (with her first nomination) as aspiring casino croupier Sally who becomes involved in a drug deal and who sexily rubs lemon juice on her breasts to remove the smell of fish in Atlantic City [Coincidentally, Streep lost the Best Actress bid to Hepburn when she won her final Oscar with her 12th nomination. Eighteen years later in 1999, Streep would tie Hepburn with her 12th nomination, and in 2002, Streep would surpass Hepburn with her 13th nomination, and then in 2006 garner her 14th nomination.] Classical actor Sir John Gielgud won the Best Supporting Actor award for his role (not in Chariots of Fire as Master of Trinity) as drunken Arthur's kindly, no-nonsense, sarcastic, deadpan butler/valet Hobson in the comedy Arthur. [His only other Oscar nomination was in his role as King Louis VII in Becket (1964).] The four other Best Supporting Actor nominees included: James Coco (with his first and only career nomination) as an unemployed gay actor in Only When I Laugh Ian Holm (with his first and only career nomination) as Liddell's trainer Sam Mussabini in Chariots of Fire Jack Nicholson (with his sixth career nomination and second Best Supporting Actor nomination) as Eugene O'Neill in Reds Howard E. Rollins, Jr. (with his first and only career nomination) as the black ragtime piano player Coalhouse Walker, Jr. in Ragtime Maureen Stapleton won the Best Supporting Actress award for her portrayal of earthy, disillusioned, and despairing revolutionary-anarchist Emma Goldman in Reds. This was her fourth and final career nomination and only successful one - she had been nominated three times previously for Best Supporting Actress in 1958 (for Lonelyhearts (1958)), 1970 (for Airport (1970)), and in 1978 (for Interiors (1978)). All of her nominations were for films with one word titles! The other Best Supporting Actress nominees included: Melinda Dillon (with her second and last Best Supporting Actress nomination) as tragically-suicidal Teresa in Absence of Malice Jane Fonda (with her sixth of seven career nominations, and her sole supporting nomination) as Henry Fonda's screen daughter Chelsea Thayer in On Golden Pond [the only time that Jane and Henry acted together] Joan Hackett (with her first and only career nomination) as a socialite in Only When I Laugh Elizabeth McGovern (with her first and only career nomination) as millionaire Harry K. Thaw's sexy showgirl wife (and Stanford White's mistress) Evelyn Nesbit in Ragtime Four-time Best Actress Oscar-defeated Barbara Stanwyck (in 1937, 1941, 1944 and 1948) accepted an Honorary statuette from the Academy, "for superlative creativity and unique contribution to the art of screen acting." Oscar Snubs and Omissions: Director John Boorman's visionary version of the King Arthur tales - Excalibur, received only one unsuccessful nomination for Best Cinematography. The four nominations for The Rose, featuring Bette Midler's remarkable performance, went unhonored. The endlessly fascinating dinner conversation film, Louis Malle's My Dinner With Andre was completely omitted from honors. There were no special recognitions or nominations for the imaginative Visual Effects in the mythological fantasy Clash of the Titans, the last film from legendary stop-motion animator Ray Harryhausen. Ragtime was awarded eight nominations (with no wins) without a Best Picture nomination. And Gallipoli went completely unnominated, including omissions for Best Picture, Best Director (Peter Weir), Best Actor (Mel Gibson), and Best Supporting Actor (Bill Hunter). Director Blake Edwards' semi-autobiographical comedy S.O.B., a satire on the film industry which featured his squeaky-clean wife Julie Andrews exposing her breasts, was devoid of nominations, as was the crime drama True Confessions, starring Robert Duvall and Robert DeNiro as two brothers brought together as a result of a brutal murder in late 1940s Los Angeles. Many acting nominations were denied to a number of proven actors and actresses in 1981: the previous year's Oscar-winner Sissy Spacek was neglected for her performance as WWII Texas switchboard operator and divorced mother Nita Longley in Raggedy Man (with no nominations) Faye Dunaway was bypassed for her role as abusive mother and actress Joan Crawford in Mommie Dearest (with no nominations) Candice Bergen was denied a nomination for Rich and Famous (with no nominations) Sally Field was ignored for her performance in Absence of Malice (with three unsuccessful nominations) both Carol Burnett (in a serious role) and Bess Armstrong were un-nominated for their lead and supporting roles in director/actor/writer Alan Alda's marriage drama The Four Seasons (with no nominations) Other un-nominated stars/directors included: director/star/co-writer Albert Brooks for his role as love-torn Robert Cole in the realistic romantic comedy Modern Romance Harrison Ford - for his defining performance as courageous, indomitable hero Indiana Jones, and Karen Allen - for her liberated role as sidekick Marion Ravenwood in Steven Spielberg's action/adventure tribute Raiders of the Lost Ark John Heard for his anti-hero role as crippled, angry Vietnam veteran Alexander Cutter in Czech director Ivan Passer's ignored Cutter's Way (with no nominations) Steve Martin (in his first dramatic role) as Arthur Parker - a Chicago Depression-era traveling sheet-music/song salesman, and Christopher Walken in a short role as slick pimp Tom who performed a seductive, almost-lewd striptease/tap-dance ("Let's Misbehave") on top of a bar in a sleazy joint to entice shy schoolteacher Eileen (Bernadette Peters), in director Herbert Ross' eccentric, downbeat musical Pennies From Heaven (with four unsuccessful nominations) Donald Sutherland as a deadly Nazi agent in Eye of the Needle Treat Williams as corrupt NY narcotics cop Daniel Ciello in director Sidney Lumet's Prince of the City William Hurt (as lowlife lawyer Ned Racine) and Kathleen Turner in her film debut (as conniving and sexy femme fatale Matty Walker) in Lawrence Kasdan's modern-day noir Body Heat (with no nominations) John Belushi (in his last film appearance) as a burly newspaperman who falls in love with mountain woman Blair Brown in Michael Apted's romantic comedy Continental Divide (with no nominations - and another un-nominated Kasdan screenplay)

Hepburn

Who won his second Oscar in successive years for Forrest Gump?

Katharine Hepburn - Hollywood's Golden Age Katharine Hepburn (1907-2003) Katharine Hepburn Katharine Hepburn was one of the brightest Hollywood stars of all. She had a career of unparallelled success, spanning seven decades, in which she appeared in over fifty movies, and won four Best Actress Oscars, three of them after passing the age of sixty. She formed several unforgettable screen partnerships with acting giants such as Cary Grant, Spencer Tracy and Humphrey Bogart, and her work spanned a variety of genres from screwball comedy to powerful drama. In 1999, she was ranked by the American Film Institute as the number one female star in the history of American cinema. She was a formidable, original and unforgettable talent. Search Amazon for Katharine Hepburn Biography She was born Katharine Houghton Hepburn on May 12, 1907, in Hartford, CT. Her father was a well known urologist and her mother a feminist suffragette and an early advocate of birth control. Katharine had a comforable upbringing with her three brothers and two sisters and was encouraged by her parents to be independent minded and self disciplined. In 1921,at age 13, Katharine found the body of her much loved older brother, Tom, hanging by the neck from a rafter. The death was described as accidental by the family although it seems quite possible that it was suicide, but it naturally had a profound effect on the young Katharine and it took her many years to recover from the trauma. Hepburn received her primary education at the Kingswood-Oxford School in West Hartford, Connecticut, before going on to Bryn Mawr College where she graduated in history and philosophy in 1928. Whilst there she met and married Ludlow Ogden Smith, a New York businessman. Smith was to become a lifelong friend and financial support but the marriage was a stormy one and did not survive Katharine's driven theatrical ambition. They spent less and less time together and finally divorced in 1934. The Young Stage Actress Katharine's first acting experience had been in school productions but then whilst at Bryn Mawr she met a producer called Eddie Knopf who cast her in several local stock company productions. It was her introduction to professional acting and by late 1928 she was already making a name for herself on Broadway in 'These Days'. for the next few years she learned her new trade and developed a reputation for forcefully arguing with directors which caused her to be dismissed from some productions. But she always bounced back. Hollywood Actress In 1932 her success as Antiope the Amazon princess in 'The Warrior's Husband' on Broadway led to a contract with RKO and her first film with a director with whom she would form a fruitful partnership, George Cukor. He cast her in 'A Bill of Divorcement' in 1932, the first of eight magnificent movies they would make together and her performance gave her an immediate star status and a new and improved contract with RKO. Hollywood Stardom The following year (1933), Hepburn won her first Oscar in 'Morning Glory', for her compelling portrayal of the ingenue Eve Lovelace who focuses on career instead of romance. In the same year, she played Jo in the record-breaking screen adaptation of 'Little Women' and she earned her second Oscar nomination in 1935 in the title role of 'Alice Adams'. In a few years she had become a major Hollywood star but she then had a series of box-office failures. 'Spitfire' in 1934, 'Break of Hearts' and 'Sylvia Scarlett' the following year, 'Mary of Scotland' in 1936, and 'Quality Street' in 1937 were all unpopular. Even the wonderful screwball comedy 'Bringing Up Baby' in 1938, with Hepburn and Cary Grant at their comedic best was not well received by the public although it is now revered as a comedy classic. Box Office Poison She was voted 'Box Office Poison' in 1938 but she was in good company - Fred Astaire, Joan Crawford, Dolores del Río and Marlene Dietrich were also similarly voted. Part of Hepburn's problem in the early years of her career was her disregard for the normal conventions of acceptable film star behaviour. She rarely wore makeup, she wore trousers most of the time, before it was fashionable to do so, she often refused to give autographs or pose for photographs, and she gave sharp answers to reporters' questions, ("Two white and three colored," was her answer when asked if she had any children). Hepburn recognised that her fledgling movie career was sliding and she fought back strongly. She first acquired the film rights to Philip Barry's play 'Holiday' and then, in 1938, with Cukor directing, appeared in it, co-starring at her dazzling best with Cary Grant. She built on that success by commissioning a new play from Barry and after playing it successfully on Broadway, she sold it, with herself and Cukor to MGM. The resulting movie, 'The Philadelphia Story', came out in 1940 and was a critical and box-office triumph, showing Hepburn at her majestic best as the spoilt heiress Tracy Lord, along with the considerable talents of Cary Grant and James Stewart. She received another Best Actress Nomination and the revival of her career was triumphantly accomplished. Spencer Tracy Her next movie 'Woman of the Year' in 1942, directed by George Stevens, gave her her fourth Best Actress Oscar nomination and saw her paired for the first time with Spencer Tracy. It was the start of a partnership and a romance which would last 25 years through eight more films and end only with Tracy's death in 1967. After her stormy marriage to Ludlow Smith in the early 1930's, Hepburn was romantically linked to several men including Hollywood agent Leland Hayward and multimillionaire Howard Hughes, but the love of her life was undoubtedly Spencer Tracy. After falling in love on the set of 'Woman of the Year' theirs became one of Hollywood's most famous, and most secret, romances. They never married, as Tracy, a strict Catholic would not divorce his estranged wife and although they were undeniably a loving couple they maintained separate homes to give the impression of living apart. By her own high standards, Hepburn's next few films during the mid to late 1940's were very average but then she hit top form again with the wonderfully witty 'Adam's Rib' in 1949, her third movie with Tracy. Then in 1951 she co-starred with Humphrey Bogart in 'The African Queen' playing a prim and proper spinster missionary in Africa during World War I, who convinces a hard-drinking riverboat captain (Bogart), to use his boat to attack a German ship. She received her fifth Best Actress nomination, losing out to Vivien Leigh in 'A Streetcar Named Desire'. Hepburn never forgot her theatrical side and in 1952 appeared in London in an adaptation of George Bernard Shaw's 'The Millionairess'. During the decade she appeared in a number of well-received Shakespeare productions including 'The Merchant of Venice', 'Much Ado About Nothing', 'Twelfth Night' and 'Anthony and Cleopatra'. In movies, Hepburn continued to play roles similar to Rose Sawyer in 'The African Queen' - independent spinsters who, underneath an aloof exterior, needed a man - and she received more Academy Award nominations for such roles in 'Summertime' in 1955, 'The Rainmaker' in 1956 and 'Suddenly, Last Summer' in 1959. After a three year break from moviemaking, Katharine gave another spellbinding performance as Mary Tyrone in O'Neill's 'Long Day's Journey Into Night' for which she received another Best Actress Academy Award nomination (her ninth). She devoted the next five years to caring for Spencer Tracy in his final long illness. They were able to make one last film together, the moving 'Guess Who's Coming to Dinner' in 1967. Katharine won her second Best Actress Award for the film but always believed that it was meant to honor Tracy, who had died shortly after completion of filming. 1968 was a record-breaking year for Katharine as she became the most nominated actress and first to win three Best Actress Oscars; she won for her role as Eleanor of Aquataine in 'The Lion in Winter'; her tie with Barbra Streisand for her performance in 'Funny Girl' was the first and (to date) the only instance of a tie in that category in the Academy's history. In 1969 Katharine returned to Broadway after many years to star in 'Coco', a musical about designer Coco Chanel, and she received a Tony nomination for Best Actress in a Musical. Katharine reserved some of her best performances for her later years on television, particularly in the TV films she made with George Cukor, the director who brought out the best in her. For instance, she gave an Emmy-winning performance opposite Laurence Olivier, in 'Love Among the Ruins' in 1975. She continued working through the next two decades in various TV-movies, including 'Mrs. Delafield Wants to Marry' in 1986, 'The Man Upstairs' in 1992 and 'This Can't Be Love' in 1994. Final Years Her health was deteriorating but she continued to work in movies as well as television and in 1981 she won a fourth Best Actress Oscar for her performance in 'On Golden Pond' with Henry Fonda. She made her final performances in 1994, with 'One Christmas', a TV movie from a story by Truman Capote, and 'Love Affair', unforgettably as Warren Beatty's difficult aunt. In 1991 Katharine wrote her autobiography, "Me, Stories of My Life" and appeared in a TV film based on the book. Katharine Hepburn died on June 29, 2003 of natural causes in Old Saybrook, Connetticut. She was 96. The lights of Broadway were dimmed for one hour in her honor. Katharine Hepburn Academy Awards

i don't know

Who won his second Oscar for the role of Raymond in Rain Man?

1988 Academy Awards® Winners and History Working Girl (1988) Actor: DUSTIN HOFFMAN in "Rain Man", Gene Hackman in "Mississippi Burning", Tom Hanks in "Big", Edward James Olmos in "Stand and Deliver", Max von Sydow in "Pelle the Conqueror" Actress: JODIE FOSTER in "The Accused", Glenn Close in "Dangerous Liaisons", Melanie Griffith in "Working Girl", Meryl Streep in "A Cry in the Dark", Sigourney Weaver in "Gorillas in the Mist" Supporting Actor: KEVIN KLINE in "A Fish Called Wanda", Alec Guinness in "Little Dorritt", Martin Landau in "Tucker: the Man and His Dream", River Phoenix in "Running on Empty", Dean Stockwell in "Married to the Mob" Supporting Actress: GEENA DAVIS in "The Accidental Tourist", Joan Cusack in "Working Girl", Frances McDormand in "Mississippi Burning", Michelle Pfeiffer in "Dangerous Liaisons", Sigourney Weaver in "Working Girl" Director: BARRY LEVINSON for "Rain Man", Charles Crichton for "A Fish Called Wanda", Mike Nichols for "Working Girl", Alan Parker for "Mississippi Burning", Martin Scorsese for "The Last Temptation of Christ" Beginning this year, the trademark phrase: "and the winner is..." was substituted with "and the Oscar goes to..." Director Barry Levinson's critically and financially-successful Rain Man was the major Oscar winner in 1988. It was the buddy-road saga of the human relationship that gradually develops between two sibling brothers: the elder one a TV-obsessed, institutionalized adult autistic (Hoffman), the other an ambitious, hotshot money-maker/car salesman and hustler (Cruise). The autistic savant's kidnapping from an asylum by his fast-talking brother is with the intent to swindle him of his inheritance, but during a cross-country road trip, a loving relationship develops between the brothers with strong blood ties. Rain Man had a total of eight nominations and four wins - for Best Picture, Best Actor, Best Director, and Best Original Screenplay (by Ronald Bass and Barry Morrow). It was the year's highest-grossing picture as well, taking in $173 million (domestic). The other Best Picture nominees included the following: director Lawrence Kasdan's adaptation of Anne Tyler's novel, the psychological drama The Accidental Tourist (with four nominations and one win - Best Supporting Actress), with two co-stars - Kathleen Turner and William Hurt - that Kasdan had teamed together in an earlier film - Body Heat (1981) British director Steven Frears' first American feature film, the lush, pre-Revolutionary France costume drama of competitive sexual seduction Dangerous Liaisons (with seven nominations and three wins - Best Screenplay, Best Art/Set Direction, and Best Costume Design) director Alan Parker's propagandist account of the investigation of the disappearance of three civil rights activists in 1964 in the social drama Mississippi Burning (with seven nominations and only one win - Best Cinematography) director Mike Nichols' sophisticated romantic comedy about 80s corporate ladder-climbing and office politics in Working Girl (with six nominations and one win - Best Song by Carly Simon: "Let the River Run") Two of the five directors of Best Picture nominees were not included in the list of Best Director nominees. The two directors were Steven Frears' Dangerous Liaisons, and Lawrence Kasdan's The Accidental Tourist. The two directors substituted for them were British director Charles Crichton for the Monty-Pythonesque, farcical caper comedy A Fish Called Wanda (with three nominations: Crichton's two nominations for Best Director and Best Original Screenplay - and one win for Best Supporting Actor), and Martin Scorsese for his controversial adaptation of Nikos Kazantzakis's novel The Last Temptation of Christ (the film's sole nomination!). [This was Crichton's sole directorial nomination in his over-four decades as director, and this was his last theatrical film directorial effort.] It was highly improbable that either Crichton or Scorsese would win the Best Director award - as predicted, they didn't. [Only once in Academy history has a Best Director Oscar been awarded to a director whose film was not nominated for Best Picture - that happened to director Frank Lloyd for his film The Divine Lady (1928-9).] Dustin Hoffman (with his sixth nomination) won his second Oscar for his role as the institutionalized, ultimately loveable, autistic idiot savant Raymond ('Ray(n)' 'Man(d)') Babbitt who is kidnapped by his ambitious brother Charlie Babbitt (Tom Cruise) and taken on a cross-country trip in Rain Man. In one memorable scene, Raymond nervously told his brother that he might miss his favorite TV program (The People's Court): "Uh, oh, 12 minutes to Wapner." The other Best Actor nominees were: Gene Hackman (with his fourth nomination) as in-your-face FBI investigating agent Rupert Anderson in Mississippi Burning Tom Hanks (with his first nomination) as body-switched Josh Baskin, a thirteen year old in a 35 year old body in the charming, soul-transference fantasy comedy directed by Penny Marshall Big (with two nominations and no wins) Mexican-American Edward James Olmos (with his first nomination) as inner-city high school math teacher Jaime Escalante in director Ramon Menendez' true-life story Stand and Deliver distinguished actor Max von Sydow (with his first nomination) as a Swedish widower in director Bille August's Swedish drama Pelle the Conqueror 26 year old Jodie Foster (with her second nomination) won her first Oscar, the Best Actress award for her performance as blue-collar, fast-food waitress Sarah Tobias, who is a gang-rape victim (in a road-side bar) accused of prompting her brutal assault because of her provocative demeanor and dress in director Jonathan Kaplan's courtroom drama The Accused (the film's sole nomination). The other Best Actress nominees were: Glenn Close (with her fifth unsuccessful nomination) as wagering, pre-Revolutionary French aristocrat Marquise de Merteuil in a game of sexual seduction/conquest in Dangerous Liaisons Melanie Griffith (with her first nomination) as a victimized Staten Island brokerage firm secretary Tess McGill in Working Girl Meryl Streep (with her eighth nomination, and her sixth Best Actress nomination in the 80s) as Lindy Chamberlain, an unappealing, defiant Australian Seventh Day Adventist mother of a wild dog-kidnapped baby girl who is held responsible for the child's death in director Fred Schepisi's semi-true story, A Cry in the Dark (the film's sole nomination) Sigourney Weaver as controversial hermit Dian Fossey - a crusading, heroic, mountain-gorilla, anthropology expert in the Rwandan rain forest in director Michael Apted's biopic Gorillas in the Mist (with five nominations and no wins) [Double-nominee Weaver was nominated for two simultaneous awards in 1988 - her second and third career nominations. She became the first performer in Oscar history to receive simultaneous nominations in two acting categories and lose both awards. Her failing 'accomplishment' was repeated by actress Emma Thompson in 1993.] Kevin Kline (with his first nomination), in the first surprise upset in the supporting categories, won the Best Supporting Actor Oscar for his performance as ex-CIA assassin and ne'er-do-well jewel thief Otto, the crazy boyfriend of seductress thief Wanda (Jamie Lee Curtis) who wants a repressed English lawyer (John Cleese) to offer bail to a fellow jewel thief in the unlikely comedy A Fish Called Wanda. Other Best Supporting Actor nominees were: Alec Guinness (with his fourth and last career nomination for acting) for his role as William Dorritt in director/screenwriter Christine Edzard's screen adaptation of Charles Dickens' little-read novel Little Dorritt - Guinness was a veteran Dickens actor who had performed in Great Expectations (1946), played the role of Fagin in David Lean's Oliver Twist (1948), and also acted in Scrooge (1970). Guinness had four acting nominations in his entire career: in 1952 (Best Actor for The Lavender Hill Mob (1952)), 1957 (Best Actor for The Bridge on the River Kwai (1957) - his only win), 1977 (Best Supporting Actor for Star Wars (1977) ), and in this year. He was also nominated, his fifth, for Best Adapted Screenplay for The Horse's Mouth (1958). favored nominee Martin Landau (with his first nomination) as Abe Karatz, the partner of inventive automaker Tucker in director Francis Ford Coppola's Tucker: the Man and His Dream (with three nominations and no wins) young River Phoenix (with his first nomination) as Danny Pope, the son of fugitive parents in director Sidney Lumet's Running on Empty Dean Stockwell (with his first nomination) as womanizing Mafia don Tony "The Tiger" Russo in director Jonathan Demme's comedy Married to the Mob (the film's sole nomination) Geena Davis (with her first nomination), in a surprise upset, won the Best Supporting Actress award for her (lead!) role as eccentric and wacky divorcee (and Corgi dog-trainer) Muriel Pritchett who is interested in a married travel guide writer (William Hurt) with an estranged wife (Kathleen Turner) in The Accidental Tourist. Two Best Supporting Actress nominees were co-stars from Working Girl: Joan Cusack (with her first nomination) as Cyn Sigourney Weaver (with her second/third nomination) as brokerage firm executive Katharine Parker The remaining nominees were Frances McDormand (with her first nomination) as conflicted Ku Klux Klan member's wife Mrs. Pell, one of the townsfolk in Mississippi Burning, and Michelle Pfeiffer (with her first nomination) as the reserved, convent-bred Madame de Tourvel in Dangerous Liaisons. This year had one of the most potent Best Foreign Language Film competitions in recent years. Bille August's Swedish film Pelle the Conqueror, starring Best Actor-nominated Sydow, defeated two other strong candidates among the field of four: Pedro Almodóvar's popular Women on the Verge of a Nervous Breakdown (its sole nomination) and Mira Nair's Indian expose Salaam Bombay! (its sole nomination). Oscar Snubs and Omissions: Although the technically-outstanding Who Framed Roger Rabbit (with six nominations) was missing from the Best Picture nominees, it tied Best Picture-winning Rain Man, if one counts a Special Achievement Award, with four Oscar wins: Best Film Editing, Best Sound Effects Editing, Best Visual Effects, and a special recognition for animator Richard Williams. Two directors who should have been nominated, but weren't, were Penny Marshall for Big, and Jonathan Demme for Married to the Mob. A World Apart, Chris Menges' feature film directorial debut about apartheid set in early 1960s South Africa (with Barbara Hershey as journalist Diana Roth) wasn't even nominated in 1988. Neither was Michael Apted nominated as Best Director for Gorillas in the Mist. Other remarkable performances without nominations included the following: Kevin Costner as veteran ball-player catcher "Crash" Davis and Susan Sarandon as sexy sports "Church of Baseball" groupie Southerner Annie Savoy in writer/director Ron Shelton's minor league baseball adult romantic comedy Bull Durham (with one unsuccessful nomination for Best Original Screenplay) Harrison Ford's first light comedy lead role as the charming but wary businessman Jack Trainer in Working Girl Michael Keaton as the ghostly Beetlejuice in Tim Burton's Beetlejuice Michael Palin as stuttering mob hitman Ken in A Fish Called Wanda Leslie Nielsen as the incredibly funny, bumbling Lt. Frank Drebin in David Zucker's The Naked Gun (1988) - a feature length version of the TV show Police Squad black actor Forest Whitaker as legendary saxophonist Charlie "Bird" Parker in director Clint Eastwood's Bird Tom Cruise as Dustin Hoffman's self-centered, fast-talking hustling brother Charlie Babbitt in Rain Man Tom Hulce as brain-damaged Dominick/Nicky in Robert M. Young's touching film about fraternal twin brothers named Dominick and Eugene Sally Field as housewife and aspiring comedienne Lilah Krytsick in Punchline William Hurt as distant travel guide writer Macon Leary in The Accidental Tourist John Malkovich as sexually-seductive Vicomte de Valmont in the acclaimed Dangerous Liaisons Eric Bogosian as acidic radio host Barry Champlain, and his tortured ex-wife Ellen (Ellen Greene) in Oliver Stone's Talk Radio (unnominated in any category) Drag queen Divine (Glenn Milstead) in a dual role (one male, one female) in John Waters' cult movie Hairspray as frumpy mother Edna Turnblad and racist sponsor Arvin Hodgepile Alan Rickman as the terrorizing German villain Hans Gruber in the exciting action film Die Hard Jack Palance as bandanna-wearing artist Rudi Cox, and the two female leads: Marianne Sagebrecht as desert-stranded Bavarian tourist Jasmin Munchgstettner and C.C.H. Pounder as abandoned wife Brenda in director Percy Adlon's first English language film - the offbeat comedy/drama Bagdad Cafe (with one unsuccessful nomination for Best Song, "Calling You") Gena Rowlands as self-probing college professor Marion Post, and Sandy Dennis as her slighted friend in writer/director Woody Allen's Another Woman Jeremy Irons in two roles as Beverly and Elliot Mantle - identical twin gynecologists in director/co-writer David Cronenberg's creepy and violent Dead Ringers

Dustin Hoffman

In 1997 James Cameron won an Oscar for which blockbuster?

Dustin Hoffman Breaks Down While Recounting His Past Movie Choices | Hollywood Reporter Dustin Hoffman Breaks Down While Recounting His Past Movie Choices 4:28 PM PDT 10/16/2012 by Stuart Kemp COMMENTS Alberto E. Rodriguez/Getty Images The two-time Oscar winner was emotional during an onstage discussion for BAFTA's Life in Pictures event that centered on his film career. LONDON -- Dustin Hoffman delivered an emotional account of his 30-plus years in the movies at an invitation only event at the British Academy of Film & Television Arts on Tuesday evening. The two-time Oscar winner, speaking at the British Academy's HQ, broke down in tears twice and drew lots of laughs while talking through his filmography as part of Bafta's Life in Pictures season of events. Tears first came when Hoffman began explaining the background to landing the role in Kramer vs. Kramer, a part he won his first best actor nod for in 1980. "I was getting divorced, I'd been partying with drugs and it depleted me in every way," Hoffman said. PHOTOS: Film and TV Actors Who've Starred in Video Games His voice began to crack when he began explaining he didn't want to meet with the producer Stanley Jaffe and director and writer Bob Benton because he didn't like the script. "You're script has no feeling of what I'm going through," Hoffman said as the tears came when recalling the emotional turmoil of his breakup and divorce. He explained through tears that "for whatever reasons you just end up not being able to inhabit the same space," referencing the break-up from first wife Anne Byrne and the fact "there were children involved." He also said at the time he had just come off the back of doing two movies back to back – Straight Time and Agatha – and had "decided to quit movies for a second time." He previously thought he'd quit after one critic labelled him as a "cretin" in The Graduate. But Benton persisted, asking Hoffman what it would take for him to change his mind and do the movie. "We'd have to go into a room for three months and rewrite it," Hoffman said, saying that is exactly what they did. "We finished and I got offered a writing credit and stupidly turned it down," Hoffman said, "but it was a liberating experience for me to push all the stuff I was going through out there." More tears welled when he began talking about the child actor, Justin Henry, who played Billy and landed the part with no acting experience. PHOTOS: Teflon Actor Awards: 6 Actors Immune to Bad Reviews "I later discovered he was coming from a home that was breaking up. There was a moment during a break in the testing when I thought, this is the right kid, he's my son." Hoffman recalled failing to cast Kate Jackson -- who, at the time, was at top of the list "because she was in Charlie's Angels, the biggest show on television at the time in the U.S." So, he suggested Meryl Streep, someone who was a young actress on the rise. It was one of those "perfect times to cast someone," Hoffman said, because she'd just lost her boyfriend in tragic circumstances. Streep went on to win the first of three Oscars with her turn but Hoffman never worked with her on a film again. As the house lights dimmed before the clip of a scene with his estranged wife played by Streep, Hoffman whispered an apology to his wife Lisa, who was in the audience, saying he didn't know what was wrong with him. More tears came from the actor when discussing his experience making his other Oscar-winning film, Rain Man with director Barry Levinson. Hoffman described how, two weeks into shooting, he was sitting in an open top Cadillac with Tom Cruise, wishing he could leave the movie because he just couldn't play the part of the autistic brother Raymond Babbitt. Levinson took him aside to watch the rushes because, unbeknownst to Hoffman, the actor had created the essence of the character by just repeating "yeah" to everything Cruise was saying to him. "It was that marvelous feeling when you find yourself in a territory when you think you're not getting it," Hoffman said. "It's feeling like you're in between worlds." Hoffman described his extensive research into highly functioning autism sufferers saying he came to the conclusion they are unable to rid themselves of all the information a human is presented with. "It puts enormous pressure on them. We're like vacuum cleaners, we can get rid of a lot of it but they can't." Added Hoffman: "My children tell me, don't cry Daddy, you can see why." There were also laughs aplenty across the evening that ran to more than two hours. Among the biggest was Hoffman's account of Tootsie, a role where he played an unemployed actor who auditions as a woman to land a role in a soap opera. He described how after shooting a scene in a restaurant dressed as his female character Dorothy Michaels opposite Sydney Pollack, he'd been told Jon Voight, who he starred with in Midnight Cowboy, was eating in another part of the restaurant. "I went over to him as Dorothy and had an entire conversation about how much I liked his work and managed to fool him," Hoffman said. But more was to come. On the subway, Hoffman still in costume, had run into his childhood acting hero Jose Ferrer. After talking through Ferrer's career with him, mentioning how much he'd admired his chops, still in drag, Hoffman said he couldn't resist asking one last question. "Would you mind very much if I sucked your cock?" Ferrer stared at his female form for a while before calming replying: "Not right now," Hoffman recalled. He shared that after he walked off, Ferrer had asked his friend "who was that scumbag of a woman." Hoffman said he'd never been one to "censor his mouth." Hoffman also discussed his childhood upbringing in Los Angeles in a house "that movies were never mentioned in" after his father got fired from a studio job with Columbia and became a furniture salesman. And he also told stories and anecdotes from other career highlights including Midnight Cowboy and Meet the Fockers and working on friend's films such as Stranger Than Fiction and smaller indie pictures such as Last Chance Harvey, opposite Emma Thompson, whom he met on Stranger Than Fiction. The actor's directorial debut, Quartet starring Maggie Smith, Tom Courtenay, Pauline Collins and Billy Connolly unspooled last night in a gala screening during this year's BFI London Film Festival. Previous BAFTA Life In Pictures seasons have featured Will Ferrell, Kenneth Branagh, Charlize Theron and Colin Firth. Hoffman's evening was hosted by writer, critic and broadcaster Francine Stock and sponsored by Deutsche Bank.

i don't know

Which Nick won an Oscar for The Wrong Trousers?

Nick Park - IMDb IMDb Writer | Producer | Director Nick Park was born on December 6, 1958 in Preston, Lancashire, England as Nicholas Wulstan Park. He is a writer and producer, known for The Curse of the Were-Rabbit (2005), The Wrong Trousers (1993) and Chicken Run (2000). See full bio » Born: a list of 28 people created 25 May 2014 a list of 22 people created 30 Sep 2014 a list of 21 people created 04 Nov 2015 a list of 33 people created 8 months ago a list of 41 people created 1 month ago Do you have a demo reel? Add it to your IMDbPage How much of Nick Park's work have you seen? User Polls Won 4 Oscars. Another 53 wins & 25 nominations. See more awards  » Known For  2015 Shaun the Sheep Movie (characters created by)   Shaun the Sheep (TV Series) (based on characters by - 76 episodes, 2007 - 2014) (original idea - 49 episodes, 2007 - 2010) (based on an original idea by - 3 episodes, 2007) (written by - 1 episode, 2009) - Fruit and Nuts (2014) ... (based on characters by) - The Stare (2014) ... (based on characters by) - Duck! (2014) ... (based on characters by) - Save the Dump (2014) ... (based on characters by) - Picture Perfect (2014) ... (based on characters by)  1989 A Grand Day Out (Short) (written by) Hide  - Timmy Makes a Splash (2012) ... (executive producer: Aardman Animations Ltd) - Timmy's Scrapbook (2011) ... (executive producer: Aardman Animations Ltd)  2007 Creature Comforts America (TV Series) (executive producer)  2003-2006 Creature Comforts (TV Series) (executive producer - 26 episodes) - Safari Park (2006) ... (executive producer) - Communication (2006) ... (executive producer)  1997 Stage Fright (Short) (executive producer) Hide   1985 Second Class Mail (Short) (color artist) Hide   2011 The Simpsons (TV Series) Nick Park - Angry Dad: The Movie (2011) ... Nick Park (voice) Hide   1989 A Grand Day Out (Short) (photographed by) Hide   1985 Second Class Mail (Short) (lots of help) Hide   2005-2015 Film 2016 (TV Series) Himself / Himself - Interviewee  2013 This Morning (TV Series) Himself  2012 Just Dandy (TV Movie documentary) Himself  2011 The Big Picture (TV Series) Himself - Executive Producer  2010 100 Greatest Toys (TV Movie) Himself (as Nick Park CBE)  2010 Breakfast (TV Series)  2007-2009 The Culture Show (TV Series documentary) Himself  2009 News Zero (TV Series) Himself  2008 The One Show (TV Series) Himself  2008 Blue Peter at 50 (TV Movie documentary) Himself  2008 All About 'Thunderbirds' (TV Movie documentary) Himself  2007 Comics Britannia (TV Mini-Series documentary) Himself  2007 British Film Forever (TV Mini-Series documentary) Himself  2007 The Comedy Map of Britain (TV Series documentary) Himself  2006 The South Bank Show (TV Series documentary) Himself  2006 Richard & Judy (TV Series) Himself  2005 The 100 Greatest Family Films (TV Movie documentary) Himself  2005 El Magacine (TV Series) Himself  2000-2005 HBO First Look (TV Series documentary) Himself  2005 Best Ever Ads (TV Movie documentary) Himself  2005 Rove Live (TV Series) Himself  2005 Top 50 Greatest Celebrity Animals (TV Movie documentary) Himself  2005 Animation Nation (TV Series documentary) Himself  2004 The 100 Greatest Christmas Moments (TV Special documentary) Himself  2001 The 100 Greatest Films (TV Movie documentary) Himself  2001 I Love the 1990s (TV Series documentary) Himself  2000 The Panel (TV Series) Himself  2000 Omnibus (TV Series documentary) Himself  2000 The Hatching of 'Chicken Run' (TV Short documentary) Himself  1994 Limited Edition (TV Series documentary) Himself  1994 Live & Kicking (TV Series) Himself Himself - Winner: Best Animated Short Film Hide  Personal Details Other Works: [1996] Animated music video for "In Your Wildest Dreams" by Tina Turner and Barry White . See more » Publicity Listings: 5 Interviews | 2 Articles | See more » Official Sites: Did You Know? Personal Quote: [on the award-winning Peter Gabriel: Sledgehammer (1986) pop video] Part of the brief in a way was to look like a fourteen-year-old kid had made it in their attic and in a way that was the way it ended up because of the speed that we did it at. It bridged the gap between pop and fine art and it changed the face of pop videos that, I think. I don't think that's overstating it, I think it did. See more » Trivia: Nick Park said in an interview that Wallace & Gromit were the first characters he really put his heart into. See more » Trademark: Knitting is featured, and done properly (with correct movements and stitches) in all W&G and Chicken Run movies. See more » Star Sign:

Park

What is Sean Connery's profession in The Name of the Rose?

Wallace And Gromit: Three Cracking Adventures DVD: Amazon.co.uk: Nick Park: DVD & Blu-ray From Amazon.co.uk A Grand Day Out Nominated for an Academy Award in 1990, the first short-film adventure of Wallace and Gromit was this 24-minute comedy, created by clay animator Nick Park over a six-year period at the National Film & Television School in London, and at the Aardman Animation studios that Park boosted to international acclaim. In their debut adventure, Wallace and his furry pal Gromit find themselves desperate for "a nice bit of Gorgonzola", but their refrigerator's empty and the local cheese shop is closed for a holiday! Undeterred, Wallace comes up with an extreme solution to the cheese shortage: since the moon is made of cheese (we all know that's true, right?), he decides to build a rocket ship and blast off for a cheesy lunar picnic! Gromit's only too happy to help, and before long the inventive duo is on the moon, where they encounter a clever appliance that's part oven, part robot, part lunar skiing enthusiast ... well, you just have to see the movie to understand how any of this whimsical lunar-cy can make any sense! It's a grand tale of wonderful discoveries, fantastic inventions--and really great cheese! The Wrong Trousers Clay-animation master Nick Park deservedly won the 1993 Academy Award for Best Animated Short for this 30-minute masterpiece, in which the good-natured inventor Wallace and his trusty dog, Gromit, return for another grand adventure. It all begins on the morning of Gromit's birthday, when Wallace gives his beloved pooch the gift of his latest invention--a pair of mechanical "techno-trousers" that can be programmed to take Gromit out for "walkies" while Wallace sits comfortably at home. Gromit's not exactly thrilled with the new gadget, and things go from bad to worse when Wallace rents a room to a new boarder--a rather suspicious-looking penguin--to offset his rising expenses. As it turns out, the penguin's a notorious thief, and the amazing techno-trousers provide a foolproof method of pulling off a diamond heist! It's Gromit's big opportunity for canine heroics, and The Wrong Trousers turns into one of the funniest, most inventive caper-comedies ever made, with an action-packed climax on a speeding miniature train. Will the notorious "Feathers" wind up in jail where he belongs? Will Gromit finally get his due recognition? Watch this amazing marvel of clay animation to see why Wallace and Gromit have become global celebrities--this is comedic ingenuity at its finest. A Close Shave Hot from the international triumph of The Wrong Trousers, clay animator Nick Park knew that his third Wallace and Gromit film was going to have to be the biggest and best adventure yet for the mild-mannered inventor Wallace and his perceptive pooch Gromit. With the ambitiously zany plot of A Close Shave, Park and his fellow animators rose to the occasion and their film won the 1995 Academy Award (Park's second Oscar) for Best Animated Short. This time out, Wallace and Gromit have teamed up to provide a window-washing service, and that's how Wallace meets the lovely Wendolene Ramsbottom, a wool-shop owner whose malevolent dog Preston turns out to be the mastermind of a sheep-napping scheme! Of course, no Wallace and Gromit adventure can be without a grandiose gadget, so Wallace's latest invention is the Knit-O-Matic, a yarn-making machine capable of shearing a whole flock of sheep just a bit too efficiently! When the villainous Preston gains control of the mechanical knitting marvel, Gromit must race to the rescue, and A Close Shave reaches new heights of clay-animation mastery. Every shot is a testament to Nick Park's patience, his clever ingenuity, and his film-making flair. The movie's so technically impressive, in fact, that the whole world wondered where Park could go next. It was no surprise, therefore, to find him making the transition to the big screen with Chicken Run. --Jeff Shannon

i don't know

In which film did Jodie Foster play FBI agent Clarice Starling?

Hannibal (2001) - FAQ The content of this page was created directly by users and has not been screened or verified by IMDb staff. Visit our FAQ Help to learn more FAQ How much sex, violence, and profanity are in this movie? For detailed information about the amounts and types of (a) sex and nudity, (b) violence and gore, (c) profanity, (d) alcohol, drugs, and smoking, and (e) frightening and intense scenes in this movie, consult the IMDb Parents Guide for this movie. The Parents Guide for Hannibal can be found at here . What is 'Hannibal' about? Ten years after the events in The Silence of the Lambs, FBI Special Agent Clarice Starling ( Julianne Moore ) is assigned to the case of Mason Verger ( Gary Oldman ), the only surviving, but severely disfigured, victim of cannibalistic serial killer Dr. Hannibal Lecter ( Anthony Hopkins ), and Verger wants revenge. Lecter, who disappeared (after the events in The Silence of the Lambs), is currently living in Florence, Italy as a library curator under the assumed name of Dr Fell. Recently disgraced for a bungled drug raid, Clarice is contacted by a sympathetic Lecter. Now that Lecter's whereabouts are known, the hunt for Lecter begins. Is "Hannibal" based on a book? Hannibal is based on a 1999 novel of the same name by American writer Thomas Harris. The novel was adapted for the movie by American screenwriters David Mamet and Steven Zaillian. Hannibal is the film sequel to The Silence of the Lambs (1991). It was followed by Red Dragon (2002) and Hannibal Rising (2007), both adapted from novels by Thomas Harris and written as prequels to The Silence of the Lambs. Prior to The Silence of the Lambs, there was another Hannibal Lecter movie, Manhunter (1986), also based on Harris' 1981 novel, Red Dragon, but not considered to be part of The Silence of the Lambs franchise. Who from "The Silence of the Lambs" is back in "Hannibal"? Anthony Hopkins reprises his role as the cannibalistic serial killer, Hannibal Lecter, this time in the guise of Dr Fell, new curator of the Capponi Library in Florence, Italy. FBI Special Agent Clarice Starling is also back, although she is played by Julianne Moore, not Jodie Foster . Barney Matthews ( Frankie Faison ), the nurse who admitted Clarice to the locked row of cells in which Lector was being held at the Baltimore State Hospital for the Criminally Insane, is seen again in a small part at the beginning of the movie. Justice Department official Paul Krendler, played by Ray Liotta rather than Ron Vawter , returns in an expanded and more sinister role. Added to the cast is Gary Oldman playing Mason Verger, a pedophile horribly disfigured by Lecter and the only one of his victims to survive. Also added to the main cast is Chief Inspector Rinaldo Pazzi ( Giancarlo Giannini ) of the Florence Questura, who recognizes Fell as Lecter and attempts to capture him for Verger. Weren't there really two surviving victims? According to the film, Mason Verger is the only surviving victim of Dr. Lecter's 14 victims. In the novels, it is said that there are three known surviving victims: (1) Verger, (2) an unnamed victim residing in a mental hospital in Colorado, and (3) Will Graham from Red Dragon. Although the novel Red Dragon was written in 1981, before The Silence of the Lambs (1988) and Hannibal (1999), it wasn't filmed until 2002, after the filming of The Silence of the Lambs (1991) and Hannibal (2001), so the character of Will Graham hadn't yet been introduced to the Hannibal franchise. Why did Mason Verger cut off his own face? Mason was a sexual deviant who was also infatuated with Lecter. Lecter had given him a 'popper' [in the book, a mixture of hallucinogenic and hypnotic drugs] before suggesting that he cut off his face and feed it to the dogs. Verger was based on the real case of a man named Michael who, while under the influence of PCP, did the same thing -- cut off parts of his face and fed them to some dogs. For more information on Michael, see here . Why was Mason Verger in a wheel chair? This was another mishap from his encounter with Hannibal Lecter. In the film, when Verger is explaining how Lecter gave him the popper and told him to cut off his face, Verger is seen swinging from some form of rope. The book goes into slightly more detail than the film. Basically, however, the rope was a sexual device, a sort of noose that was used for auto-erotic asphyxiation. After Verger was finished cutting off his own face, he says that Lecter broke his neck with the noose. This however, didn't kill him but left him paraplegic. What is the song that is being played at the opera that Pazzi and Lecter attend? The song is called Vide Cor Meum (See My Heart). Composed especially for the movie by Patrick Cassidy, the song was later used in Ridley Scott's Kingdom of Heaven (2005). Clarice mentions that Hannibal killed a musician called Benjamin Raspail. Didn't Hannibal deny killing Raspail in "Silence of the Lambs"? Indeed he did. Benjamin Raspail was the man whose severed head was found by Clarice in the locked storage garage in the beginning of Silence of the Lambs. In that movie, Hannibal Lecter later identifies the head as belonging to Raspail, but claims not to have killed him; he merely admits to have found Raspail's remains after he missed several appointments, and simply hid them. Lecter claims that Raspail was killed by his (Raspail's) lover, who is the same person as Buffalo Bill. However, during the conversation between Clarice and Paul Krendler in the archives in Hannibal, Clarice casually mentions that Hannibal once killed Benjamin Raspail in order to improve the quality of the orchestra Raspail played in, since he was such a dreadful player. This claim seems to be confirmed in the opening scene of Red Dragon , where Lecter feeds parts of a flautist's corpse to the unwitting members of the orchestra board, though this flautist is never mentioned by name in either the film or the credits. In the novels Red Dragon and Silence of the Lambs, the events are told a bit differently. The head that Clarice finds in the storage locker belonged to Raspail's boyfriend Klaus. Klaus was actually killed and beheaded by a jealous Jame Gumb/Buffalo Bill, who was once Raspail's lover. Raspail found Klaus' head, kept it in his garage and told his psychiatrist, Hannibal Lecter, about it. Raspail went missing shortly thereafter, and his body found a few days later, missing its pancreas and thymus. Hannibal was caught several days later, and found to be the so-called Chesapeake Ripper, who had already made nine victims. During his trial, Hannibal admitted to feeding Raspail's organs to the orchestra board. In the movie adaptation of Silence of the Lambs, most of this information was not used or changed. Most references to the Red Dragon novel (including Will Graham's earlier interaction with Lecter) were purposely removed to make Silence a stand-alone movie, and possibly to avoid legal issues (since the studio did not own the rights to either the Red Dragon novel, nor its first adaptation, Manhunter ). The character of Klaus was omitted completely, perhaps to avoid introducing characters that had no significant role in the plot. However, since Clarice finding a severed head was so central in the progress of the plot, this was kept in; however, the victim was changed from Klaus to Raspail, and was explicitly established as Gumb's very first kill (in the book, Gumb had already killed his grandparents at age 10). From what we can tell, the movies Hannibal and Red Dragon followed the continuity established in the books, so this seems like a deliberate retcon without a clear in-universe explanation. One possibility could be that Hannibal is still playing a game with Clarice in Silence of the Lambs, by providing her with false information, to see how quickly she can see through his lies. Note that Hannibal did the same with her when he told her to look for Ms Moffet, (an anagram for "the rest of me") and with senator Martin, providing her with a false name of the killer, as his way to toy with people. Did Hannibal kill Dr. Chilton? The Silence of the Lambs is Chilton's last appearance in the franchise, in both the novels and the films. It is never out right stated whether Hannibal did kill and cannibalize Chilton during the time between The Silence of the Lambs and Hannibal. In the novel, it is mentioned that Chilton disappeared while on vacation seven years before the events of Hannibal; in the film Barney says that Lecter, when possible, preferred to eat "the rude" and that Chilton "was a bad man". Both statements strongly imply that Lecter did indeed kill and eat Chilton. Why did the boars walk right past Lecter? In Ridley Scott's commentary on the film, he says that the reason they walk right past Lecter is a combination of a) the fact that Lecter is standing still (whether they consider him no harm or an inadequate food supply is unclear), and b) the boars feel an "animal connection" of sorts with Lecter (in other words, they sense Lecter as another animal and leave him alone). Another possibility is that the hogs were attracted to blood and were accustomed to feeding while hearing screams. Since Lecter wasn't screaming and had no blood on him, they walked past him and went straight to the screams. In the novel of Hannibal, it is said that the boars smelled no fear on him, so they went past him to eat the screamers. How does the movie end? Stripped of her gun and her FBI status, Clarice goes alone to the Verger estate to look for Lecter. She finds him strapped down and about to be fed to Verger's vicious boars. She shoots the two henchmen guarding him, one fatally, the other just wounding him. Just as Clarice sets Lecter free, the boars break out through the gate and Verger arrives to watch the carnage. One of Verger's henchmen shoots Clarice, so Lecter takes her into his arms as the boars go after the two downed henchmen. Verger orders his personal physician, Dr Cordell, to go into the swarming mass of squealing, ravenous boars to retrieve a gun, but Lecter convinces Cordell (who greatly dislikes Verger) to feed Verger to the boars and blame it on Lecter. Lecter takes the barely conscious Clarice to Krendler's lakehouse, where he removes the bullet and tends to her wound. When Clarice awakens from a morphine-induced sleep, she laboriously makes her way to a telephone to call for backup and then downstairs where she finds Lecter preparing an elegant dinner for Krendler, who appears to be heavily drugged. Clarice is horrified when she sees Lecter lift off the top of Krendler's skull, scoop out a portion of his brain, saut� it, and feed it to Krendler. When Krendler insults Clarice, Lecter wheels Krendler to the kitchen and prepares to make his getaway, leaving Krendler to die and knowing that Clarice has called the FBI. Clarice tries to hit him with a candlestick, but Lecter catches her hair in the refrigerator door. He kisses her and is about to walk away when she slaps a cuff on his wrist and cuffs him to herself. When she refuses to give him the key, Lecter picks up a meat cleaver. "This is really going to hurt," he says, and the cleaver comes down. In the next scene, Clarice is standing over the lake, watching for any signs of Lecter, who has disappeared. Her backup arrives, and Clarice identifies herself but says nothing about Hannibal Lecter getting away. In the final scene, Lecter is seated on an airplane, one of his own hands missing, about to enjoy his carry-on lunch. A small boy looks curiously into the box and asks what some of the food is. One of the containers holds what looks like saut�ed brain. Lecter offers the boy a bite. Did Hannibal really chop off his hand? It's never made certain. Hannibal, when he says "above or below the wrist?" suggests that he did but he could have been threatening to cut off Clarice's hand in order to scare her into giving him the key. It's also possible Hannibal chopped off only his thumb to wriggle out of the cuff. What is certain is that he definitely did not try to cut through the chain on the cuffs; it would have been too unbelievable and he clearly doesn't have the use of that hand in the final scene. Why didn't Jodie Foster return to play Clarice Starling? In an interview for Total Film magazine, Foster said: The official reason I didn't do Hannibal is I was doing another movie, Flora Plum. So I get to say, in a nice dignified way, that I wasn't available when that movie was being shot... Clarice meant so much to Jonathan and I, she really did, and I know it sounds kind of strange to say but there was no way that either of us could really trample on her.

The Silence of the Lambs

Which Julie won an Oscar for Darling in 1965 and was Oscar nominated in 19987 for Afterglow?

Silence Of The Lambs, The -- (Movie Clip) Poor White Trash You will receive an email shortly to confirm your email address. Silence Of The Lambs, The -- (Movie Clip) Poor White Trash title details and video sharing options now playing Silence Of The Lambs, The -- (Movie Clip) Poor White Trash A portion of the first encounter between FBI trainee Clarice Starling (Jodie Foster) and the jailed cannibal psycho-killer psychiatrist Hannibal Lecter (Anthony Hopkins), in The Silence Of The Lambs, 1991, from the Thomas Harris novel. View the TCMDb entry for The Silence Of The Lambs (1991) share video Silence Of The Lambs, The -- (Movie Clip) Poor... A portion of the first encounter between FBI trainee Clarice... Silence Of The Lambs, The -- (Movie Clip) Poor White Trash A portion of the first encounter between FBI trainee Clarice Starling (Jodie Foster) and the jailed cannibal psycho-killer psychiatrist Hannibal Lecter (Anthony Hopkins), in The Silence Of The Lambs, 1991, from the Thomas Harris novel.> Silence Of The Lambs, The -- (Movie Clip) If... FBI trainee Clarice Starling (Jodie Foster) checking out a... Silence Of The Lambs, The -- (Movie Clip) If Anything Should Happen FBI trainee Clarice Starling (Jodie Foster) checking out a storage locker on a lead from imprisoned psycho-killer Hannibal Lecter, with the proprietor (Lieb Lensky), in Jonathan Demme's The Silence Of The Lambs, 1991.> Silence Of The Lambs, The -- (Movie Clip) Do You... Following the credits, Jodie Foster (as FBI trainee Clarice... Silence Of The Lambs, The -- (Movie Clip) Do You Spook Easily? Following the credits, Jodie Foster (as FBI trainee Clarice Starling, her Academy Award-winning role), summoned by behavioral sciences chief Crawford (Scott Glenn), in Jonathan Demme's The Silence Of The Lambs, 1991. >

i don't know

Which musical set in gangland New York won 11 Oscars in 1961?

West Side Story (1961) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Two youngsters from rival New York City gangs fall in love, but tensions between their respective friends build toward tragedy. Directors: From $2.99 (SD) on Amazon Video ON DISC a list of 31 titles created 31 Jul 2011 a list of 42 titles created 20 Aug 2012 a list of 23 images created 06 Jan 2014 a list of 40 titles created 03 Feb 2014 a list of 35 titles created 10 months ago Title: West Side Story (1961) 7.6/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 10 Oscars. Another 18 wins & 11 nominations. See more awards  » Videos Murderesses Velma Kelly and Roxie Hart find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s Chicago. Director: Rob Marshall Three friends struggle to find work in Paris. Things become more complicated when two of them fall in love with the same woman. Director: Vincente Minnelli A young Shakespeare, out of ideas and short of cash, meets his ideal woman and is inspired to write one of his most famous plays. Director: John Madden An old Jewish woman and her African-American chauffeur in the American South have a relationship that grows and improves over the years. Director: Bruce Beresford A naive hustler travels from Texas to New York to seek personal fortune but, in the process, finds himself a new friend. Director: John Schlesinger A female girlie club entertainer in Weimar Republic era Berlin romances two men while the Nazi Party rises to power around them. Director: Bob Fosse A silent film production company and cast make a difficult transition to sound. Directors: Stanley Donen, Gene Kelly Stars: Gene Kelly, Donald O'Connor, Debbie Reynolds Weary of the conventions of Parisian society, a rich playboy and a youthful courtesan-in-training enjoy a platonic friendship, but it may not stay platonic for long. Director: Vincente Minnelli In 20th-century colonial Kenya, a Danish baroness/plantation owner has a passionate love affair with a free-spirited big-game hunter. Director: Sydney Pollack Selfish yuppie Charlie Babbitt's father left a fortune to his savant brother Raymond and a pittance to Charlie; they travel cross-country. Director: Barry Levinson A silent movie star meets a young dancer, but the arrival of talking pictures sends their careers in opposite directions. Director: Michel Hazanavicius Ted Kramer's wife leaves her husband, allowing for a lost bond to be rediscovered between Ted and his son, Billy. But a heated custody battle ensues over the divorced couple's son, deepening the wounds left by the separation. Director: Robert Benton Edit Storyline West Side Story is the award-winning adaptation of the classic romantic tragedy, "Romeo and Juliet". The feuding families become two warring New York City gangs- the white Jets led by Riff and the Puerto Rican Sharks, led by Bernardo. Their hatred escalates to a point where neither can coexist with any form of understanding. But when Riff's best friend (and former Jet) Tony and Bernardo's younger sister Maria meet at a dance, no one can do anything to stop their love. Maria and Tony begin meeting in secret, planning to run away. Then the Sharks and Jets plan a rumble under the highway - whoever wins gains control of the streets. Maria sends Tony to stop it, hoping it can end the violence. It goes terribly wrong, and before the lovers know what's happened, tragedy strikes and doesn't stop until the climactic and heartbreaking ending. Written by Anonymous "BEST PICTURE!" Winner of 10 Academy Awards! - 1961 (post-Oscar) See more  » Genres: 23 December 1961 (Japan) See more  » Also Known As: Amor sin barreras See more  » Filming Locations: 152 min Sound Mix: 4-Track Stereo (35 mm magnetic prints)| 70 mm 6-Track (Westrex Recording System) (70 mm prints)| Mono (35 mm optical prints) Color: Did You Know? Trivia Marni Nixon (who dubbed for Natalie Wood ) had to do the end of quintet for Rita Moreno . The reason was that Betty Wand and Moreno both had colds and could not sing, so the filmmakers asked Nixon to do the end. So she is singing two voices at once. See more » Goofs After the war council, Schrank says that he rebuked the Jets the same day. That means that all events before the war council were on that day too. The dance started at 10 PM, and that leaves very little time for America, the balcony scene and the war council. See more » Quotes [first lines] [the Jets dance across the streets of New York, eventually coming to a playground where they toss around a basketball. The ball is intercepted by Bernardo, leader of the Sharks] Riff : [snaps fingers at Bernardo] Come on. [Bernardo drops the ball, Riff picks it up] The credits at the end of the movie appear as graffiti on street signs. See more » Connections (Fairbanks, Alaska) – See all my reviews It was a late Saturday night. I'd done my chores and decided to relax with some needlework before crawling into bed. Looking over my tapes, I decided it was time to visit West Side Story again, after some years. It was a fine choice. I would catch myself with my hands idle, as my eyes tracked the dancing, the most dynamic part of the film. I reveled in the Sharks on the rooftop and the gymnasium dance. "Cool" was cool, as always. This is a musical that doesn't try to transcend itself. It just lets the music and dancing speak for itself (and offkey singing along is allowed at home). I've always felt that Richard Beymer was the weakest of the actors, and nothing has changed my mind. But he's easy to ignore in comparison to the outstanding performances of George Chakiris, Rita Morena (who dominates the screen and steals all her scenes), Russ Tamblyn and the rest of the supporting cast. I'll leave the experts to make the minute comparisons to Romeo and Juliet, and to the critics to point out all the flaws. I'll just say, let yourself drift back to the 50s, break out the popcorn and enjoy. 33 of 51 people found this review helpful.  Was this review helpful to you? Yes

West Side Story

Who did Ali McGraw marry after they had made The Getaway together?

West Side Story (1961) - Cast, Ratings, Awards West Side Story West Side Story (1961) Musical | 2 hours and 31 minutes | October 18, 1961 (USA) Be the first to review +3 Producer: Robert Wise Writer: Ernest Lehman A musical in which a modern day Romeo and Juliet are involved in New York street gangs. On the harsh streets of the upper west side, two gangs battle for control of the turf. The situation becomes complicated when a gang members falls in love with a rival's sister. See All Movies Did You Like The Movie? Advertisement More Movies With Natalie Wood How famous is the cast of "West Side Story"? PrettyFamous Score The PrettyFamous score quantifies the fame of the film's cast members based on the number of awards the actors and actresses have ever been nominated for, combined box office gross of all the movies the actors and actresses have been in, and the current internet popularity of the cast. Ranking Every George Clooney Movie from Worst to First PrettyFamous looked at Clooney's entire filmography (excluding TV movies and documentaries) and ranked each film from his worst to his best. 7 minute read › The following ratings contributed to the Smart Rating: Rotten Tomatoes Critic Tomatometer Click on a number for details about an individual rating. Highly-Rated Movies Released in 1961 Advertisement Facebook Likes Over Time People Talking About This Over Time "People Talking About This" is a Facebook engagement metric that tracks the number of unique users who have interacted with or explicitly referenced a page in a seven-day period. Fans by Country Per 1M Users Total Chart shows distribution of Facebook page fans for the page's top 45 countries. The limit on the number of countries is set by Facebook. As of February 16, 2016. Fans by Continent Hover over the bars in the graph above to see annotated details on the awards. By Recipient Hover over the bars in the graph above to see annotated details on the awards. By Result Hover over the bars in the graph above to see annotated details on the awards. Awards & Nominations PrettyFamous is an entertainment site that uses Graphiq’s semantic technology to deliver deep insights via data-driven articles, visualizations and research tools. Cumulative Box Office in Context U.S. Box Office Compared to Top Movies of the Same Genre Inflation-Adjusted U.S. Box Office Compared to Top Movies of the Same Genre Advertisement West Side Story is Still Being Played in the U.S. in These Theaters! Where is West Side Story Being Played Most? The heat map compares the number of times West Side Story is being played in each state to the total number of screens in movie theaters in the state. The darker the state, the more the movie is played in that state relative to the number of screens. Press the play button to see how the distribution has changed over time. Played Most in Arizona Today Relative to the number of screens, West Side Story is being played the most in Arizona, Oklahoma, and Colorado today. This might suggest that the movie is more popular in these areas than others! Number of Theaters Showing Film Over Time Advertisement

i don't know

"Who uttered the famous line ""Frankly my dear I don't give a damn?"

Greatest Film Misquotes Greatest Film Misquotes Greatest Movie Misquotes (Part 2) Greatest Movie Mis-Quotes: Some of the most classic film lines or scenes are really only legendary and/or apocryphal, or they are merely movie misquotes, but after many years of repetition and being misquoted in subsequent films, they have become part of the filmgoing public's consciousness. Many of these examples are film quotes that were either commonly attributed wrongly, or in fact were never actually spoken. The top 10 most misquoted film lines are marked with an icon Rhett Butler's (Clark Gable) scandalous, swear-word farewell to Scarlett (Vivien Leigh) in Gone With the Wind (1939) did not include Scarlett's name. It was: "Frankly, my dear, I don't give a damn." (long version) It was NOT: "Frankly, Scarlett, I don't give a damn." The misquote was heard in Clue (1985), when Miss Scarlet (Lesley Ann Warren) begged Wadsworth (Tim Curry) to forgive her for trying to shoot him: Scarlet: "Wadsworth. Don't hate me for trying to shoot you." Wadsworth: "Frankly, Scarlet, I don't give a damn." Play clip from Clue (1985): And in The Mask (1994), the Mask/Stanley Ipkiss (Jim Carrey) spoofed the line (along with other semi-familiar lines) after being shot: - "Tell Scarlett I do give a damn." Play clip from The Mask (1994): The other lines were referential: - "Hold me closer, Ed." Flo (Esther Muir): "I want to be near you. I want you to hold me. Hold me closer! Closer! Closer!" Dr. Hackenbush (Groucho Marx): "If I hold you any closer, I'll be in back of ya!" Referencing both The Wizard of Oz (1939) and Old Yeller (1957). - "Tell Tiny Tim I won't be comin' home this Christmas." Referencing A Christmas Carol. - "Thank you, You love me, you really love me." This line misquoted the end of Sally Field's Oscar acceptance speech in 1985 for her performance in Places in the Heart (1984): "...The first time, I didn't feel it, but this time I feel it, and I can't deny the fact that you like me, right now. You like me!" Play end of Sally Field's speech: Contrary to popular opinion, Gone With the Wind (1939) was not the first use of the word 'damn' in a film. It reportedly was said a few times in Glorifying the American Girl (1929) and in Pygmalion (1938, UK). Also, the phrase "March and sweat the whole damned day" appeared on a dialogue card in the silent epic war film The Big Parade (1925) . In Only Angels Have Wings (1939) , Cary Grant said the name 'Judy' numerous times to costar Rita Hayworth (playing a character named Judith McPherson), such as: "Hello, Judy" - but never repeated her name in rapid succession. "Helly, Judy." Play clip from Only Angels Have Wings (1939) : "Judy...Judy...Judy" - was falsely attributed to Cary Grant. Cary Grant vaguely recalled that at a party he attended, someone introduced Judy Garland by saying, "Judy, Judy, Judy" and the phrase was attributed to him. A 1960 New Yorker ad for several Judy Garland albums ("Judy! Judy! Judy!") reinforced the incorrect quote. The most beloved family film, The Wizard of Oz (1939) has had problems with one of its most famous lines spoken by Judy Garland (as Dorothy Gale) to her dog Toto: "Toto, I've a feeling we're not in Kansas anymore." Play clip from The Wizard of Oz (1939) : It's generally misquoted as: "Toto, I've got a feeling we're not in Kansas anymore" or "I don't think we're in Kansas anymore, Toto." A misquote was heard in Honey, I Shrunk the Kids (1989), when the two Szalinski siblings, Amy (Amy O'Neill) and Nick (Robert Oliveri) realized that they had been miniaturized and trapped in a plastic garbage bag in their backyard: Amy Szalinski: "I don't think we're in Kansas anymore, Toto." Nick Szalinski: "I don't think we're in the food chain anymore, Dorothy." Play clip from Honey, I Shrunk the Kids (1989): Quite often, an actual quote has been adapted or abbreviated. This original lengthy line was from Knute Rockne: All-American (1940) , spoken by team coach Knute Rockne (Pat O'Brien) as a pep-talk to his losing team during half-time: "And the last thing he said to me, 'Rock,' he said, 'sometime when the team is up against it and the breaks are beating the boys, tell them to go out there with all they got and win just one for the Gipper." Play clip from Knute Rockne: All-American (1940) : He was recalling what his most famous player, George Gipp (portrayed by Ronald Reagan), had said earlier in the film: "Ask 'em to go in there with all they've got, win just one for the Gipper." It has often been stated simply as: "Win one for the Gipper," or "Win this one for the Gipper." George Gipp was a real-life football star who died young of pneumonia and provided an inspiring anecdote to his coach. The last line of the film noirish detective story The Maltese Falcon (1941) was a two-line conversation between Police Sergeant Tom Polhaus (Ward Bond) and Sam Spade (Humphrey Bogart): - "It's heavy. What is it?" - "The uh, stuff that dreams are made of." - "Huh?" Play clip from The Maltese Falcon (1941) : The actual final word of the film was the sergeant's puzzled response, "Huh?" The unusual reference paraphrased Prospero's speech in Act IV of Shakespeare's The Tempest, although it was a misquote of: "We are such stuff as dreams are made on" (NOT "made of"). "Play it again, Sam" - was a line never spoken by either Ingrid Bergman or Humphrey Bogart in Casablanca (1942) to Sam (Dooley Wilson), the nightclub pianist and reluctant performer of the sentimental song 'As Time Goes By' (written by Herman Hupfeld). When "Play It Again Sam" became the title of a Woody Allen comedy Play It Again, Sam (1972) that, in part, spoofed the classic 1942 film, the misquote was further reinforced. Variations on the line were spoken, however, by both leads in the 1942 film: Ingrid Bergman (as Ilsa Lund) requested: "Play it once, Sam, for old time's sake...Play it, Sam. Play 'As Time Goes By'." I Want Candy (2007) - "Well, play it again, Sam." - "OK. I will...That was a misquote from Casablanca, by the way. I don't know if I can look at you." Play clip from I Want Candy (2007): (excerpt) In Casablanca (1942) , Humphrey Bogart never said: "Drop the gun, Louis." However, he did gave the following warning: "Not so fast, Louis. Nobody is gonna be arrested. Not for a while yet." Play clip from Casablanca (1942) : The last line of Casablanca (1942) is also often misquoted (and the name Louis, pronounced 'Louie' (in French), is often mis-spelled as Louie) - the correct line, spoken by Humphrey Bogart, is: "Louis, I think this is the beginning of a beautiful friendship." Play clip from Casablanca (1942) : It is often mis-stated as: "This could be the beginning of a beautiful friendship," or "I think this is the start of a beautiful friendship." One of the most oft-quoted lines in cinema history was in director John Huston's The Treasure of the Sierra Madre (1948) : "Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinkin' badges!" (short) (long) It has often been misquoted or paraphrased, notably in director Mel Brooks' Blazing Saddles (1974) , spoken by a Mexican bandit (Rick Garcia) as: "Badges? We don't need no stinkin' badges!" Play clip from Blazing Saddles (1974) : It was also misquoted in: The Ninth Configuration (1980) Manolo (Nick Corri): "Don't show me your badges, we don't know nothing about no stinking badges." "Weird Al" Yankovic's UHF (1989): Animal Deliveryman (Cliff Stephens): "Well, let's see. I got one aardvark, one flamingo, four porcupines, two armadillos, three badgers..." Raul Hernandez (Trinidad Silva): "Badgers??? Badgers??? We don't need no steenkin' badgers!" Play clip from UHF (1989): Troop Beverly Hills (1989): (regarding the patches of the Wilderness Girls Troop) Rosa the Maid (Shelley Morrison): "Patches? We don't need no stinkin' patches." The 1935 novel by B. Traven consisted of the following similar dialogue, with some Spanish obscenities thrown in: "All right, "Curtain shouted back. "If you are the police, where are your badges? Let's see them." "Badges, to god-damned hell with badges! We have no badges. In fact, we don't need badges. I don't have to show you any stinking badges, you god-damned cabrón and ching' tu madre! Come out there from that s--t-hole of yours. I have to speak to you." The following popular catchphrase has multiple origins, and probably goes way back. It was first heard in the movies in Otto Preminger's film-noir Fallen Angel (1945), and then was famously uttered by Bette Davis (as Rose Moline) in Beyond the Forest (1949) . Eric Stanton (Dana Andrews): "What a dump!" June Mills (Alice Faye): "It isn't so bad." Play clip from Fallen Angel (1945): Rose Moline (Bette Davis): "What a dump!" Play clip from Beyond the Forest (1949) : It was not popularized until heard in the opening scene of the 1961 Edward Albee play, upon which the highly-acclaimed film Who's Afraid of Virginia Woolf? (1966) was based. In the film, the exact same line was uttered by actress Elizabeth Taylor (as 52 year-old wife Martha) who then berated her professor-husband Richard Burton (as George) for not remembering the film the line was from: "...What's it from, for Christ's sake?...some damn Bette Davis picture, some god-damned Warner Bros epic." Play clip from Who's Afraid of Virginia Woolf? (1966) : Actor John Derek (Bo Derek's future husband) in his first major film role (as young Italian hoodlum Nick Romano in the Chicago slums, who was accused of murdering a cop) stated the following line in the classic Humphrey Bogart film noir Knock on Any Door (1949), directed by Nicholas Ray. He told his girlfriend Emma (Allene Roberts) that his motto or credo in life remained as: "What I used to say still goes. Live fast, die young and have a good-looking corpse!" Play clip from Knock on Any Door (1949): This saying, although wrongly modified as “Live fast, die young and leave a good-looking corpse!” has often been wrongly attributed to actor James Dean - a quintessential symbol of disenfranchised youth. The last part of the phrase is fairly original (derived from the text of the 1947 novel written by the African-American novelist Willard Motley), while the phrase "live fast and die young" dates back to the early 1900s. In the classic gangster film White Heat (1949) , James Cagney's triumphant shout atop a oil tank before blasting himself into oblivion has often been erroneously quoted. The actual line was: "Made it, Ma. Top of the world!" Play clip from White Heat (1949) : The line was not: "Top of the world, Ma!" Bette Davis' most famous film line as aging, jealous stage actress Margo Channing in All About Eve (1950) was delivered after she took another stiff drink during a birthday party. She walked over to the staircase, turned, and told everyone to buckle up their airplane seatbelts (cars didn't have seatbelts in the 1950s!): "Fasten your seatbelts, it's going to be a bumpy night." The line has often been misquoted, substituting the word "ride" for "night." "Fasten your seatbelts, it's going to be a bumpy ride." "I'm ready for my closeup, Mr. DeMille" has often been presented as Norma Desmond's (Gloria Swanson) line, but it's actually a misquote of her original closing in Sunset Boulevard (1950) : "All right, Mr. DeMille, I'm ready for my closeup." Play clip from Sunset Boulevard (1950) : The line was misquoted in Mrs. Doubtfire (1993) by Daniel Hillard/Mrs. Doubtfire (Robin Williams), while speaking to Frank (Harvey Fierstein) as he/she was made up: - "I feel like Gloria Swanson." - "You look like her mother." - "I'm ready for my close-up, Mr. DeMille." Play clip from Mrs. Doubtfire (1993): In Disney's animated classic Alice in Wonderland (1951), the Cheshire Cat (voice of Sterling Holloway) has often been thought to say, "We're all mad here." The actual lines in the film were: - "Of course, he's mad too." - "But I don't want to go among mad people." - "Oh, you can't help that. Most everyone's mad here. You may have noticed that I'm not all there myself." Play clip from Alice in Wonderland (1951): In Lewis Carroll's original novel, Alice's Adventures in Wonderland published in 1865 however, the extended quote was: "But I don't want to go among mad people," Alice remarked. "Oh, you can't help that," said the Cat: "We're all mad here. I'm mad. You're mad." "How do you know I'm mad?" said Alice. "You must be," said the Cat, "or you wouldn't have come here." One of the more interesting misquotes was attributed to actor Tony Curtis. In many tributes and obituaries when he died in the year 2010, he was quoted as having said the following line with a heavy New York accent: "Yonder lies the castle of my father." "Yonda (or yonda) lies da castle of my fodder (faddah, fodda, or fadda)." Although many sources claim that Curtis said the line in The Prince Who Was a Thief (1951) and/or The Black Shield of Falworth (1954), Curtis didn't utter the above quote in either film. However, a variation on the line was spoken by Curtis in Son of Ali Baba (1952): "This is my father’s palace. And yonder lies the Valley of the Sun." Play clip from Son of Ali Baba (1952): Director Vincente Minnelli's melodramatic Tea and Sympathy (1956) began as playwright Robert Anderson's stage play, debuting in NYC in 1953. The controversial film was about bullying and social prejudice against an "unmanly" prep school student named Tom Lee (John Kerr), who was shown understanding and friendship by Laura Reynolds (Deborah Kerr) - the lonely, frustrated wife of Bill (Leif Erickson), the school's coach. The film's title came from his description of his wife's role at the school, when she completed his sentence: - "All you're supposed to do is once in a while give the boys a little tea..." - "...tea and sympathy." Play clip from Tea and Sympathy (1956): The Rolling Stones 1969 song Let It Bleed, written by Mick Jagger and Keith Richards (and performed by Mick Jagger) modified the line in one of the verses: She said, "My breasts, they will always be open Baby, you can rest your weary head right on me And there will always be a space in my parking lot When you need a little coke and sympathy." Play clip of Let It Bleed (1969): The film, bowdlerized with a tacked-on ending, should have ended with Laura's advice to Tom: "Years from now, when you talk about this, and you will, be kind." Play clip from Tea and Sympathy (1956): There were a few variations on the famous James Bond 007 drink preference quote: "...shaken, not stirred," first heard uttered by the Bond character (Sean Connery) himself in Goldfinger (1964) : "...Just a drink. A martini, shaken, not stirred." Play clip from Goldfinger (1964) : Villain Dr. Julius No (Joseph Wiseman) offered the familiar drink to Bond in the earlier first Bond film Dr. No (1962) - with the words: "A medium dry martini, lemon peel. Shaken, not stirred." Play clip from Dr. No (1962) : In You Only Live Twice (1967) , the drink instructions were reversed, with Bond politely agreeing with his host Henderson (Charles Gray) and accepting the altered drink: "Perfect!" "Oh, that's, uh, stirred, not shaken. That was right, wasn't it?" In the UK film Alfie (1966), Michael Caine (as the title character) said: "Not many people know this." One of his many trivia books was titled, "Not Many People Know That." In the film, he never said: "(And) not a lot of people know that." The tagline from Cool Hand Luke (1967) has often been modified from its original. In its most famous utterance, the Captain (Strother Martin) said to recalcitrant chain gang prisoner Luke (Paul Newman): "What we've got here is (pause) failure to communicate." Play clip from Cool Hand Luke (1967) : (Captain's line) It was NOT: "What we have here is a failure to communicate" (although the line with the word 'a' was later sarcastically repeated by character Luke to the prison warden before he was shot) -- as: "What we got here is a failure to communicate." Play clip from Cool Hand Luke (1967) : (Luke's line) In The Graduate (1967) , Benjamin Braddock (Dustin Hoffman) made a statement and then asked a question of the Mrs. Robinson (Anne Bancroft) character. As he naively asked his question, the camera shot under her upraised leg, framing Ben underneath: - "For God's sake, Mrs. Robinson, here we are, you've got me into your house. You give me a drink. You put on music, now you start opening up your personal life to me and tell me your husband won't be home for hours... Mrs. Robinson, you're trying to seduce me. Aren't you?" Play clip from The Graduate (1967) : (short version) (long version) He did NOT ask either of these two questions: "Mrs. Robinson, are you trying to seduce me?" or "Are you trying to seduce me, Mrs. Robinson?" Shortly later upstairs in her home, Mrs. Robinson went further and asked Benjamin: "Would you like me to seduce you?...Is that what you're trying to tell me?" Play clip from The Graduate (1967) : The misquote (in a number of variations) was heard in, for example, The Ladies Man (2000), Van Wilder (2002), and A Walk to Remember (2002). "Mrs. Robinson, are you trying to seduce me?" (The Ladies Man (2000)) Ms. Doris Haver (Cynthia Fancher): "Mr. Wilder, are you trying to seduce me?" Van Wilder (Ryan Reynolds): "Who, me? No! Hey, hey..." (Van Wilder (2002)) In Planet of the Apes (1968) , captured astronaut George Taylor (Charlton Heston) screamed: "Take your stinkin' paws off me, you damn dirty ape!" Play clip from Planet of the Apes (1968) : He did NOT say: "Get your stinkin' paws off me, you damn dirty ape." In the original British caper film The Italian Job (1969) about a gang stealing gold bullion from a bank vault in Turin, this famous quote was heard from Cockney gangster Charlie Croker (Michael Caine) as the film ended: "Hang on a minute, lads, I’ve got a great idea." Play clip from The Italian Job (1969): He did not say: "I've got an idea," or "Hang on, lads. I've got a great idea." "You were only supposed to blow the bloody doors off!" Play clip from The Italian Job (1969): The above line by actor Michael Caine was voted the favorite film one-liner in a 2003 poll of 1,000 British film fans, reported in The Telegraph. It demoted the previous most favorite line down to the # 2 spot - Rhett Butler's (Clark Gable) retort to Scarlett O'Hara (Vivien Leigh): "Frankly, my dear, I don't give a damn!" Vigilante SF cop 'Dirty' Harry Callahan (Clint Eastwood), while holding his giant-sized .44 Magnum at a downed bank robber in the opening of Dirty Harry (1971) , said: "I know what you're thinkin'. 'Did he fire six shots or only five?' Well, to tell you the truth, in all this excitement, I've kinda lost track myself. But being as this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off, you've got to ask yourself one question: 'Do I feel lucky?' Well, do ya punk?" Play clip from Dirty Harry (1971) : (beginning of film) He never said: "Do you feel lucky, punk?" The same full quotation is ritualistically repeated again almost verbatim at the film's conclusion, when Callahan confronted the killer Scorpio: "I know what you're thinkin', punk. You're thinkin': 'Did he fire six shots or only five?' And to tell you the truth, I forgot myself in all this excitement. But bein' this is a .44 Magnum, the most powerful handgun in the world, and will blow your head clean off, you could ask yourself a question: 'Do I feel lucky?' Well, do ya, punk?" Play clip from Dirty Harry (1971) : (end of film) Misquotes were heard in a number of films, including: Short Circuit 2 (1988) - Robot Johnny Five imitates both Sylvester Stallone and Clint Eastwood in one line - Johnny Five: "Yo, come on, you bug-eyed geek! Do you feel lucky, punk?" Play clip from Short Circuit 2 (1988): Scary Movie 2 (2001) - Dwight Hartman confronting the Hell House Ghost Dwight (David Cross): "I know what you're thinkin'. Did I fire three shots or a hundred and seventeen? Well, do you feel lucky, (pause) punk? Do you (pause) feel lucky? Do you feel lucky, punk?" Hell House Ghost (Richard Moll): "Shoot me, motherf--ker." Play clip from Scary Movie 2 (2001): Showtime (2002) - "Confessional" Camera Scene Detective Mitch Preston (Robert DeNiro): "Do you feel lucky, punk? Who said that?"

Clark Gable

Whose voice did Marni Nixon dub in the classic My Fair Lady?

“Frankly, my dear, I don’t give a damn” | OxfordWords blog Home > “Frankly, my dear, I don’t give a damn” “Frankly, my dear, I don’t give a damn” Liz: You can’t just take away all these words we’ve been using for the past six years. Kenneth: Oh, that reminds me. You can’t say “using” on TV. It implies drug use. —30 Rock Season 6, Episode 11 On 15 December, 1939, Gone with the Wind premiered at Loew’s Grand Theatre in downtown Atlanta, Georgia. The occasion remains an important one in cinematic history not only because of the film’s unprecedented critical and popular reception (it won 10 Academy Awards and remains the highest grossing film ever, adjusting for inflation), but also because of Clark Gable’s iconic line, “Frankly, my dear, I don’t give a damn.” That inclusion of that line helped deal a critical blow to the nascent Hollywood production code (popularly known as the Hays Code), which had banned the use of a wide variety of words from American movies just five years earlier. We’ve come a long way since then. The scope of what is considered permissible to say in a film or on television has expanded exponentially, often to the chagrin of social commentators. Generally speaking, it is these high-profile transgressions of rules about offensive speech that people tend to remember, and so it’s easy to imagine that the number of offensive words in English is always dwindling as one barrier after another gets knocked down. “Not Pygmalion likely!” Of course, things are never that simple. Offensive language is highly relative, depending not only on the personal tastes of speaker and listener (for example, the burgeoning consensus around the word moist—though personally, I’m not a big fan of burgeoning) but also on where and when the word is being said. The intensifier bloody, for instance, which has never really rankled Americans much, caused something of a scandal the first time it was uttered on a London stage in 1914 during the British premiere of George Bernard Shaw’s Pygmalion. In fact, the effect was startling enough that the title of the play itself began to be used as a humorous euphemism for bloody in phrases like “quite pygmalion useless!” and “not Pgymalion likely!” The reason for the scandalousness, however, was also a matter of time. As Melissa Mohr, author of Holy Sh*t: A Brief History of Swearing , has pointed out, since its first appearance in the 16th century through the turn of the 19th century, bloody was certainly an informal word but not a particularly shocking one. It was only with the advent of Victorian sensibilities in the early 1800s that bloody became increasingly censored and disparaged until, by the end of the century, it was all but unmentionable. Political correctness This kind of “vulgarizing” of previously inoffensive words is hardly confined to the quaint days of early Hollywood or Imperial Britain, however. Even in the recent past, new trends of “swear-formation” have taken off.  Undoubtedly, the most obvious and powerful of these is the ban on nearly all informal terms for racial, ethnic, and religious identities, usually referred to (often with a healthy dose of irony) as “political correctness.” Though there are very good reasons for putting a high social penalty on using racially or religiously specific terms of abuse, what makes other words in this category “offensive” is often very difficult to pin down. As the particular set of prejudices and injustices associated with a word like Chinaman, for example, become more historical and less well known, it will be increasingly difficult to differentiate from inoffensive words like Frenchman and Spaniard. Nevertheless, in 2014, many if not most English-speakers would avoid using it to refer to a man from China. Perhaps the real test for whether or not offensive language has shifted over time isn’t in the difference between a word’s literal meaning and its connotation (as with Chinaman), but in the difference between how we understand an inoffensive word today and how it was understood in the past. A number of apparently innocuous words and phrases have come into standard use in English, despite the fact that their original meanings, while not regarded as offensive in their day, do not really meet contemporary standards of cultural sensitivity. For instance, the term basket case was originally used to refer to “a person, especially a soldier, who has lost all four of his limbs.” However, the callous and disrespectful nature of that original meaning eroded over time, so that basket case eventually came to refer to “a person who is emotionally or mentally unable to cope” with something. Similarly, the greeting long time, no see, despite its perfectly neutral meaning, is apparently an appropriation from Chinese pidgin English that, in its earliest use, was incorrectly used to represent the speech of North American Indians. The North American term Grandfather clause, too, now used to refer to any “provision…which creates an exemption from its requirements for a particular class of people,” first referred to the practice in Southern states of exempting white voters from literacy tests and poll taxes on the grounds that their ancestors had been able to vote before the Civil War (unlike those of black voters). None of these terms, if they had been coined today, would likely have ever overcome their uncomfortable beginnings to arrive at their current, inoffensive meanings. Alarmed by those terms? Check out our post on those and other words with offensive origins . The opinions and other information contained in OxfordWords blog posts and comments do not necessarily reflect the opinions or positions of Oxford University Press. Author Jeff Sherwood is a US Assistant Editor for Oxford Dictionaries Published

i don't know

Who was jailed for her 'obscene' stage play Sex?

The History of New York Scandals - Mae West’s �Sex’ Capade -- New York Magazine (Photo: Bettmann/Corbis) 1927 In a 1925�26 New York theater season with acclaimed new plays by O’Neill (The Great God Brown), O’Casey (Juno and the Paycock), and Coward (Hay Fever), critics agreed that the rock bottom was Sex, the first Broadway vehicle written by and starring the voluptuous vaudeville trouper Mae West. Sex was �street sweepings,� in the verdict of The New Yorker, and �a crude, inept play, cheaply produced and poorly acted,� according to the Times. The paper’s review did helpfully note that the show’s �one torrid love scene� lived up to its title. An ad warning patrons who �cannot stand excitement� to �see your doctor before visiting Mae West� didn’t hurt either. The play outlasted nearly all the competition. Variety christened its heroine, a Montreal lady of the evening with a fondness for sailors, �the Babe Ruth of stage prosties.� Politics turned a hit into a Jazz Age phenomenon. When New York’s rakish mayor, Jimmy Walker , took a Havana holiday in February 1927, the acting mayor, Joseph V. (�Holy Joe�) McKee, raided three risqué Broadway shows. West was the prime target: Sex, then in the tenth month of its run, had been seen by 325,000 theatergoers. To the delight of the tabloid press, its twenty actors were hauled off to a police station in Hell’s Kitchen. The star spent the night in the Jefferson Market Women’s Prison. West bailed out her company. The court had offered to drop charges if she would close the show. But she knew that in showbiz, crime paid. The grand jury’s claim that her �obscene, indecent, immoral, and impure drama� would abet �the corruption of the morals of youth� was better than any rave review. Festooned with white roses, she rode a limo to incarceration on Welfare Island and boasted of wearing silk underwear throughout her eight-day stay there. When Liberty magazine paid her $1,000 for an exit interview, she used it to start a Mae West Memorial Library for female prisoners. A later West play�The Pleasure Man, awash in female impersonators and homosexuality�would be raided and shut down at its second Broadway performance in 1928. Undaunted, she eventually revived Sex and toured the Depression-era Midwest without incident, before arriving in Hollywood, where, paired with Cary Grant and W. C. Fields, she hit superstardom as she was reaching 40. The Bushwick-born, self-invented West (1893�1980) wrote the Ur-text for Madonna and Lady Gaga, repeatedly breaking gender and sexual barriers over a marathon career as a writer, performer, free-speech provocateur, and showbiz entrepreneur. Her pioneering playbook for turning scandal into profits remains the gold standard in American pop culture to this day.

Mae West

Which 1997 movie equaled Ben Hur's record 11 Oscars?

The History of New York Scandals - Mae West’s �Sex’ Capade -- New York Magazine (Photo: Bettmann/Corbis) 1927 In a 1925�26 New York theater season with acclaimed new plays by O’Neill (The Great God Brown), O’Casey (Juno and the Paycock), and Coward (Hay Fever), critics agreed that the rock bottom was Sex, the first Broadway vehicle written by and starring the voluptuous vaudeville trouper Mae West. Sex was �street sweepings,� in the verdict of The New Yorker, and �a crude, inept play, cheaply produced and poorly acted,� according to the Times. The paper’s review did helpfully note that the show’s �one torrid love scene� lived up to its title. An ad warning patrons who �cannot stand excitement� to �see your doctor before visiting Mae West� didn’t hurt either. The play outlasted nearly all the competition. Variety christened its heroine, a Montreal lady of the evening with a fondness for sailors, �the Babe Ruth of stage prosties.� Politics turned a hit into a Jazz Age phenomenon. When New York’s rakish mayor, Jimmy Walker , took a Havana holiday in February 1927, the acting mayor, Joseph V. (�Holy Joe�) McKee, raided three risqué Broadway shows. West was the prime target: Sex, then in the tenth month of its run, had been seen by 325,000 theatergoers. To the delight of the tabloid press, its twenty actors were hauled off to a police station in Hell’s Kitchen. The star spent the night in the Jefferson Market Women’s Prison. West bailed out her company. The court had offered to drop charges if she would close the show. But she knew that in showbiz, crime paid. The grand jury’s claim that her �obscene, indecent, immoral, and impure drama� would abet �the corruption of the morals of youth� was better than any rave review. Festooned with white roses, she rode a limo to incarceration on Welfare Island and boasted of wearing silk underwear throughout her eight-day stay there. When Liberty magazine paid her $1,000 for an exit interview, she used it to start a Mae West Memorial Library for female prisoners. A later West play�The Pleasure Man, awash in female impersonators and homosexuality�would be raided and shut down at its second Broadway performance in 1928. Undaunted, she eventually revived Sex and toured the Depression-era Midwest without incident, before arriving in Hollywood, where, paired with Cary Grant and W. C. Fields, she hit superstardom as she was reaching 40. The Bushwick-born, self-invented West (1893�1980) wrote the Ur-text for Madonna and Lady Gaga, repeatedly breaking gender and sexual barriers over a marathon career as a writer, performer, free-speech provocateur, and showbiz entrepreneur. Her pioneering playbook for turning scandal into profits remains the gold standard in American pop culture to this day.

i don't know

Who won an Oscar wearing an eye patch in True Grit?

'The Oscars': John Wayne Wins Best Actor for 'True Grit' in 1970 | AOL.com My Queue 'The Oscars': John Wayne Wins Best Actor for 'True Grit' in 1970 Barbra Streisand presents John Wayne with the Oscar for Best Actor in a Leading Role during the 42nd Academy Awards in 1970. This was the first and only Oscar win for the three-time nominee, who won for his role as eye patch-wearing Rooster Cogburn in 'True Grit.' During his acceptance speech, John Wayne joked that had he known he'd win, he would've put on an eye patch 35 years prior. Watch LIVE OSCAR SUNDAY on ABC. Recommended

John Wayne

In which film did David Niven play James Bond?

Jeff Bridges And Coen Brothers Reunite For 'True Grit' Remake - MTV mtv Christopher Campbell 09/11/2009 There are plenty of actors I wish would work with the Coen brothers again: Tim Robbins; Nicolas Cage; Beth Grant; William Forsythe; Tony Shalhoub; Philip Seymour Hoffman. Of course, the one that most of us Coen fans want the most is "The Dude" himself, Jeff Bridges . Well we're in luck, because the "Big Lebowski" star is in talks to join Joel and Ethan Coen for their remake of the 1969 comedic western "True Grit," according to Variety. Based on Charles Portis' novel, the original " True Grit " starred an eye patch-wearing John Wayne as 'Rooster' Cogburn, an aging U.S. marshal who helps a 14-year-old girl find the man who killed her father. Also along for the ride in the original is country singer Glen Campbell, who additionally performed the film's Oscar-nominated theme song. "Grit" is mostly remembered for being the film that finally won Wayne his only Academy Award, which many fans consider to be one of those career-honoring Oscars. Bridges will obviously be playing Cogburn, a role that likely won't much resemble his iconic "Lebowski" character. But at least it'll be a true return to the Coens' brand of filmmaking. The announcement of the reunion comes via the Toronto International Film Festival, where Bridges is promoting his work in Grant Heslov's "The Men Who Stare at Goats." That movie is receiving mixed buzz after its first screening yesterday, but many critics have acknowledged the film's similarity in tone to a Coen brothers movie. Bridges' performance is even said to be "the Dude all over again." The Coens are also at TIFF with "A Serious Man," and as long as they're taking some time to cast "True Grit," I'd like to suggest they talk to "Whip It" star Ellen Page for the role of the girl. She may seem a bit old, but she's around the same age Kim Darby was in the original. If she recycles her look from "Hard Candy," Page will easily pass as another tomboyish teen. As for Campbell's character, the Coens should probably aim a little younger for the role, especially if they keep in that scene where he tells the underage girl he'd like to kiss her. Who else is excited about this "Lebowski" reunion? Do you look forward to seeing "The Dude" with an eye patch? Who would you like to see riding along with Bridges in this version?

i don't know

Which Emma won an Oscar for her screenplay of Sense and Sensibility?

The Sense and sensibility screenplay & diaries: bringing Jane Austen's novel ... - Emma Thompson, Jane Austen - Google Buku 0 Resensi https://books.google.co.id/books/about/The_Sense_and_sensibility_screenplay_dia.html?hl=id&id=E3dZAAAAMAAJ Including the complete shooting script, named Best Screenplay of the Year by the Academy Awards, the Golden Globes, the Broadcast Film Critics, the New York Film Critics, the Los Angeles Film Critics, and the Boston Critics, among others. With 91 color and black-and white photographs, full cast and crew credits, and the complete text of Emma Thompson's acceptance speech at the Golden Globes. Dari dalam buku Apa yang dikatakan orang -  Tulis resensi Kami tak menemukan resensi di tempat biasanya. Isi

Thompson

Which film with Ralph Fiennes won Anthony Minghella an Oscar?

Keira Knightley: Sense and Sensibility screenplay helped me overcome dyslexia - Telegraph Celebrity news Keira Knightley: Sense and Sensibility screenplay helped me overcome dyslexia Keira Knightley, the actress, has disclosed that she overcame dyslexia as a child by reading a screenplay by Emma Thompson.   Image 1 of 4 Keira Knightley appears on the cover of the March issue of GQ, out Thursday 2nd February 2011 Photo: Norman Jean Roy/GQ   Photo: Norman Jean Roy / GQ   Image 1 of 4 Keira Knightley appears on the cover of the March issue of GQ, out Thursday 2nd February 2011 Photo: Norman Jean Roy/GQ   Image 1 of 4 Keira Knightley appears on the cover of the March issue of GQ, out Thursday 2nd February 2011 Photo: Norman Jean Roy/GQ By Murray Wardrop 6:30AM GMT 31 Jan 2012 The 26-year-old said the only way she was able to get over her learning disability was by reading the screenplay for Sense and Sensibility, and imagining what Thompson would do in her shoes. Knightley, who was diagnosed with dyslexia at the age of six, said she was a “huge fan” of the 52-year-old Cambridge-educated actress and screenwriter, who won an Oscar for her film adaptation of the Jane Austen novel. She told GQ magazine : “My mum who worked with her [Thompson] on Sense and Sensibility got me a copy of the screenplay Emma had written. “And I was – am – dyslexic and the way she got me over it was to say: ‘If Emma Thompson couldn’t read, she’d make ------- sure she'd get over it, so you have to start reading, because that’s what Emma Thompson would do’.” She eventually left her mixed comprehensive school in Teddington with a string of GCSEs, some at A* grade, having struck a deal with her parents that she would study every day to overcome her dyslexia if they got her an agent. Related Articles Keira and Carey shine at film awards 11 Jan 2012 Knightley, who won wide acclaim for her role as Elizabeth Bennet in the 2005 movie adaptation of Austen's Pride and Prejudice, added that she was sometimes reduced to tears by poor reviews of her work or comments she overheard as a student at school, but soon learned how to deal with criticism. She once said in an interview: "I did a film called The Hole when I was 16 and, when it came out, a couple of the popular girls at school said, quite loudly, 'She's in a crap movie, so it doesn't count', "It was rude and I was upset, but if you let that stuff bother you, you're going to be in for a tough time. I wasn't popular at school. I learned to let those comments wash over me. I toughened up quite quickly." It is often said that children and adults with dyslexia are drawn to acting because of their social perception and powers of observation and imitation that enable them to 'get into the minds' of different characters. Famous dyslexic actors include Orlando Bloom, Keanu Reeves, Tom Cruise, Vince Vaughn and Whoopi Goldberg.  

i don't know

I Could Go on Singing was the last film of which screen legend?

Judy Garland - IMDb IMDb Soundtrack | Actress One of the brightest, most tragic movie stars of Hollywood's Golden Era, Judy Garland was a much-loved character whose warmth and spirit, along with her rich and exuberant voice, kept theatre-goers entertained with an array of delightful musicals. She was born Frances Ethel Gumm on 10 June 1922 in Minnesota, the youngest daughter of vaudevillians ... See full bio » Born: a list of 40 people created 04 Dec 2011 a list of 30 people created 03 Mar 2012 a list of 42 people created 03 Jul 2012 a list of 41 people created 25 Dec 2012 a list of 25 people created 29 May 2014 Do you have a demo reel? Add it to your IMDbPage How much of Judy Garland's work have you seen? User Polls Nominated for 2 Oscars. Another 6 wins & 7 nominations. See more awards  » Known For A Star Is Born Vicki Lester / Esther Blodgett (1954)  2015 Tellement Gay! Homosexualité et pop culture (TV Mini-Series documentary) (performer - 1 episode) - Inside (2015) ... (performer: "Over the Rainbow")  2014 Britain's Most Dangerous Songs: Listen to the Banned (TV Movie documentary) (performer: "Ding-Dong! The Witch Is Dead")  2014 Somewhere Over the Rainbow (TV Movie documentary) (performer: "Somewhere Over the Rainbow" - uncredited)  2014 Dancing in Small Spaces (TV Series short) (performer - 1 episode) - Steps (2014) ... (performer: "I Got Rhythm")  2014 The Lego Movie (performer: "How Ya Gonna Keep 'Em Down On The Farm")  2013 Six by Sondheim (TV Movie documentary) (performer: "Get Happy")  2013 Mr Selfridge (TV Series) (performer - 1 episode) - Episode #1.3 (2013) ... (performer: "Under the Bamboo Tree" - uncredited)  2012 Vegas (TV Series) (performer - 1 episode) - Bad Seeds (2012) ... (performer: "Lucky Day")  2012 Upstairs Downstairs (TV Series) (performer - 1 episode) - Somewhere Over the Rainbow (2012) ... (performer: "Over the Rainbow" - uncredited)  2011 Mildred Pierce (TV Mini-Series) (performer - 1 episode) - Part Five (2011) ... (performer: "I'm always chasing rainbows") - Best Band in the Land (2010) ... (performer: "Over the Rainbow")  2010 A Star Is Born: Special Features (Video) (performer: "Gotta Have Me Go with You", "The Man That Got Away", "Lose That Long Face", "Here's What I'm Here For", "Trinidad Coconut Oil Shampoo", "Born in a Trunk")  2009 Doctors (TV Series) (performer - 1 episode) - O Christmas Tree (2009) ... (performer: "Have Yourself a Merry Little Christmas" - uncredited)  2009 Johnny Mercer: The Dream's on Me (TV Movie documentary) (performer: "On the Atchison, Topeka and the Santa Fe")  2009 Hewy's Animated Movie Reviews (TV Series) (performer - 1 episode) - 9 (2009) ... (performer: "Over the Rainbow")  2009/I 9 (performer: "Over the Rainbow")  2009 Taking Woodstock (performer: "No Love, No Nothin'")  2009 Hollywood Singing and Dancing: A Musical History - The 1930s: Dancing Away the Great Depression (Video documentary) (performer: "We're Off to See the Wizard" - uncredited)  2009 Hollywood Singing and Dancing: A Musical History - The 1940s: Stars, Stripes and Singing (Video documentary) (performer: "The Trolley Song", "Hoe Down", "Strike Up the Band", "How About You?", "Look for the Silver Lining", "On the Atchison, Topeka and the Santa Fe", "Who?" - uncredited) - Home Is Where You Hang Your Holster (2009) ... (performer: "Over the Rainbow" - uncredited)  2008 Australia (performer: "Over the Rainbow")  2008/I Milk (performer: "Over the Rainbow")  2008 True Blood (TV Series) (performer - 1 episode) - Mine (2008) ... (performer: "Mine" - uncredited)  2008 The Bread (Short) (performer: "Embraceable You")  2008 Sex and the City (performer: "The Trolley Song")  2008 Pageant (Documentary) (performer: "The Trolley Song")  2008 Hollywood Singing and Dancing: A Musical Treasure (TV Movie documentary) (performer: "We're Off to See the Wizard", "The Trolley Song", "Hoe Down", "Look for the Silver Lining", "Meet Me in St. Louis, Louis", "Get Happy" - uncredited)  2007 Eterna Magia (TV Series) (performer: "That Old Black Magic")  2007 P.S. I Love You (performer: "The Man That Got Away")  2007 American Masters (TV Series documentary) (performer - 1 episode)  2002 Catch Me If You Can (performer: "Embraceable You")  2002 Martine (TV Movie) (performer: "The Man that Got Away")  2002 Curb Your Enthusiasm (TV Series) (performer - 1 episode) - Chet's Shirt (2002) ... (performer: "Somewhere Over the Rainbow" - uncredited)  2001 Hildegarde (performer: "If I Only Had a Brain")  2001 Life with Judy Garland: Me and My Shadows (TV Mini-Series) (performer: "Zing! Went the Strings of My Heart", "You Made Me Love You (I Didn't Want to Do It)", "We're Off to See the Wizard", "Good Morning", "Over the Rainbow", "I'm Always Chasing Rainbows", "I Got Rhythm", "The Trolley Song", "Rock-a-Bye Your Baby with a Dixie Melody", "I Played the Palace" medley, "The Man that Got Away", "San Francisco", "Swanee", "Maybe I'll Come Back", "Get Happy" - uncredited)  2000 Annie Get Your Gun Intro with Susan Lucci (Video documentary short) (performer: "They Say It's Wonderful")  2000 Little Nicky (performer: "Somewhere Over the Rainbow")  2000 Wonder Boys (performer: "Good Morning")  2000 Hanging Up (performer: "Have Yourself A Merry Little Christmas")  1999 Rituals and Resolutions (Short) (performer: "Have Yourself a Merry Lil' Christmas")  1999 The X-Files (TV Series) (performer - 1 episode) - The Rain King (1999) ... (performer: "Somewhere Over the Rainbow")  1998 Little Voice (performer: "Come Rain or Come Shine", "That's Entertainment", "The Man that Got Away")  1998 Quest for Camelot Sing-Alongs (Video short) (performer: "We're Off To See The Wizard")  1997 Contact (performer: "Over the Rainbow" - uncredited)  1997 MGM Sing-Alongs: Being Happy (Video short) (performer: "The Trolley Song")  1995 Stonewall (performer: "Over the Rainbow", "Zing! Went the Strings of My Heart")  1994 Monte Video (TV Series) (performer - 1 episode) - Herbst (1994) ... (performer: "Somewhere Over The Rainbow" - uncredited)  1994 That's Entertainment! III (Documentary) (performer: "Good Morning" (1939), "God's Country" (1938), "Ballin' the Jack" (1913), "I'm an Indian Too" (1946), "Doin' What Comes Natur'lly" (1946), "I Wish I Were in Love Again" (1937), "Swing, Mister Mendelssohn" (1937), "In-Between" (1938), "Over the Rainbow" (1938), "How About You?" (1941), "Minnie from Trinidad" (1941), "Who?" (1925), "March of the Doagies" (1944), "Get Happy" (1929), "Mr. Monotony" (1947) - uncredited)  1992 MGM: When the Lion Roars (TV Mini-Series documentary) (performer - 1 episode) - The Lion in Winter (1992) ... (performer: "The Trolley Song" (uncredited), "The Boy Next Door" (uncredited), "Have Yourself a Merry Little Christmas" (uncredited), "A Great Lady Has an Interview (Madame Crematante)", "Be a Clown" (uncredited), "I Want to Go Back to Michigan" (uncredited), "I'm an Indian Too" (uncredited), "Friendly Star" (uncredited), "But Not for Me" (uncredited))  1991 Here's Looking at You, Warner Bros. (TV Movie documentary) (performer: "The Man That Got Away" - uncredited)  1991 Great Performances (TV Series) (performer - 1 episode) - The Fred Astaire Songbook (1991) ... (performer: "A Couple of Swells")  1991 Quantum Leap (TV Series) (performer - 1 episode)  1978 The Magic of David Copperfield (TV Special) (performer: "The Trolley Song")  1976 That's Entertainment, Part II (Documentary) (performer: "For Me and My Gal" (1917), "Be a Clown" (1948), "Easter Parade" (1933), "Zing! Went the Strings of My Heart" (1934), "I Got Rhythm", "Have Yourself a Merry Little Christmas" (1944), "A Couple of Swells" (1948) - uncredited)  1974 That's Entertainment! (performer: "Singin' in the Rain" (1929), "On the Atchison, Topeka and the Santa Fe" (1946), "You Made Me Love You (I Didn't Want to Do It)" (1913), "Babes in Arms" (1937), "Hoe Down" (1941), "Do the La Conga" (1939), "Waiting for the Robert E. Lee" (1912), "Babes on Broadway" (1941), "Strike Up the Band" (1927), "Waltz with a Swing" (1936), "Americana" (1936), "Your Broadway and My Broadway" (1937), "We're Off to See the Wizard" (1938), "If I Only Had the Nerve" (1938), "Over the Rainbow" (1938), "But Not for Me" (1930), "The Trolley Song" (1944), "Under the Bamboo Tree" (1902), "The Boy Next Door" (1944), "Get Happy" (1930) - uncredited)  1969 Mondo Trasho (performer: "Almost Like Being in Love", "We're Off to See the Wizard")  1968 The Merv Griffin Show (TV Series) (performer - 1 episode) - Episode dated 23 December 1968 (1968) ... (performer: "If You Were the Only Girl (in the World)", "Just in Time")  1968 The Mike Douglas Show (TV Series) (performer - 1 episode) - Episode dated 12 August 1968 (1968) ... (performer: "For Once In My Life", "How Insensitive", "Over the Rainbow", "Blues Skies")  1962-1964 The Jack Paar Program (TV Series) (performer - 2 episodes) - Episode #3.11 (1964) ... (performer: "Never Will I Marry", "What Now, My Love?")  1963 The Judy Garland Show (TV Series) (performer - 2 episodes) - Episode #1.4 (1963) ... (performer: "Alexander's Ragtime Band", "Be My Guest", "I Wish You Love", "Side By Side", "Take Me Out to the Ball Game", "Y'all Come", "Crawfishin'", "Somebody Touched Me", "Way Back Home", "Nobody's Business", "Way, Way in the Middle of the Air", "Y'all Come" (Reprise), "Swanee" (aka "Old Folks at Home"), "Maybe I'll Come Back") - Episode #1.1 (1963) ... (performer: "Call Me Irresponsible", "Sunny Side Up", "Be My Guest", "If You Knew Susie (Like I Know Susie)", "My Mammy", "Indian Love Call", "Will You Remember (Sweetheart)", "Italian Street Song", "Fly Me to the Moon (In Other Words)", "The World Is Your Balloon", "At the Moving Picture Ball", "The Old Soft Shoe", "Chicago (That Toddlin' Town)", "Maybe I'll Come Back" - uncredited)  1963 A Child Is Waiting (performer: "Snowflakes")  1962 Gay Purr-ee (performer: "Gay Purr-ee Overture", "Little Drops of Rain", "Take My Hand, Paree", "Paris Is a Lonely Town", "Roses Red, Violets Blue", "The Mewsette Finale")  1962 The Judy Garland Show (TV Special) (performer: "Just in Time", "When You're Smiling", "You Do Something To Me", "The Man that Got Away", "I Can't Give You Anything But Love", "'Let There Be Love / You're Nobody Til Somebody Loves You'", "You Made Me Love You (I Didn't Want to Do It)", "The Trolley Song", "Rock-a-Bye Your Baby with a Dixie Melody", "Swanee", "San Francisco")  1960 Pepe (performer: "Faraway Part of Town")  1956 General Electric Theater (TV Series) (performer - 1 episode) - Judy Garland Musical Special (1956) ... (performer: "I Feel a Song Coming On", "Maybe I'll Come Back", "Last Night When We Were Young", "Life Is Just a Bowl of Cherries", "Dirty Hands! Dirty Face!", "Come Rain or Come Shine", "April Showers" - uncredited)  1955-1956 MGM Parade (TV Series) (performer - 7 episodes) - Episode #1.24 (1956) ... (performer: "Our Love Affair" - uncredited) - Episode #1.15 (1955) ... (performer: "Have Yourself a Merry Little Christmas") - Episode #1.14 (1955) ... (performer: "Have Yourself a Merry Little Christmas") - Episode #1.11 (1955) ... (performer: "For Me and My Gal" - uncredited) - Episode #1.10 (1955) ... (performer: "For Me and My Gal" - uncredited) - The Judy Garland Special (1955) ... (performer: "Over the Rainbow")  1954 A Star Is Born (performer: "Gotta Have Me Go with You", "The Man That Got Away", "Here's What I'm Here For", "Lose That Long Face", "Someone at Last", "It's a New World", "Trinidad Coconut Oil Shampoo", "Born in a Trunk", "Swanee", "I'll Get By (As Long as I Have You)", "You Took Advantage of Me", "Black Bottom", "The Peanut Vendor (El Manicero)", "Melancholy" - uncredited)  1950 Summer Stock (performer: "All for You", "Friendly Star", "Get Happy", " (Howdy Neighbor) Happy Harvest", "If You Feel Like Singing, Sing", "You Wonderful You", "Portland Fancy" - uncredited)  1949 In the Good Old Summertime (performer: "Meet Me Tonight in Dreamland", "Put Your Arms Around Me, Honey (I Never Knew Any Girl Like You)", "Play That Barbershop Chord", "I Don't Care", "Merry Christmas" - uncredited)  1948 Words and Music (performer: "I Wish I Were in Love Again", "Johnny One Note")  1948 Easter Parade (performer: "Happy Easter", "It Only Happens When I Dance with You", "I Want to Go Back to Michigan", "Beautiful Faces Need Beautiful Clothes", "A Fella with an Umbrella", "I Love a Piano", "Snooky Ookums", "Ragtime Violin", "When the Midnight Choo Choo Leaves for Alabam'", "A Couple of Swells", "Better Luck Next Time", "Easter Parade" - uncredited)  1948 The Pirate (performer: "Mack the Black", "You Can Do No Wrong", "Be a Clown", "Love of My Life" - uncredited)  1946 Till the Clouds Roll By (performer: "Look for the Silver Lining", "Who?", "Sunny" - uncredited)  1946 The Harvey Girls (performer: "In the Valley (Where the Evenin' Sun Goes Down)", "On the Atchison, Topeka and the Santa Fe", "It's a Great Big World", "Swing Your Partner Round and Round" - uncredited)  1945 Ziegfeld Follies (performer: "A Great Lady Has An Interview (Madame Crematante)")  1944 Meet Me in St. Louis (performer: "The Trolley Song" (1944), "The Boy Next Door" (1944), "Skip to My Lou" (1944), "Have Yourself a Merry Little Christmas" (1944), "Meet Me in St. Louis, Louis" (1904) (uncredited), "Under the Bamboo Tree" (1902) (uncredited), "Over the Bannister" (1944) (uncredited))  1943 Girl Crazy (performer: "I Got Rhythm" (1930), "Could You Use Me?" (1930), "Bidin' My Time" (1930), "Embraceable You" (1930), "But Not for Me" (1930) - uncredited)  1943 Thousands Cheer (performer: "The Joint Is Really Jumpin' in Carnegie Hall" - uncredited)  1943 Presenting Lily Mars ("When I Look at You" (1943), uncredited) / (performer: "Tom, Tom, the Piper's Son" (1943), "Every Little Movement (Has a Meaning All Its Own)" (1910), "When I Look at You" (1943), "Kulebiaka (Russian Rhapsody)" (1943), "Where There's Music" (1943), "Three O'Clock in the Morning" (1921), "Broadway Rhythm" (1935) - uncredited)  1943 Strictly G.I. (Short) (performer: "Over the Rainbow")  1942 We Must Have Music (Short) (performer: "We Must Have Music")  1942 For Me and My Gal ("For Me and My Gal" (1917), uncredited) / (performer: "For Me and My Gal" (1917), "Oh, You Beautiful Doll" (1911), "Don't Leave Me Daddy" (1916), "By the Beautiful Sea" (1914), "When You Wore a Tulip and I Wore a Big Red Rose" (1914), "After You've Gone" (1918), "Ballin' the Jack" (1913), "How 'Ya Gonna Keep 'em Down on the Farm (After They've Seen Paree?)" (1919), "Where Do We Go from Here?" (1917), "It's a Long, Long Way to Tipperary" (1912), "Smiles" (1917), "Pack Up Your Troubles" (1915), "When Johnny Comes Marching Home" (1863) - uncredited)  1941 Babes on Broadway ("How About You?", uncredited) / (music: "La Marseillaise" - uncredited) / (performer: "Babes on Broadway", "How About You?", "Hoe Down", "Chin Up, Cheerio, Carry On", "Mary's a Grand Old Name" (1905), "I've Got Rings on My Fingers (Mumbo Jumbo Jijjiboo J. O'Shea)" (1909), "La Marseillaise", "Bombshell from Brazil", "Franklin D. Roosevelt Jones" - uncredited)  1941 Life Begins for Andy Hardy (performer: "Happy Birthday to You" - uncredited)  1941 Ziegfeld Girl (performer: "You Never Looked So Beautiful" (1936), "Minnie from Trinidad" (1941), "I'm Always Chasing Rainbows" (1918), "Laugh? I Thought I'd Split My Sides" (1941), "Ziegfeld Girls" (1941), "You Gotta Pull Strings" (1936) - uncredited)  1940 The Miracle of Sound (Documentary short) (performer: "It's a Great Day for the Irish" - uncredited)  1940 Little Nellie Kelly ("A Pretty Girl Milking Her Cow" , "Nellie Kelly I Love You" (1922), uncredited) / (performer: "A Pretty Girl Milking Her Cow" (uncredited), "St. Patrick Was a Gentle Man" (uncredited), "It's a Great Day for the Irish" (1940) (uncredited), "Singin' In The Rain" (1929))  1940 Strike Up the Band ("Our Love Affair" (1939)) / (performer: "Strike up the Band" (1927), "Our Love Affair" (1939), "Do the La Conga" (1939) (uncredited), "Nobody" (1939) (uncredited), "The Gay Nineties" (1940) (uncredited), "Nell of New Rochelle" (1939) (uncredited), "A Man Was the Cause of It All" (1939) (uncredited), "Heaven Will Protect the Working Girl" (1909) (uncredited), "Come Home, Father" (1864) (uncredited), "Drummer Boy" (1939) (uncredited))  1940 If I Forget You (Short) (performer: "If I Forget You")  1939 Babes in Arms (performer: "Babes in Arms" (1937), "Where or When" (1937), "Good Morning" (1939), "God's Country" (1937), "I Like Opera/I Like Swing" (1939) (uncredited), "Figaro" (1939) (uncredited), "Broadway Rhythm" (1935) (uncredited), "I Cried for You" (1923) (uncredited), "My Daddy Was a Minstrel Man" (1937) (uncredited), "Oh! Susanna" (1846) (uncredited), "Mr. Bones and Mr. Tambo" (1939) (uncredited), "I'm Just Wild About Harry" (1921) (uncredited), "My Day" (uncredited))  1939 The Wizard of Oz (performer: "Over the Rainbow" (1939), "Munchkinland Medley: 'Come Out, Come Out, Wherever You Are', 'The House Began To Pitch', 'As Mayor of the Munchkin City', 'As Coroner, I Must Aver', 'Ding Dong The Witch is Dead', 'Lullaby League', 'Lollipop Guild', and 'We Welcome You to Munchkinland'" (1939), "If I Only Had a Brain" (1939), "We're Off to See the Wizard" (1939), "We're Off To See The Wizard" (1939), "If I Only Had the Nerve/We're Off To See The Wizard" (1939), "The Merry Old Land of Oz" (1939), "If I Were King of the Forest" (1939) - uncredited)  1939 From the Ends of the Earth (Documentary short) (performer: "Babes in Arms" (1937), "Good Morning" (1939))  1938 Listen, Darling ("On the Bumpy Road to Love" (1938), "Ten Pins in the Sky" (1938)) / (performer: "Zing! Went the Strings of My Heart" (1934), "On the Bumpy Road to Love" (1938), "Ten Pins in the Sky" (1938))  1938 Love Finds Andy Hardy (performer: "In Between" (1938), "It Never Rains But What It Pours" (1938), "Meet The Beat Of My Heart" (1938))  1938 Everybody Sing ("Down on Melody Farm" (1937)) / (performer: "Swing Mr. Mendelssohn" (1937), "Down on Melody Farm" (1937), "Swing Low, Sweet Chariot" (ca 1872) (uncredited), "Snooks (Why? - Because!)" (1937), "Ever Since the World Began / Shall I Sing a Melody?" (1937) (uncredited), "Finale" (uncredited), "Frühlingslied (Spring Song) Op.62 #6" (1842) (uncredited))  1937 MGM Christmas Trailer (Short) (performer: "Silent Night, Holy Night")  1937 Thoroughbreds Don't Cry (music: "Got a Pair of New Shoes" (1937) - uncredited) / (performer: "Got a Pair of New Shoes" (1937) - uncredited)  1937 Broadway Melody of 1938 (performer: "Yours and Mine" (1937), "Everybody Sing" (1937), "You Made Me Love You (I Didn't Want to Do It)" (1913), "Your Broadway and My Broadway" (1937) - uncredited)  1936 Every Sunday (Short) ("Americana") / (performer: "Americana", "Waltz with a Swing")  1936 Pigskin Parade (performer: "It's Love I'm After", "The Balboa", "The Texas Tornado", "Hold That Bulldog")

Judy Garland

Which British actor's autobiography was called What's It All About?

Dirk Bogarde - Biography - IMDb Dirk Bogarde Jump to: Overview  (5) | Mini Bio  (1) | Trivia  (49) | Personal Quotes  (23) | Salary  (15) Overview (5) Derek Jules Gaspard Ulric Niven van den Bogaerde Nicknames The Idol of the Odeon Pip/Pippin 5' 8½" (1.74 m) Mini Bio (1) Sir Dirk Bogarde, distinguished film actor and writer, was born Derek Jules Gaspard Ulric Niven van den Bogaerde on March 28, 1921, to Ulric van den Bogaerde, the art editor of "The Times" (London) newspaper, and actress Margaret Niven in the London suburb of Hampstead. He was one of three children, with sister Elizabeth and younger brother Gareth. His father was Flemish and his mother was of Scottish descent. Ulric Bogaerde started the Times' arts department and served as its first art editor. Derek's mother, Margaret - the daughter of actor and painter Forrest Niven - appeared in the play "Bunty Pulls The Strings", but she quit the boards in accordance with her husband's wishes. The young Derek Bogaerde was raised at the family home in Sussex by his sister, Elizabeth, and his nanny, Lally. Educated at the Allen Glen's School in Glasgow, he also attended London's University College School before majoring in commercial art at Chelsea Polytechnic, where his teachers included Henry Moore . Though his father wanted his eldest son to follow him into the "Times" as an art critic and had groomed him for that role, Derek dropped out of his commercial art course and became a drama student, though his acting talent at that time was unpromising. In the 1930s he went to work as a commercial artist and a scene designer. He apprenticed as an actor with the Amersham Repertory Company, and made his acting debut in 1939 on a small London stage, the Q Theatre, in a role in which he delivered only one line. His debut in London's West End came a few months later in J.B. Priestley 's play "Cornelius," in which he was billed as "Derek Bogaerde". He made his uncredited debut as an extra in the pre-war George Formby comedy Come on George! (1939). The September 1939 invasion of Poland by Nazi Germany and the Soviet Union triggered World War II, and in 1940 Bogarde joined the Queen's Royal Regiment as an officer. He served in the Air Photographic Intelligence Unit and eventually attained the rank of major. Nicknamed "Pippin" and "Pip" during the war, he was awarded seven medals in his five years of active duty. He wrote poems and painted during the war, and in 1943, a small magazine published one of his poems, "Steel Cathedrals," which subsequently was anthologized. His paintings of the war are part of the Imperial War Museum's collection. Similar to his character, Captain Hargreaves, in King & Country (1964), he was called upon to put a wounded soldier out of his misery, a tale recounted in one of his seven volumes of autobiography. While serving with the Air Photographic Intelligence Unit, he took part in the liberation of the Bergen-Belsen concentration camp, which he said was akin to "looking into Dante's Inferno". In one of his autobiographies, he wrote, "At 24, the age I was then, deep shock stays registered forever. An internal tattooing which is removable only by surgery, it cannot be conveniently sponged away by time." After being demobilized, he returned to acting. His agent re-christened him "Dirk Bogarde," a name that he would make famous within a decade. In 1947 he appeared in "Power Without Glory" at the New Lindsay Theatre, a performance that was praised by Noël Coward , who urged him to continue his acting career. The Rank Organization had signed him to a contract after a talent scout saw him in the play, and he made his credited movie debut in Dancing with Crime (1947) with a one-line bit as a policeman. His first lead in a movie came that year when Wessex Films, distributed by Rank, gave him a part in the proposed Stewart Granger film Sin of Esther Waters (1948). When Granger dropped out, Bogarde took over the lead. Rank subsequently signed him to a long-term contract and he appeared in a variety of parts during the 14 years he was under contract to the studio. For three years he toiled in Rank movies as an apprentice actor without making much of a ripple; then in 1950, he was given the role of young hood Tom Riley in the crime thriller The Blue Lamp (1950) (the title comes from the blue-colored light on police call-boxes in London), the most successful British film of 1950, which established Bogarde as an actor of note. Playing a cop killer, an unspeakable crime in the England of the time, it was the first of the intense neurotics and attractive villains that Bogarde would often play. He continued to act on-stage, appearing in the West End in Jean Anouilh 's "Point of Departure". While he was praised for his performance, stage acting made him nervous, and as he became more famous, he began to be mobbed by fans. The pressure of the public adulation proved overwhelming, particularly as he suffered from stage fright. He was accosted by crowds of fans at the stage door during the 1955 touring production of "Summertime," and his more enthusiastic admirers even shouted at him during the play. He was to appear in only one more play, the Oxford Playhouse production of "Jezebel," in 1958. He never again took to the boards, despite receiving attractive offers. He first acted for American expatriate director Joseph Losey in The Sleeping Tiger (1954). Losey, a Communist and self-described Stalinist at the time, had emigrated to England after being blacklisted in Hollywood after he refused to direct The Woman on Pier 13 (1949) at RKO Pictures, which was owned by right-wing multi-millionaire Howard Hughes at the time, and he was accused in testimony before the House Un-American Activities Committee of being a Communist. The director, like Bogarde, would not find his stride until the early 1960s, and Losey and Bogarde would build their reputations together. First, however, Losey had to overcome Bogarde's reluctance to star in a low-budget film (shot for $300,000) with a blacklisted American director. Losey, who had never heard of Bogarde until he was proposed for the film, met with him and asked Bogarde to view one of his pictures. After seeing the film, Bogarde was enthusiastic, and Losey talked him into taking the role, which he accepted at a reduced fee (Losey originally was not credited with directing the film due to his being blacklisted in the States). A decade later they would make more memorable films that would be watersheds in their careers. It was not drama but comedy that made Dirk Bogarde a star. He achieved the first rank of English movie stardom playing Dr. Simon Sparrow in the comedy Doctor in the House (1954). The film was a smash hit, becoming one of the most popular British films in history, with 17 million admissions in its first year of release. As Sparrow, Bogarde became a heartthrob and the most popular British movie star of the mid-50s. He reprised the character in Doctor at Sea (1955), Doctor at Large (1957). The title of the latter film may have described his mood as a serious actor having to do another turn as Dr. Sparrow between his career-making performances in Losey's The Servant (1963), with a script by Harold Pinter , and Losey's adaptation of the stage play King & Country (1964), in which Bogarde memorably played the attorney for a young deserter (played by Tom Courtenay ). Bogarde, hailed as "the idol of the Odeons" in honor of his box-office clout, was offered the role of Jimmy Porter in _Look Back in Anger (1958/I)_ by producer Harry Saltzman and director Tony Richardson , based on the play that touched off the "Angry Young Man" and "Kitchen Sink School" of contemporary English drama in the 1950s. Though Bogarde wanted to take the part, Rank refused to let him make the film on the grounds that there was "altogether too much dialog." The part went to Richard Burton instead, who went over-the-top in portraying his very angry, not-so-young man. After this disappointment, Bogarde went to Hollywood to play Franz Liszt in Song Without End (1960) and to appear in Nunnally Johnson 's Spanish Civil War drama The Angel Wore Red (1960) with Ava Gardner . Both were big-budgeted films, but hampered by poor scripts, and after both films failed, Bogarde avoided Hollywood from then on. He was reportedly quite smitten with his French "Song Without End" co-star Capucine , and wanted to marry her. Capucine, who suffered from bi-polar disorder, was bisexual with an admitted preference for women. The relationship did not lead to marriage, but did result in a long-term friendship. It apparently was his only serious relationship with a woman, though he had many women friends, including his I Could Go on Singing (1963) co-star Judy Garland . In the early 1960s, with the expiration of his Rank contract, Bogarde made the decision to abandon his hugely successful career in commercial movies and concentrate on more complex, art house films (at the same time, Burt Lancaster made a similar decision, though Lancaster continued to alternate his artistic ventures with more crassly commercial endeavors). Bogarde appeared in Basil Dearden 's seminal film Victim (1961), the first British movie to sympathetically address the persecution of homosexuals. His career choice alienated many of his old fans, but he was no longer interested in being a commercial movie star; he, like Lancaster, was interested in developing as an actor and artist (however, that sense of finding himself as an actor did not extend to the stage. His reputation was such in 1963 that he was invited by National Theatre director Laurence Olivier to appear as Hamlet to open the newly built Chichester Festival Theatre. That production of the eponymous play also was intended to open the National Theatre's first season in London. Bogarde declined, and the honor went instead to Peter O'Toole , who floundered in the part.) Jack Grimston, in Bogarde's "Sunday Times" obituary of May 9, 1999, entitled "Bogarde, a solitary star at the edge of the spotlight," said of the late actor that he "belonged to a group that was rare in the British cinema. He was a fine screen player who owed little to the stage. Dilys Powell, the Sunday Times film critic, wrote of him before her own death: 'Most of our gifted film players really belonged to the theater. Bogarde belonged to the screen.'" Bogarde had won the London Critics Circle's Dilys Powell award for outstanding contribution to cinema in 1992. Appearing in "Victim" was a huge career gamble. In the film, Bogarde played a married barrister who is being blackmailed over his closeted homosexuality. Rather than let the blackmail continue, and allow the perpetrators to victimize other gay men, Bogarde's character effectively sacrifices himself, specifically his marriage and his career, by bravely confessing to be gay (homosexuality was an offence in the United Kingdom until 1967, and there reportedly had been a police crackdown against homosexuals after World War II which made gay men particularly vulnerable to blackmail). The film was not released in mainstream theaters in the US, as the Production Code Administration (PCA) refused to classify the film and most theaters would not show films that did not carry the PCA seal of approval. "Victim" was the antithesis of the light comedy of Bogarde's "Doctor" movies, and many fans of his character Simon Sparrow were forever alienated by his portrayal of a homosexual. For himself, Bogarde was proud of the film and his participation in it, which many think stimulated public debate over homosexuality. The film undoubtedly raised the public consciousness over the egregious and unjust individual costs of anti-gay bigotry. The public attitude towards the "love that dared not speak its name" changed enough so that within six years, the 1967 Sexual Offences Act decriminalizing homosexual acts between adults passed Parliament. Bogarde reported that he received many letters praising him for playing the role. His courage in taking on such a role is even more significant in that he most likely was gay himself, and thus exposed himself to a backlash. Bogarde always publicly denied he was a homosexual, though later in life he did confess that he and his manager, Anthony Forwood , had a long-term relationship. When Bogarde met him in 1939, Forwood was a theatrical manager, who eventually married and divorced Glynis Johns . Forwood became Bogarde's friend and subsequently his life partner, and the two moved to France together in 1968. They bought a 15th-century farmhouse near Grasse in Provence in the early 1970s, which they restored. Bogarde and Forwood lived in the house until 1983, when they returned to London so that Forwood could be treated for cancer, from which he eventually died in 1988. Bogarde nursed him in the last few months of his life. After Forwood died, Bogarde was left rudderless and he became more reclusive, eventually retiring from films after Daddy Nostalgia (1990). Mark Rowe and Jeremy Kay, in their obituary of Bogarde, "Two brilliant lives - on film and in print," published in "The Independent" on May, 9, 1999, wrote, "Although he documented with frankness his early sexual encounters with girls and later his adoring love for Kay Kendall and Judy Garland , he never wrote about his longest and closest relationship - with his friend and manager for more than 50 years, Tony Forwood. Sir Dirk said the clues to his private life were in his books. 'If you've got your wits about you, you will know who I am'." The British documentary _"Arena" [The Private Dirk Bogarde] (2001)_ made with the permission of his family, stressed the fact that he and Forwood were committed lifelong partners. In the same issue, the National Film Theatre's David Thompson, in the article "The public understood he was essentially gay," wrote about Bogarde at his high-water mark in the 1950s, that "Audiences of that time loved him . . . Very few people picked up on the fact that there was a distinct gay undertone. It says something about British audiences of the time. He had the good fortune to break out of that prison, and it came through the film Victim (1961), where he played a gay character, and through meeting with Joseph Losey , who directed him in The Servant (1963). For the first time, Bogarde's ambivalence was exploited and used by film." Bogarde's sexuality is not the issue; what was striking was that it was an act of personal courage for one of Britian's leading box-office attractions to appear in such a provocative and controversial film. Even in the 21st century, many mainstream actors are afraid to play a gay character lest they engender a public backlash against themselves, which is much less likely than it was more than 40 years ago when Bogarde made "Victim." Apart from sociology, "Victim" marks the milestone in which critics and audiences could discern the metamorphosis of Bogarde into the mature actor who went on to become one of the cinema's finest performers. Most of Bogarde's best and most serious roles come after "Victim," the film in which he first stretched himself and broke out of the mold of "movie star." He received the first of his six nominations as Best Actor from the British Academy of Film & Television Arts (BAFTA) for the film. Bogarde co-starred with John Mills in The Singer Not the Song (1961), and with Alec Guinness in Damn the Defiant! (1962) (a.k.a. "Damn the Defiant!"). In 1963 he reunited with Losey to film the first of two Losey films with screenplays by Pinter. Bogarde's participation in the two Losey/Pinter collaborations, The Servant (1963) and Accident (1967), in addition to 1964's "King & Country", solidified his reputation. Critics and savvy moviegoers appreciated the fact that Bogarde had developed into a first-rate actor. For his role as the eponymous servant, Bogarde won BAFTA's Best Actor Award. He had now "officially" arrived in the inner circle of the best British film actors. These three films also elevated Losey into the ranks of major directors (Bogarde also starred in Losey's 1966 spy spoof Modesty Blaise (1966), but that film did little to enhance either man's reputation. He turned down the opportunity to appear in Losey's The Assassination of Trotsky (1972) due to the poor quality of the script). Philip French, in his obituary "Dark, exotic and yet essentially English", published in "The Observer" on May 9, 1999, said of Bogarde, "Losey discovered something more complex and sinister in his English persona and his performance as Barrett, the malevolent valet in 'The Servant,' scripted by Harold Pinter, is possibly the most subtle, revealing thing he ever did - by confronting his homosexuality in a non-gay context." Losey told interviewer Michel Ciment that his work with Bogarde represented a turning point in the actor's career, when he developed into an actor of depth and power. He also frankly admitted to Ciment that without Bogarde, his career would have stagnated and never reached the heights of success and critical acclaim that it did in the 1960s. Interestingly during the filming of "The Servant." Losey was hospitalized with pneumonia. He asked Bogarde to direct the film in order to keep shooting so that the producers would not cancel the film. A reluctant Bogarde complied with Losey's wishes and directed for ten days. He later said that he would never direct again. Bogarde co-starred with up-and-coming actress Julie Christie in John Schlesinger 's Darling (1965), for which Christie won a Best Actress Oscar and was vaulted into 1960s cinema superstardom. During the filming of the movie, both Bogarde and Christie were waiting to hear whether they would be cast as Yuri Zhivago and his lover Lara in David Lean 's upcoming blockbuster Doctor Zhivago (1965). Christie got the call, Bogarde didn't, but he was well along in the process of establishing himself as one of the screen's best and most important actors. He won his second BAFTA Best Actor Award for his performance in "Darling." Bogarde went on to major starring roles in such important pictures as The Fixer (1968), for which 'Alan Bates (I)' won a Best Actor Academy Award nomination. While Bogarde never was nominated for an Oscar, he had the honor of starring in two films for Luchino Visconti , The Damned (1969) ("The Damned") and Death in Venice (1971), based on Thomas Mann 's novella "Death in Venice." Bogarde felt that his performance as Gustav von Aschenbach, the dying composer in love with a young boy and with the concept of beauty, in "Death in Venice" was the "the peak and end of my career . . . I can never hope to give a better performance in a better film." Visconti told Bogarde that when the lights went up in a Los Angeles screening room after a showing of "Death in Venice" for American studio executives, no one said anything. The silence encouraged Visconti, who believed it meant that the executives were undergoing a catharsis after watching his masterpiece. However, he soon realized that, in Bogarde's own words, "Apparently they were stunned into horrified silence . . . A group of slumped nylon-suited men stared dully at the blank screen." One nervous executive, feeling something should be said, got up and asked, "Signore Visconti, who was responsible for the score of the film?" - IMDb Mini Biography By: Jon C. Hopwood Trivia (49) 1995: Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#78). The day before he died was spent with his friend Lauren Bacall . Apparently they had a wonderful time together. Born at 3:20am-UT He was created a Knight Bachelor in the 1992 Queen's New Year Honours List, and was officially knighted on February 13, 1992. He was awarded a Chevalier De L'Ordre Des Lettres from the French Government in 1982. He was the only cast member of A Bridge Too Far (1977) to have actually served at the actual battles depicted in the film. He was awarded an honorary Doctorate of Literature on Junly 4, 1985 by St. Andrews University in Scotland. A British soldier during World War II, he claimed to have been present when the Allies rescued the prisoners from the Nazi death camp at Belsen. However there is some doubt as to whether Bogarde was really there or whether he pretended to have been present in later years. Uncle of Ulric Van Den Bogaerde . Director Joseph Losey originally offered the part of Leon Trotsky in his film The Assassination of Trotsky (1972) to Bogarde. Losey admitted that the script was terrible, but told Bogarde that it would be revised. Bogarde turned the role down, embittering Losey, who felt that Bogarde didn't trust him. Richard Burton , who had worked with Losey on Boom! (1968), did trust Losey enough to take the part, even though he was shown the same script. Bogarde was wise to turn down the part as the finished film was a critical and box office failure, and along with the earlier Losey-Burton collaboration Boom! (1968) made the list of the "Fifty Worst Films of All Time", by Harry Medved and Randy Lowell . 1985: Member of the jury at the Cannes Film Festival. 1984: President of the jury at the Cannes Film Festival. His height was measured at five feet eight and a half inches when he was drafted into the British army in September 1939. According to his friend Charlotte Rampling , Bogarde was approached in 1990 by Madonna to appear in her video for "Justify My Love", citing The Night Porter (1974) as an inspiration. Bogarde turned the offer down. For a time in the 1950s, Bogarde was promoted as "The British Rock Hudson ". Longtime companion of actor manager Anthony Forwood . Turned down Jeremy Irons 's role in The Mission (1986). Won a British Academy Award (BAFTA) for his performance in The Servant (1963). Turned down an offer of $150,000 from MGM to star with Natalie Wood in Penelope (1966), in order to make Accident (1967) with his friend, director Joseph Losey . Was considered for the role of Thomas More in A Man for All Seasons (1966). Turned down a co-starring role for $150,000 alongside Rock Hudson and George Peppard in Tobruk (1967). Resisted attempts to make him Hollywood's new "Spanish" star, and to be married off to some starlet. Turned down The Egyptian (1954) after Marlon Brando had turned it down. Going to the wrong room for a British Broadcasting Corporation audition, the young Bogarde accidentally got a part in a stage play that proved so successful he was hailed as a star overnight. Considered retiring after The Night Porter (1974), which had left him emotionally drained. He moved to Europe in the late 1960s, when he saw his career path lay in the sort of films being produced in Italy, France and Germany, rather than England or America. He lived in France some 20 years, thus fulfilling a childhood ambition. Beginning in 1977, Bogarde was also a prolific writer with seven volumes of autobiography and seven novels all becoming best-sellers. Born Derek van den Bogaerde in the north London suburb of Hampstead to an actress mother and an artist father, he went to university in London and Scotland. He made his stage debut in 1939, but his acting career was interrupted for seven years by World War II until he was demobilized in September 1946. Turned down Glenn Ford 's role in The Four Horsemen of the Apocalypse (1962), which turned out to be a critical and financial disaster. Was considered for Louis Jourdan 's role in Gigi (1958). Sir David Lean considered making Doctor Zhivago (1965) with Bogarde, but decided on Omar Sharif instead. In "Dirk Bogarde: The Authorized Biography" (2004), John Coldstream offers four major reasons for Bogarde's failure to become a Hollywood star in 1960. Firstly, the vehicle for his potential breakthrough, Song Without End (1960), was a flop. Secondly, his talents at that time were not seen as being particularly different from those of, in particular, Montgomery Clift , John Cassavetes and Anthony Perkins - nor could he possibly compete as a light comedy lead in the manner of Cary Grant and Rock Hudson . Thirdly, he had had enough of making formulaic films and was determined to prove himself as a serious actor. But fourthly, and perhaps most importantly, his refusal to enter into an arranged marriage to a starlet in the style of Rock Hudson 's marriage to Phyllis Gates , did not go down well among producers in Hollywood. Quit smoking following a minor stroke in November 1987. Befriended Rock Hudson while filming Campbell's Kingdom (1957), while Hudson was filming A Farewell to Arms (1957). His favourite of his films was King & Country (1964), which reflected his strong anti-war views. Bogarde was very disappointed by the film's commercial failure. Following the death of his partner Anthony Forwood in 1988, he moved into an apartment at 2 Cadogan Gardens in London, where he remained until his death. Scottish director Bill Douglas approached Bogarde to play a small part in his feature Comrades (1986) but Bogarde declined, sending Douglas a postcard saying, "I don't do small parts". Turned down the role of the British padre in The Longest Day (1962). He had a remarkably good singing voice. He was made a Fellow of the British Film Institute in recognition of his outstanding contribution to film culture. He was a close friend of Rex Harrison , whom he named as the actor who had influenced him most in a 1963 interview with the BBC. In 1958 Bogarde provided a video message praising Harrison when the musical "My Fair Lady" transferred from Broadway to London. During the late 1940s Bogarde was living at No 44 Chester Row, Belgravia, London with a rescued cat called Cliff. While he was there Bogarde received his first contract from J. Arthur Rank, which set him on the way to stardom. The ancestral town of paternal grandfather Aimé Van Den Bogaerde was Izegem in West Flanders, Belgium, where the illustrious family owned the castle Wolvenhof and produced several mayors. However Aimé left Belgium to pursue a Bohemian lifestyle and travel the world, and would tell his grandson Dirk that he was in fact Dutch. Great uncle of singer Birdy . He was among the actors considered for Hans Fallanda in Lifeforce (1985). Frank Finlay was cast instead. Suffered a stroke after undergoing heart surgery in September 1996 and spent the last three years of his life in a wheelchair. When starring in Doctor in the House, he frequently sought the advice and guidance of the film's camera operator, H.A.R. Thomson regarding his performance on camera,rather than director Ralph Thomas. Bogarde said he learned more about acting for the screen/camera from this, than any other film he had worked on. He appeared in five films directed by Joseph Losey : The Sleeping Tiger (1954), The Servant (1963), King & Country (1964), Modesty Blaise (1966) and Accident (1967). Personal Quotes (23) I'll only work with new people. If you stick with your contemporaries, you're dead. I was as scrawny as a plucked hen. The Rank Organisation did supply me with dumbbells. All I did was put on two sweaters and then put my shirt on. I love the camera and it loves me. Well, not very much sometimes. But we're good friends. First there was the war and then the peace to cope with, and then suddenly I was a film star. It happened all too soon. Childhood for me was basically a backyard, a spade and a bucket of mud with someone to look after you. Geniuses are notoriously loony, because it's a very fine line between madness and genius. TV? Never! I don't want my audience going for a piss or making tea while I'm hard at work. Cinema is just a form of masturbation. Sexual relief for disappointed people. Women write and say, "I let my husband do it because I think it's you lying on top of me". There's something wrong with actors, we've always been a suspect breed. Socially, I find myself more admissible now in England because I've written books. [speaking in 1979] "The kind of acting I used to do no longer exists because your prime consideration is the budget, running time, the cost and whether they'll understand it in Milwaukee. If you write about Hollywood, you can only write farce. It's so way over the top, you can't believe it. It's Sunset Boulevard (1950), it really is. And it's cut-throat at the same time. [speaking in 1983] Everyone wants to get into movies, but there aren't any movies left. I've got a good left profile and a very bad right profile. I was the Loretta Young of my day. I was only ever photographed on the left-hand profile. I simply love the camera and it loves me. But the amount of concentration you have to use to feed the camera is so enormous that you're absolutely ragged at the end of a day after doing something simple - like a look. [on fans] The local police were always having to come and remove girls from their nesting places under the bushes. Like an orphan girl who twice escaped from a home at Birmingham. We only discovered her because she used the potting shed as a lavatory which seemed to indicate an alien presence. I think we got her fixed up as a kennel maid, which gave her dogs to love in place of me. [on the Cannes Film Festival] My idea of hell. You see all the people you thought were dead and all the people who deserve to be dead. After a while, you start to think you might be dead, too. [1955] It seems to be almost impossible to find in this country the type of role which has made actors of the Brando [ Marlon Brando ] and James Dean style. Mine has I think some affinity which hitherto I have only been able to employ in the theatre. [to Russell Harty during a 1986 interview] But I'm still in the shell, and you haven't cracked it yet, honey. [on Simone Signoret ] I suppose it is fair to say that I fell hopelessly in love with Simone Signoret the very first time I clapped eyes on her in a modest Ealing film called Against the Wind (1948). I placed her then on the very peak of her profession and as far as I am concerned she has never budged from it and I still love her dearly. [on Alain Resnais ] Resnais is one of the genius directors, too, however difficult it is to work in his way on a script as complex as Providence (1977). He's the only poet director I'm aware of. [on Kay Kendall ] She was without question the greatest female clown we ever had -- apart from someone like Beatrice Lillie , whom your audience won't have heard of. Or Cicely Courtneidge . [on Rex Harrison ] He's the actor I've learned most from. Whenever I used to think about how I would play a part I would first think how Rex would approach it. [on actress/dancer Jessie Matthews ] She was a much greater dancer than Ginger Rogers and I thought a better actress. Salary (15)

i don't know

Judi Dench won an Oscar as which Queen in Shakespeare in Love?

Should Judi Dench keep her ‘Shakespeare in Love’ Oscar? – EW.com Pinterest Judi Dench’s roughly eight minute performance as Queen Elizabeth I in Shakespeare in Love was not the briefest to ever win an Academy Award; that record is still held by Beatrice Straight at six minutes for 1976’s Network. But it’s still pretty friggin’ short — and pretty friggin’ memorable. Dench’s droll, deftly understated take on the monarch sets much of the film’s plot in motion, gives its theatrical climax a pungent grace note, and steals every square inch of the screen for every precious second she’s on it. And yet, when Dame Judi collected her Oscar for the performance, even she felt obliged to note, while regarding her statue, “I feel for eight minutes on the screen, I should only get a little bit of him.” Should she have gotten any of him? We’ve been looking back at all the major Oscar categories from 5, 10, 15, 20 and 25 years ago and asking just that question in our Recall the Gold survey of the entertainment industry. For a decade, the performances of these five best supporting actress nominees — including Kathy Bates ( Primary Colors ), Brenda Blethyn ( Little Voice ), Rachel Griffiths ( Hilary and Jackie ), and Lynn Redgrave ( Gods and Monsters ) — have percolated in the popular culture, and now we want to know if you, PopWatchers, think Dench’s still rates as the most Oscar-worthy. Ten years ago, her win wasn’t a sure thing. Redgrave had won the Golden Globe for her role as the hilariously no-nonsense maid to Bride of Frankenstein director James Whale (fellow nominee Ian McKellan). Bates had taken home the Screen Actors Guild award for her role as a hilariously take-no-prisoners political operative. Both were far more traditional supporting performances (i.e. they we’re a fair shade longer than eight minutes). Bates’ movie, however, was otherwise seen as a disappointment, and it was released way back in March 1998 — rarely an Oscar-friendly month. As for Redgrave, perhaps some voters thought Gods and Monsters should be recognized by McKellan’s performance instead (er, whoops ), or by screenwriter Bill Condon’s win for best adapted screenplay. Blethyn and Griffiths were caught in a different bind: They arguably gave lead performances against a fellow actress with a far showier role. Blethyn tore into the chance to play an oft-sozzled stage mom to Jane Horrocks’ meek title character; the movie, however, was specifically created to show off Horrocks’ jaw-dropping impersonations of legendary Hollywood singers (Marilyn Monroe, Judy Garland), and Blethyn’s over-the-top scenery chewing may have turned off voters besides. (The film, alas, has also lived up to its title: I can’t even find the trailer on the Web.) Meanwhile, much of Hilary and Jackie, a biopic about sisters and musical rivals Hilary and Jacqueline du Pré, is told from Griffiths’ perspective as the older, more ordinary sister Hilary…who is overshadowed by her brilliant, egomaniacal younger sister Jackie, played by (ahem) Best Actress nominee Emily Watson. Though the Griffiths stunning work in the film launched quite the healthy career (HBO’s Six Feet Under, ABC’s Brothers & Sisters), she was, at the time, the designated “now who is she again?” nominee. So, PopWatchers, is there still, in the inimitable words of presenter Robin Williams, nothing like a Dame? Or should another actress have be anointed with Oscar gold? Vote in our poll below; if you need a reminder of the performances, check out the clips after the jump. While you’re at it, if you haven’t already, vote in all the other polls from our ongoing walk down Oscar’s memory lane . Tomorrow, we’ll take a look at the 1993 Best Picture race; also, check out coverage of this year’s awards contenders in Dave Karger’s Oscar Watch blog .   addCredit(“Steve Granitz/WireImage.com”) Judi Dench’s Oscar victory for Shakespeare in Love, with short excerpts of all five nominated performances (Robin Williams’ japery ends at the 1:20 mark) Kathy Bates, Primary Colors Judi Dench, Shakespeare in Love Rachel Griffiths, Hilary and Jackie Lynn Redgrave, Gods and Monsters (Redgrave’s scenes start at 4:05 mark) Show Full Article

Elizabeth I of England

Who won the Best Actor and Best Director Oscar for Dances With Wolves?

Judi Dench Biography - YouTube Judi Dench Biography Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on May 20, 2015 Dame Judi Dench is an Academy Award-winning British actress. She won an Oscar for her role as Queen Elizabeth in Shakespeare in Love. Dame Judi Dench was born on December 9th, 1934 in York, Yorkshire, England. She made her stage debut in 1957 as Ophelia in Hamlet. She also performed in musical roles, starring in the London premiere of Cabaret in 1968. She won an Oscar for her role as Queen Elizabeth I in Shakespeare in Love. Currently she is portraying James Bond's boss M in the Bond film series. Category

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Which Jessica was the then oldest Oscar winner for Driving Miss Daisy?

'Driving Miss Daisy' Wins 4 Oscars, Including One for Jessica Tandy - NYTimes.com 'Driving Miss Daisy' Wins 4 Oscars, Including One for Jessica Tandy By ROBERT REINHOLD, Special to The New York Times Published: March 27, 1990 LOS ANGELES, March 26— ''Driving Miss Daisy,'' a sentimental film about the relationship between an elderly Southern Jewish widow and her black chauffeur, won four Oscars tonight, including best picture of 1989 and best actress, in an Academy Awards presentation that offered many surprises and odd contradictions but few clear clues to trends in film. No single film dominated the 62d annual awards, as has often happened in past years. And the film considered one of the heavy favorites to win best picture, ''Born on the Fourth of July,'' the story of a paraplegic Vietnam veteran's passage into the antiwar movement, won only two Oscars, for best director for Oliver Stone and for film editing. Bruce Beresford, the director of ''Miss Daisy,'' was not even nominated. But the film gave Jessica Tandy, the 80-year-old stage actress, the chance to win her first Oscar in six decades as a performer. There was also an Oscar for Alfred Uhry for his screenplay for ''Miss Daisy,'' which he adapted from his Pulitzer Prise-winning Off-Broadway play. It was also a satisfying night for the makers of ''My Left Foot,'' the wrenching film about the Irish painter and writer Christy Brown, who suffered from cerebral palsy. The award for best actor went to the British actor Daniel Day-Lewis, for his performance as Brown. Brenda Fricker, the Irish actress, won the Oscar for best supporting actress for her portrayal of Brown's mother. And there was glory, too, for ''Glory,'' the Civil War epic about a black regiment fighting on the Union side. It won three awards, including best supporting actor for Denzel Washington, his first Oscar. It was thus a diffused and surprising evening with no clearly dominant winners. Mr. Day-Lewis, who beat out the early favorite for best actor, Tom Cruise, in ''Born on the Fourth of July,'' used his victory to issue a plea for better treatment of the disabled and acknowledged that some disabled actors resented his taking the role. ''But due to the hypocrisy of financing, this film could never be made with a disabled actor,'' he said backstage after the awards. ''I very selfishly decided to put my name on it.'' In accepting, the actor said that when the artist was alive he needed very little encouragement to make his voice heard. ''I'm truly grateful to you for honoring me with this award,'' he said. None were more delighted than Richard D. Zanuck and Lili Fini Zanuck, producers of ''Driving Miss Daisy,'' which was rejected by all major studios at first. Mis Tandy, the 80-year-old stage actress, had never been nominated for an Oscar before. ''I never expected in a million years I'd ever be in this position,'' Miss Tandy said. She was the oldest person ever to win an Oscar. The film, adapted from Alfred Uhry's Pulitzer Prize-winning play, portrayed the slowly evolving relationship between the widow and her black chauffeur, played by Morgan Freeman. In accepting, Miss Tandy thanked the Zanucks, the producers of the film, which had repeatedly been rejected by major studios. In an especially pointed mention, she gave special thanks to her director, Bruce Beresford, who was not nominated for best director even though ''Miss Daisy'' received nine nominations, including one for best picture. Washington for 'Glory' For his powerful performance as a mistreated runaway slave serving in a black Civil War regiment in the film ''Glory,'' Mr. Washington won his first Oscar, as best supporting actor. The award to the young black actor came as something of a surprise in a category that included strong performances by Danny Aiello as the white owner of a pizza parlor in a black neighborhood of Brooklyn in ''Do the Right Thing'' and Dan Aykroyd as Miss Tandy's son in ''Driving Miss Daisy.'' In accepting the award, Mr. Washington cited with pride the role of black soldiers who fought, largely unsung, on the Union side. ''I'd like to pay homage to the 54th, the black soldiers who helped to make this country free,'' he said. Even he, he conceded backstage, had been ignorant of this page of American history. ''I was stunned this history was not taught,''he said. Ms. Fricker, who had never been nominated for an Oscar before, won over strong performances by Anjelica Huston in ''Enemies: A Love Story'' and Julia Roberts in ''Steel Magnolias.'' She seemed flustered by the award. ''I'd like to thank Christy Brown just for being alive,'' she said in accepting, telling reporters later backstage that ''I'm the only person in the world who claims never to have met him.'' Tonight's event, held at the Dorothy Chandler Pavilion at the Los Angeles Music Center, was broadcast either live or delayed to nearly 100 countries. In an innovation this year, six awards were presented in five foreign film capitals: London, Moscow, Tokyo, Buenos Aires and Sydney, Australia. For example, Jack Lemmon and the Russian actress Natalya Negoda presented the award for best foreign film from Moscow. But all the recipients were in Los Angeles. Movie-House Dreams That award went to the film considered the front-runner, Italy's ''Cinema Paradiso,'' directed by Guiseppee Tornatore, a story of a young boy and his fascination with the films he sees in his small village movie house. 1

Tandy

Who was the first actress to receive four Oscars?

The 10 oldest to win competitive acting Oscars: The Oscars - latimes February 16, 2012 |By Susan King, Los Angeles Times Christopher Plummer has already won numerous awards for his turn as a widower… (Andrew Tepper /Focus Features…) Two legendary actors — Christopher Plummer and Max von Sydow — are competing for the supporting actor trophy this Oscar season. Despite their pedigree — Plummer has been acting in films for more than 50 years and is best known as Captain von Trapp in 1965's "The Sound of Music," and Von Sydow is closely associated with the seminal Swedish director Ingmar Bergman — neither has won an Academy Award. But that's likely to change. Plummer has already won numerous awards for his turn as a widower who comes out of the closet in"Beginners,"while Von Sydow has earned kudos as an elderly man who doesn't speak in "Extremely Loud & Incredibly Close." If either wins, he will become the oldest performer to garner an acting Oscar. Both are 82 years old, with Von Sydow, who turns 83 in April, eight months older than Plummer. Here's a look at the 10 oldest Oscar winners in the competitive acting categories so far: Jessica Tandy The British-born actress was 80 years and 252 days old when she won the lead actress Oscar for 1989's "Driving Miss Daisy." Not long after that, Tandy was diagnosed with ovarian cancer. Tandy continued to work as she battled the disease, earning a supporting actress nomination for 1991's "Fried Green Tomatoes." She died in 1994 George Burns The beloved comedian, who was partnered with his wife, Gracie Allen, in films, vaudeville and TV, won the supporting actor Oscar as a member of an old comedy team reuniting for a TV special in 1975's "The Sunshine Boys." He was 80 years and 69 days when he picked up the Academy Award. Burns' film career took off, scoring a hit in 1977's "Oh, God!" and 1979's "Going in Style." He continued to work into his 90s. He died in 1996. Melvyn Douglas Best known for his romantic comedy roles in the 1930s in such classics as 1939's "Ninotchka," Douglas earned his first supporting actor award as the stern father in 1963's "Hud"; he won his second as a fragile businessman in 1979's "Being There" at the age of 79 years and nine days. He made four more features before his death in 1981. John Gielgud Gielgud was already one of the most accomplished British stage, theater and TV actors when he won a supporting actor Oscar at the age of 77 and 349 days as the loving but acerbic butler in 1981's"Arthur."He had previously been nominated in this category for 1964's "Becket." He continued working until his death in 2000. Don Ameche The mustachioed Ameche had been a big star at 20th Century Fox in the 1930s and '40s, best known for such musicals as 1941's "Moon Over Miami" and such dramatic fare as 1939's "The Story of Alexander Graham Bell." For his work in 1985's "Cocoon," he won the supporting actor Oscar at the age of 77 years and 297 days old. He played a senior citizen who encounters a fountain of youth — one scene featured the actor break dancing. The Oscar rejuvenated his career. One of his best post-Oscar roles was in David Mamet's 1988 "Things Change." He continued to work until his death in 1993. Peggy Ashcroft Ashcroft, a star of the British stage, had appeared in very few films when she won a supporting actress Oscar at the age of 77 years and 93 days for David Lean's final film, 1984's "Passage to India," She played a British woman traveling to India with her son's fiancée. She continued to work until 1989. She died in 1991. Henry Fonda The veteran superstar had largely been ignored by the academy, earning only a lead actor nomination for 1940's "The Grapes of Wrath"and a nod as producer of the 1957 best picture nominee "12 Angry Men."He finally won a lead actor Oscar at the age of 76 and 317 days for his role as the husband of Katharine Hepburn's character in 1981's "On Golden Pond." Fonda, though, was too frail to attend the 1982 ceremony, but his daughter Jane, who was nominated for supporting actress for the film, did. "Oh, Dad, I'm so happy and proud for you," she said. Henry Fonda died in August of that year. Katharine Hepburn Fonda's "Golden Pond" costar also won the lead actress Oscar for the drama. It was her fourth win — she was 74 years and 275 days old. And just as with the other three times she had won, Hepburn was no where to be found at the ceremony to pick up her Oscar. Hepburn continued to work in films, TV and even theater until 1994. She died in 2003. Jack Palance The character actor, who had earned supporting actor nominations for 1952's "Sudden Fear" and 1953's "Shane," finally won a supporting actor Oscar at the age of 73 years and 41 days for his comedic turn as an old ranch hand in the 1991 hit "City Slickers." He even performed one-armed push-ups onstage when he went up to pick up his award. Palance died in 2006. Alan Arkin A nominee for lead actor for 1966's "The Russians Are Coming, the Russians Are Coming" and 1968's "The Heart Is a Lonely Hunter," Arkin was 72 years and 336 days old when he won the supporting actor Academy Award for his performance as a foul-mouthed grandfather in 2006's "Little Miss Sunshine." Arkin is still a working actor; his latest film,"Thin Ice,"opens Friday.

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In the 70s which gangster film won an Oscar as did its sequel?

Oscars 2016 predictions: Who's going to win? - CNN.com 1 of 88 Photos: Oscar-winning best pictures 'Wings' (1927) – The first Academy Awards were given out at a dinner on May 16, 1929. The best picture winner was 1927's "Wings," a film about World War I pilots starring Clara Bow, right, Charles "Buddy" Rogers, left, Richard Arlen and Gary Cooper. Even today, the silent film's aerial sequences stand out as some of the most exciting ever filmed. Another film, "Sunrise," was given an Oscar as most "unique and artistic production," an honor that was eliminated the next year. The academy didn't begin using a calendar year for awards until movies made in 1934 (with ceremonies held in 1935). Hide Caption 2 of 88 Photos: Oscar-winning best pictures 'The Broadway Melody' (1929) – The musical "The Broadway Melody" was the first sound film to win best picture. The film stars Charles King, Anita Page and Bessie Love. Hide Caption 3 of 88 Photos: Oscar-winning best pictures 'All Quiet on the Western Front' (1930) – "All Quiet on the Western Front," best picture of 1929-30, was the film adaptation of Erich Maria Remarque's classic novel. The film stars Lewis Wolheim and Lew Ayres and was directed by Lewis Milestone. Hide Caption 4 of 88 Photos: Oscar-winning best pictures 'Cimarron' (1931) – "Cimarron," based on the Edna Ferber novel, is best remembered for its portrayal of the 1889 Oklahoma Land Rush, which literally featured a cast of thousands. Richard Dix and Irene Dunne star in the film. Hide Caption 5 of 88 Photos: Oscar-winning best pictures 'Grand Hotel' (1932) – The all-star cast of "Grand Hotel," including Greta Garbo and John Barrymore (pictured), portrayed characters in a mix of plot lines at a Berlin hotel. The film won just the one Oscar, but has been immortalized for one of Garbo's lines of dialogue: "I want to be alone." Hide Caption 6 of 88 Photos: Oscar-winning best pictures 'Cavalcade' (1933) – "Cavalcade," based on a Noel Coward play, won the 1932-33 prize for best picture. The film follows a London family from 1899 to 1933 and stars, left to right, Una O'Connor, Diana Wynyard and Clive Brook. Hide Caption 7 of 88 Photos: Oscar-winning best pictures 'It Happened One Night' (1934) – "It Happened One Night" was one of the great underdog winners. Its studio, Columbia, wasn't considered one of the majors at the time, and neither Clark Gable nor Claudette Colbert, its stars, were excited about the project. But it became the first film to sweep the five major categories of picture, actor, actress, director and screenplay. To this day, only two other films -- "One Flew Over the Cuckoo's Nest" (1975) and "The Silence of the Lambs" (1991) -- have pulled off the same trick. Hide Caption 8 of 88 Photos: Oscar-winning best pictures 'Mutiny on the Bounty' (1935) – Clark Gable was in the best picture winner the next year as well, playing Fletcher Christian in the 1935 version of "Mutiny on the Bounty." Charles Laughton plays Captain Bligh. Hide Caption 9 of 88 Photos: Oscar-winning best pictures 'The Great Ziegfeld' (1936) – Luise Rainer stars in "The Great Ziegfeld." She picked up an Oscar for best actress, though William Powell, who played the title figure, came up empty (although he was nominated for another movie, "My Man Godfrey"). Hide Caption 10 of 88 Photos: Oscar-winning best pictures 'The Life of Emile Zola' (1937) – "The Life of Emile Zola" won three Oscars, including best picture. The film is a biography of the famed French author. Star Paul Muni was nominated for best actor but lost to Spencer Tracy ("Captains Courageous"). Hide Caption 11 of 88 Photos: Oscar-winning best pictures 'You Can't Take It With You' (1938) – "You Can't Take It With You" is one of the rare comedies to win best picture. The film, based on the George Kaufman and Moss Hart play, stars James Stewart, Jean Arthur and Lionel Barrymore. It also won a best director Oscar for Frank Capra, Capra's third in five years. Hide Caption 12 of 88 Photos: Oscar-winning best pictures 'Gone With the Wind' (1939) – Still considered one of the great Hollywood epics, 1939's "Gone With the Wind" won 10 Oscars, including best picture and best actress for star Vivien Leigh, right. Though Clark Gable was nominated for best actor, he lost to Robert Donat ("Goodbye, Mr. Chips") in one of the great Oscar upsets. Hide Caption 13 of 88 Photos: Oscar-winning best pictures 'Rebecca' (1940) – After "Gone With the Wind," producer David O. Selznick scored again with another adaptation of a best-seller, Daphne du Maurier's "Rebecca." He brought Alfred Hitchcock from Britain to direct Laurence Olivier and Joan Fontaine in a tale of a shy young woman living in the shadow of her husband's first wife. "Rebecca" was not only Hitchcock's first American film, but also his only one to win a best picture Oscar. Hide Caption 14 of 88 Photos: Oscar-winning best pictures 'How Green Was My Valley' (1941) – The movie many critics regard as the greatest American film didn't win the best picture Oscar for 1941. Orson Welles' "Citizen Kane" lost to a film directed by another classic director, John Ford, who helped re-create a Welsh mining village in California for "How Green Was My Valley." Roddy McDowall, left, and Walter Pidgeon starred. Hide Caption 15 of 88 Photos: Oscar-winning best pictures 'Mrs. Miniver' (1942) – Hollywood's war effort went full throttle with William Wyler's "Mrs. Miniver" starring Walter Pidgeon and Greer Garson as a heroic couple whose family endures German air raids during the Battle of Britain. Garson also won the best actress award and received much flak for a lengthy acceptance speech that became the stuff of Hollywood legend. Hide Caption 16 of 88 Photos: Oscar-winning best pictures 'Casablanca' (1943) – We'll always have Bogart and Bergman, aka Rick and Ilsa, in Michael Curtiz's "Casablanca." Nobody at Warner Bros. expected this movie, based on an unproduced play, "Everybody Comes to Rick's," to be a classic when it came out, but the American Film Institute ranked this best picture winner as the third-greatest U.S. film more than 60 years later. Hide Caption 17 of 88 Photos: Oscar-winning best pictures 'Going My Way' (1944) – Hollywood's favorite crooner became its favorite priest. Bing Crosby, left, won the best actor award as Father Chuck O'Malley in "Going My Way." He encountered resistance from a crusty old priest (Barry Fitzgerald) when he tried to help an impoverished church parish. Hide Caption 18 of 88 Photos: Oscar-winning best pictures 'The Lost Weekend' (1945) – With World War II coming to an end, Hollywood turned to dark subject matter, such as alcoholism in Billy Wilder's "The Lost Weekend." Star Ray Milland, left, won the best actor award as a writer on a binge. Howard Da Silva was the bartender. Hide Caption 19 of 88 Photos: Oscar-winning best pictures 'The Best Years of Our Lives' (1946) – Veterans Fredric March, pictured, Dana Andrews and Harold Russell returned home to adjust to life in post-war America in this William Wyler classic. Myrna Loy, Teresa Wright and Cathy O'Donnell were the women in their lives who also found the world much more complicated with the war's end. Russell, a real vet, lost both hands in World War II. Hide Caption 20 of 88 Photos: Oscar-winning best pictures 'Gentleman's Agreement' (1947) – Elia Kazan's "Gentleman's Agreement" continued Hollywood's exploration of more serious subject matter, this time anti-Semitism. Gregory Peck, right, plays a reporter who goes undercover posing as a Jew, making his girlfriend (Dorothy McGuire) face uncomfortable truths about her upper class WASP life. A young Dean Stockwell played Peck's son. Hide Caption 21 of 88 Photos: Oscar-winning best pictures 'Hamlet' (1948) – A British film took home the best picture Oscar when Laurence Olivier directed himself in an Oscar-winning role as Shakespeare's famous Danish prince who cannot make up his mind. Olivier trimmed the play's text and chose to do Hamlet's famous soliloquy ("To be, or not to be, that is the question") as a voice-over. Jean Simmons was Ophelia. Hide Caption 22 of 88 Photos: Oscar-winning best pictures 'All the King's Men' (1949) – Unlike the 2006 remake with Sean Penn, this adaptation of Robert Penn Warren's Pulitzer Prize-winning novel was a critical and box-office success. Star Broderick Crawford also won the best actor award for his role as Willie Stark, a cynical politician who rises to become governor. Any resemblance to Louisiana's Huey Long was mere coincidence. Hide Caption 23 of 88 Photos: Oscar-winning best pictures 'All About Eve' (1950) – Director Joseph L. Mankiewicz's screenplay about an aging actress (Bette Davis, right) battling a scheming newcomer (Anne Baxter) remains one of the most quotable movies ever almost 65 years after its release. "All About Eve" held the record for a movie with the most Oscar nominations (14) until "Titanic" tied it in 1997. A young Marilyn Monroe, center, also attracted attention in an early role. As Margo Channing (Davis' character) would say, "Fasten your seat belts, it's going to be bumpy night!" Hide Caption 24 of 88 Photos: Oscar-winning best pictures 'An American in Paris' (1951) – This MGM musical with Gene Kelly as an aspiring artist who falls for Leslie Caron in the City of Light faced stiff competition at the Oscars. But "An American in Paris" scored a major upset when it beat dramatic heavyweights "A Place in the Sun" and "A Streetcar Named Desire" for best picture. Hide Caption 25 of 88 Photos: Oscar-winning best pictures 'The Greatest Show on Earth' (1952) – Producer-director Cecil B. DeMille had been making epics since the silents, but none had won best picture until "The Greatest Show on Earth," a 1952 circus spectacular with Betty Hutton, pictured, and Charlton Heston. Many critics and fans dismiss the movie as one of the worst best picture Oscar winners. "Singin' in the Rain," considered Hollywood's greatest movie musical , wasn't even nominated that year. Hide Caption 26 of 88 Photos: Oscar-winning best pictures 'From Here to Eternity' (1953) – Facing the strict movie censorship of the 1950s, director Fred Zinnemann's version of "From Here to Eternity" considerably toned down James Jones' tough and profane novel about military life in Hawaii on the eve of the Pearl Harbor attack. But Burt Lancaster and Deborah Kerr's sexy tryst on the beach made waves among moviegoers. Hide Caption 27 of 88 Photos: Oscar-winning best pictures 'On the Waterfront' (1954) – Marlon Brando, right, went up against corrupt union boss Lee J. Cobb in Elia Kazan's "On the Waterfront." In one of moviedom's most famous scenes that inspired countless future actors, Brando confronts his brother, a union lawyer played by Rod Steiger, in the back seat of a car: "I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am." Hide Caption 28 of 88 Photos: Oscar-winning best pictures 'Marty' (1955) – Hollywood studios saw television as the enemy in the 1950s as Americans stayed home in droves to watch series such as "I Love Lucy." But live TV plays soon were providing material for movies, including 1955's best picture winner, "Marty." Ernest Borgnine won stardom and the best actor award as a lonely butcher in the Paddy Chayefsky drama. Hide Caption 29 of 88 Photos: Oscar-winning best pictures 'Around the World in 80 Days' (1956) – Responding to the competition from TV, the movies turned increasingly to epics in the 1950s such as producer Mike Todd's "Around the World in 80 Days." The picture was based on Jules Verne's novel and starred Shirley MacLaine, David Niven and Cantinflas as well as dozens of other celebrities in cameo roles, such as Noel Coward, Marlene Dietrich, Red Skelton and Frank Sinatra. Hide Caption 30 of 88 Photos: Oscar-winning best pictures 'The Bridge on the River Kwai' (1957) – Director David Lean proved filmmakers could make intelligent epics such as "The Bridge on the River Kwai." Already a star in British films, Alec Guinness won international fame and a best actor Oscar as a British colonel held prisoner with his men in a Japanese camp during World War II. Hide Caption 31 of 88 Photos: Oscar-winning best pictures 'Gigi' (1958) – For one of its last great musicals, MGM turned to Alan Jay Lerner and Frederick Loewe after their success with "My Fair Lady" to create a musical based on Colette's "Gigi." The Vincente Minnelli film with Louis Jourdan, center, and Leslie Caron, right, won every Oscar it was nominated for (nine), including best picture and director. Legendary French star Maurice Chevalier had a memorable song with "Thank Heaven for Little Girls." Hide Caption 32 of 88 Photos: Oscar-winning best pictures 'Ben-Hur' (1959) – Biblical epics were all the rage in the 1950s, and none more so than William Wyler's "Ben-Hur." The movie won a then-record 11 Academy Awards, including best picture, director (Wyler) and actor (Charlton Heston, right). The chariot scene undoubtedly helped ensure "Ben-Hur's" No. 2 ranking on the American Film Institute's list of greatest epics. Hide Caption 33 of 88 Photos: Oscar-winning best pictures 'The Apartment' (1960) – Long before "Mad Men," Billy Wilder's "The Apartment" skewered corporate life of the early 1960s. Up-and-comer Jack Lemmon stays busy loaning his apartment key to company men who need a place to cheat on their wives. He falls for Shirley MacLaine, center, who is having an affair with one of the bosses ("My Three Sons' " Fred MacMurray in an unsympathetic role). Hide Caption 34 of 88 Photos: Oscar-winning best pictures 'West Side Story' (1961) – "West Side Story" used the streets of New York as backdrops for this musical version of "Romeo and Juliet." The Jets and Sharks replaced the Montagues and Capulets as rival gangs ready to rumble, leading to tragedy for young lovers Tony (Richard Beymer) and Maria (Natalie Wood). The film took home 10 Oscars, including best supporting actor (George Chakiris), supporting actress (Rita Moreno) and direction (Robert Wise and Jerome Robbins, the first time the award was shared). Hide Caption 35 of 88 Photos: Oscar-winning best pictures 'Lawrence of Arabia' (1962) – David Lean created the epic of all epics with "Lawrence of Arabia." Peter O'Toole , left, with Omar Sharif, became a superstar with his portrayal of T.E. Lawrence, the legendary British officer who helped lead the Arab revolt against the Ottoman Empire in World War I. The movie won seven Oscars, including for Lean's direction. Hide Caption 36 of 88 Photos: Oscar-winning best pictures 'Tom Jones' (1963) – Albert Finney tackled the amorous title role in "Tom Jones," a British comedy based on Henry Fielding's novel about a foundling raised by a wealthy landowner. Diane Cilento, right, was one of his conquests. Tony Richardson also won the Oscar for his direction of the film. Hide Caption 37 of 88 Photos: Oscar-winning best pictures 'My Fair Lady' (1964) – Julie Andrews' fans were upset when the original Broadway star of "My Fair Lady" wasn't chosen for the film of the Lerner-Loewe musical. Audrey Hepburn may not have been convincing as a guttersnipe in the opening scenes of George Cukor's best picture winner, but no one could deny she was ravishing in Cecil Beaton's costumes once Eliza Doolittle had been transformed into a swan. Hide Caption 38 of 88 Photos: Oscar-winning best pictures 'The Sound of Music' (1965) – Forget the recent live broadcast of the Richard Rodgers and Oscar Hammerstein musical on NBC with Carrie Underwood. For many movie fans, Julie Andrews remains the one and only Maria, governess to the von Trapp children in Austria on the eve of World War II. Marni Nixon, who dubbed the singing voices of Natalie Wood in "West Side Story," Deborah Kerr in "The King and I" and Audrey Hepburn in "My Fair Lady," had her first on-screen role as a nun. Not only did "The Sound of Music" win best picture, it was also for a time the biggest moneymaker ever. Hide Caption 39 of 88 Photos: Oscar-winning best pictures 'A Man for All Seasons' (1966) – Paul Scofield re-created his stage role as Sir Thomas More in Fred Zinnemann's film version of the Robert Bolt drama "A Man for All Seasons." The film portrayed More as a man of conscience who refused to recognize King Henry VIII as head of the Church of England because of his denial of the Pope's authority. Scofield and director Zinnemann both won Oscars for their work. Susannah York, right, co-starred. Hide Caption 40 of 88 Photos: Oscar-winning best pictures 'In the Heat of the Night' (1967) – Youth-oriented movies began taking over Hollywood by 1967, the year of "Bonnie and Clyde" and "The Graduate." But the best picture winner went to Norman Jewison's "In the Heat of the Night," an old-fashioned crime drama in which an African-American detective (Sidney Poitier, left) goes South to solve a murder, working with a reluctant redneck sheriff (Rod Steiger). Poitier played the role of Virgil Tibbs in two sequels, and the movie later spawned a hit TV series with Carroll O'Connor. Hide Caption 41 of 88 Photos: Oscar-winning best pictures 'Oliver!' (1968) – This best picture winner was a musical adaptation of Charles Dickens' "Oliver Twist" with Mark Lester as an orphan who teams up with other young pickpockets led by an old criminal. Carol Reed also took home the Oscar for best director. Two of 1968's best-remembered movies, Stanley Kubrick's "2001: A Space Odyssey" and Roman Polanski's "Rosemary's Baby," weren't even nominated for best picture. Hide Caption 42 of 88 Photos: Oscar-winning best pictures 'Midnight Cowboy' (1969) – John Schlesinger's "Midnight Cowboy" was the first best picture Oscar winner to be rated X, reflecting the easing of censorship in the late '60s. The movie established Jon Voight, right, as a star for his portrayal of a dumb, naive Texan who fancies himself a gigolo to rich women in New York but ends up a hustler. Fresh from "The Graduate," co-star Dustin Hoffman as con man Ratso Rizzo proved he was one of the top actors of his generation. Hide Caption 43 of 88 Photos: Oscar-winning best pictures 'Patton' (1970) – George C. Scott made Oscar history when he became the first actor to refuse the award. Scott played the title role in this biography of volatile World War II Gen. George S. Patton Jr. The film, directed by Franklin J. Schaffner, reportedly was one of President Richard Nixon's favorite films. Hide Caption 44 of 88 Photos: Oscar-winning best pictures 'The French Connection' (1971) – Gene Hackman as Detective "Popeye" Doyle goes after hit man Marcel Bozzuffi in William Friedkin's "The French Connection." This best picture winner about New York cops trying to stop a huge heroin shipment from France features one of the movies' most memorable chase scenes. Hide Caption 45 of 88 Photos: Oscar-winning best pictures 'The Godfather' (1972) – With his career in decline for nearly a decade, Marlon Brando scored a comeback as Don Vito Corleone, the aging patriarch of a crime family, in Francis Ford Coppola's "The Godfather." Brando won his second Oscar for best actor (which he refused), and the movie made a superstar of Al Pacino as the son who takes over the "family business." The movie ranked No. 2 on the American Film Institute's list of the top 100 U.S. films. Hide Caption 46 of 88 Photos: Oscar-winning best pictures 'The Sting' (1973) – Teaming up again after "Butch Cassidy and the Sundance Kid" (1969), Paul Newman and Robert Redford in best picture winner "The Sting" helped make the buddy film one of the key movie genres of the '70s. The two played con men in 1930s Chicago in the George Roy Hill movie, which featured the music of ragtime composer Scott Joplin. Hide Caption 47 of 88 Photos: Oscar-winning best pictures 'The Godfather: Part II' (1974) – Al Pacino returned as Michael Corleone in "The Godfather: Part II," which became the first sequel to win the best picture Oscar. Francis Ford Coppola received the best director award this time, and newcomer Robert De Niro won the best supporting actor Oscar playing Vito Corleone as a young man. Coppola's "The Godfather: Part III," released in 1990, did not repeat the success of the first two films. Hide Caption 48 of 88 Photos: Oscar-winning best pictures 'One Flew Over the Cuckoo's Nest' (1975) – "One Flew Over the Cuckoo's Nest" captured all four top Academy Awards, a feat that had not been accomplished in more than 40 years (not since "It Happened One Night.") Besides best picture, the movie took home Oscars for best director (Milos Forman), actor (Jack Nicholson) and actress (Louise Fletcher). It won a fifth for best adapted screenplay. In this film of Ken Kesey's novel, Nicholson, second from left, struck a chord with audiences as McMurphy, a rebellious inmate in a mental institution who faces off against the ultimate authority figure, Nurse Ratched (Fletcher). Hide Caption 49 of 88 Photos: Oscar-winning best pictures 'Rocky' (1976) – Sylvester Stallone, left, as struggling boxer Rocky Balboa, gets his shot at the championship against Carl Weathers as Apollo Creed in this best picture winner. Like its hero, "Rocky" was an underdog, a low-budget film written by Stallone, then an unknown actor, that became one of the decade's biggest sleeper hits. Stallone would go on to make five sequels. Hide Caption 50 of 88 Photos: Oscar-winning best pictures 'Annie Hall' (1977) – Moviegoers fell in love with Diane Keaton in her Oscar-winning role as the ditsy, insecure heroine of Woody Allen's autobiographical "Annie Hall." Her thrift-store fashions and offbeat sayings ("La-di-da, la-di-da") became hallmarks of the late '70s. Allen won Oscars for best director and original screenplay (with Marshall Brickman) for the film. Hide Caption 51 of 88 Photos: Oscar-winning best pictures 'The Deer Hunter' (1978) – Hollywood began to explore the Vietnam War in the late '70s. Michael Cimino's "The Deer Hunter" examined the effects on steelworkers, from left, John Cazale, Chuck Aspegren, Robert De Niro, John Savage and Christopher Walken. Cimino and Walken also won Oscars for best director and best supporting actor, respectively. Hide Caption 52 of 88 Photos: Oscar-winning best pictures 'Kramer vs. Kramer' (1979) – Dustin Hoffman played a bewildered dad who had paid little attention to family life until his wife leaves him and he has to raise their son (Justin Henry, right) alone in "Kramer vs. Kramer." A bitter custody battle ensues once the wife (played by Meryl Streep) decides she wants her son back. Both Hoffman (best actor) and Streep (best supporting actress) won Oscars for their roles, and Robert Benton took home direction and writing honors for the film. Hide Caption 53 of 88 Photos: Oscar-winning best pictures 'Ordinary People' (1980) – Timothy Hutton, right, played a suicidal young man struggling to cope with the death of his brother in "Ordinary People," the first film directed by actor Robert Redford. Donald Sutherland, left, was his helpless father, and Mary Tyler Moore surprised audiences with her portrayal as Hutton's icy, controlling mother. Hide Caption 54 of 88 Photos: Oscar-winning best pictures 'Chariots of Fire' (1981) – In another Oscar sleeper, "Chariots of Fire," a small British film about two English runners competing in the 1924 Olympics, beat Warren Beatty's epic film "Reds" for best picture. "Chariots" won four Oscars, including one for its stirring score by Vangelis. The theme music also hit No. 1 on the pop charts. Beatty wasn't entirely shut out: He picked up the Oscar for best director. Hide Caption 55 of 88 Photos: Oscar-winning best pictures 'Gandhi' (1982) – Director Richard Attenborough's epic, three-hour film about the life of Mohandas K. "Mahatma" Gandhi won eight Oscars. Ben Kingsley, here with Candice Bergen, played the inspiring leader who used nonviolent tactics to help establish the modern country of India. Among the films it beat for best picture: "E.T. The Extra-Terrestrial" and "Tootsie." Hide Caption 56 of 88 Photos: Oscar-winning best pictures 'Terms of Endearment' (1983) – Debra Winger, Shirley MacLaine and Jack Nicholson starred in James L. Brooks' adaptation of Larry McMurtry's novel about an up-and-down mother-daughter relationship. Brooks produced, directed and wrote the film and won Oscars for all three (best picture goes to the producer); to this day, he's the only person to pull off the trick solo. Hide Caption 57 of 88 Photos: Oscar-winning best pictures 'Amadeus' (1984) – Another epic, "Amadeus" was based on Peter Shaffer's award-winning play about composer Wolfgang Amadeus Mozart (Tom Hulce) and his rival, Antonio Salieri. The film won eight Oscars, including awards for director Milos Forman -- his second, after "One Flew Over the Cuckoo's Nest" -- and star F. Murray Abraham, who played Salieri. Hide Caption 58 of 88 Photos: Oscar-winning best pictures 'Out of Africa' (1985) – Isak Dinesen's autobiographical book was turned into a movie that won seven Oscars. Meryl Streep stars as the independent-minded Danish author who spent part of her married life in British East Africa, later Kenya. She falls for a big-game hunter, played by Robert Redford, while her fragile marriage falls apart. Hide Caption 59 of 88 Photos: Oscar-winning best pictures 'Platoon' (1986) – "Platoon" made headlines in 1986 for its blunt and unsparing look at the U.S. experience in Vietnam. It follows a small group of men, including leaders Willem Dafoe, pictured, and Tom Berenger, who play on the loyalties of raw recruit Charlie Sheen. The film made director and writer Oliver Stone, himself a Vietnam veteran, a household name. "Platoon" won four Oscars, including best picture and best director. Hide Caption 60 of 88 Photos: Oscar-winning best pictures 'The Last Emperor' (1987) – Director Bernardo Bertolucci's film about the life of Chinese emperor Puyi won nine Oscars -- quite an achievement, considering it was nominated for zero awards in the acting categories. Besides best picture, it also won best director, best adapted screenplay and best cinematography, among others. Hide Caption 61 of 88 Photos: Oscar-winning best pictures 'Rain Man' (1988) – Though "Rain Man" is ostensibly about the relationship between Dustin Hoffman's autistic Raymond Babbitt and his brother, Charlie (Tom Cruise), it's probably best remembered for Hoffman's performance as a savant who can do complicated calculations in his head, count cards in Las Vegas and never miss an episode of Judge Joseph Wapner's "People's Court." The film won four Oscars, including a best actor award for Hoffman and a best director trophy for Barry Levinson. Hide Caption 62 of 88 Photos: Oscar-winning best pictures 'Driving Miss Daisy' (1989) – Stage actress Jessica Tandy finally became a movie star at age 80 as an Atlanta Jewish matriarch who develops a close relationship with her driver, Hoke, played by Morgan Freeman, in Bruce Beresford's film of Alfred Uhry's Pulitzer Prize-winning play. "Driving Miss Daisy" didn't compete for best picture against some of the year's most acclaimed movies -- "Sex, Lies, and Videotape," "Do the Right Thing" and "Drugstore Cowboy" weren't nominated for the top award. Hide Caption 63 of 88 Photos: Oscar-winning best pictures 'Dances With Wolves' (1990) – In what was essentially a two-horse race, Kevin Costner's three-hour "Dances With Wolves" faced off against one of Martin Scorsese's best, "Goodfellas." "Dances With Wolves," about a Civil War soldier who falls in with a Lakota tribe in the American West, was the decisive winner, earning best picture, best director for Costner and best adapted screenplay for Michael Blake, three of its seven Oscars. "Goodfellas" won just one: Joe Pesci's best supporting actor trophy. Hide Caption 64 of 88 Photos: Oscar-winning best pictures 'The Silence of the Lambs' (1991) – It's rare that a film released early in the year manages to even get nominated for best picture, not to mention winning the award, but "Lambs" -- based on the Thomas Harris novel about a serial killer helping an FBI agent to catch another killer -- took home best picture, best actor (Anthony Hopkins, who plays Hannibal Lecter), best actress (Jodie Foster), best director (Jonathan Demme) and best adapted screenplay. Hopkins' performance had relatively little screen time -- less than 20 minutes -- but was so commanding he can be credited for the continuing fascination with Lecter, who now headlines an NBC series. Hide Caption 65 of 88 Photos: Oscar-winning best pictures 'Unforgiven' (1992) – "It's a hell of a thing, killing a man," says Clint Eastwood's gunfighter, William Munny, in "Unforgiven" -- and, indeed, the Western can be seen as one of Eastwood's many meditations on the impact of violence in society. The actor and director plays Munny, a retired outlaw who is drawn back into his old role to avenge himself on a brutal sheriff (Gene Hackman). "Unforgiven" was just the third Western to win best picture, after "Cimarron" (1931) and "Dances With Wolves" (1990). Hide Caption 66 of 88 Photos: Oscar-winning best pictures 'Schindler's List' (1993) – By 1993, Steven Spielberg was already known as one of the great directors in Hollywood history, but an Oscar had eluded him. That changed with "Schindler's List," a gripping story about a German industrialist who saved more than 1,000 Jews during the Holocaust. The film earned honors for picture, director, adapted screenplay and cinematography. Hide Caption 67 of 88 Photos: Oscar-winning best pictures 'Forrest Gump' (1994) – Tom Hanks plays a Southern bumpkin who always seems to be in proximity to great events, whether they be the Vietnam War, U.S.-Chinese ping-pong diplomacy or the writing of "Imagine." Though some critics hooted, the film was a popular success and also won Oscars for Hanks, director Robert Zemeckis and adapted screenplay -- six in all. Hide Caption 68 of 88 Photos: Oscar-winning best pictures 'Braveheart' (1995) – Mel Gibson directed and starred in the story of Scottish warrior William Wallace, who led the Scottish army against English invaders led by King Edward I. The film won five Oscars, including best picture and best director, and has led to countless sports teams yelling "Freedom!" as they go up against opponents. Hide Caption 69 of 88 Photos: Oscar-winning best pictures 'The English Patient' (1996) – Some found it lyrical. Others, such as an episode of "Seinfeld," mocked it as boring. Either way, "The English Patient," with Ralph Fiennes and Kristin Scott Thomas, was a huge hit with audiences and critics -- and with the academy, which bestowed nine Oscars on the film about a burned British soldier and a loving nurse. Among the winners: director Anthony Minghella and supporting actress Juliette Binoche. Hide Caption 70 of 88 Photos: Oscar-winning best pictures 'Titanic' (1997) – In the months leading up to its release, "Titanic" was rumored to be as big a disaster as the ship on which its story was based. But director James Cameron had the last laugh: When the final results were tallied, "Titanic," with Leonardo DiCaprio and Kate Winslet, had become the biggest box-office hit of all time (since surpassed by another Cameron film, "Avatar") and winner of 11 Oscars in 1997 -- the most of any film since 1959's "Ben-Hur." Cameron took home a trophy for best director, too. Hide Caption 71 of 88 Photos: Oscar-winning best pictures 'Shakespeare in Love' (1998) – Was the film really that good or had Harvey Weinstein, its co-producer and head of studio Miramax, done an exceptionally good job at lobbying? Either way, there were gasps when best picture went to "Shakespeare" and not to favorite "Saving Private Ryan." Still, "Shakespeare" had plenty going for it, including an Oscar-winning best actress performance by Gwyneth Paltrow (here with Joseph Fiennes) and a clever script by Marc Norman and Tom Stoppard. It won seven Oscars total. Hide Caption 72 of 88 Photos: Oscar-winning best pictures 'American Beauty' (1999) – Kevin Spacey stars as a frustrated middle manager who develops a crush on one of his daughter's friends (Mena Suvari) in "American Beauty." Besides the big prize, the film won best director for Sam Mendes and best actor for Spacey as part of its five Oscars. Also immortalized: a plastic bag blowing in the breeze. Hide Caption 73 of 88 Photos: Oscar-winning best pictures 'Gladiator' (2000) – Russell Crowe stars as Maximus in "Gladiator," the hugely successful Ridley Scott film about a warrior in ancient Rome. The film took home five Oscars, including best actor for Crowe. Hide Caption 74 of 88 Photos: Oscar-winning best pictures 'A Beautiful Mind' (2001) – "A Beautiful Mind," the story of troubled mathematician John Nash (Russell Crowe) and his battle with mental illness, won four Oscars. Hide Caption 75 of 88 Photos: Oscar-winning best pictures 'Chicago' (2002) – For years, musicals had had a rough time at the Oscars -- indeed, they'd had a rough time in Hollywood, period -- until 2002's "Chicago" won best picture. The movie, which stars Renee Zellweger as a wily murderess in 1920s Chicago, won six Oscars. Hide Caption 76 of 88 Photos: Oscar-winning best pictures 'Lord of the Rings: The Return of the King' (2003) – The final film in Peter Jackson's "The Lord of the Rings" trilogy, "The Return of the King," swept all 11 categories in which it was nominated -- including best picture. From left, Elijah Wood, Andy Serkis and Sean Astin play three of J.R.R. Tolkien's characters: Frodo Baggins, Gollum and Samwise Gamgee. Hide Caption 77 of 88 Photos: Oscar-winning best pictures 'Million Dollar Baby' (2004) – "Million Dollar Baby" is about an old trainer (Clint Eastwood, left, with Morgan Freeman and Hilary Swank) who takes on a female boxer, with unforeseen consequences. The film won four Oscars, including a directing prize for Eastwood, best actress for Swank and best supporting actor for Freeman. Hide Caption 78 of 88 Photos: Oscar-winning best pictures 'Crash' (2005) – Few best pictures have been as polarizing as "Crash," about the criss-crossing lives of several Los Angeles residents. The film touches on issues of race and justice and stars -- among many others -- Thandie Newton and Matt Dillon. Hide Caption 79 of 88 Photos: Oscar-winning best pictures 'The Departed' (2006) – Director Martin Scorsese's films were often well-reviewed but couldn't win the big prize, until "The Departed," about a Boston gangster and some corrupt cops. The film stars Leonardo DiCaprio, left, Ray Winstone, and Jack Nicholson, right. Hide Caption 80 of 88 Photos: Oscar-winning best pictures 'No Country for Old Men' (2007) – The Coen brothers' grim "No Country for Old Men," about a Texas drug deal gone wrong, won four Oscars. Javier Bardem received a best supporting actor award for his portrayal of the brutal enforcer Anton Chigurh, who carries around a lethal bolt gun and doesn't hesitate to use it. Hide Caption 81 of 88 Photos: Oscar-winning best pictures 'Slumdog Millionaire' (2008) – Another little movie that paid off big, "Slumdog Millionaire" was slated to go straight to video until its American distributor found a partner. The sleeper film, about a poor Indian man (Dev Patel, left) whose success on "Who Wants to Be a Millionaire" is questioned by a suspicious detective, won eight Oscars. Hide Caption 82 of 88 Photos: Oscar-winning best pictures 'The Hurt Locker' (2009) – In a David-vs.-Goliath scenario, "Avatar," James Cameron's big-budget box office king, was pitted against "The Hurt Locker," a low-budget film about a bomb disposal unit in the Iraq War. "The Hurt Locker" won six Oscars, including best picture and best director (Kathryn Bigelow, one of Cameron's ex-wives). Hide Caption 83 of 88 Photos: Oscar-winning best pictures 'The King's Speech' (2010) – "The King's Speech," about England's King George VI and how he overcame his stutter, won four Oscars, including a best actor trophy for star Colin Firth. Hide Caption 84 of 88 Photos: Oscar-winning best pictures 'The Artist' (2011) – Jean Dujardin and Bérénice Bejo star in "The Artist," the first (mostly) silent film to win best picture since 1927's "Wings." The film, about the fall and rise of a silent film star, won five Oscars. Hide Caption 85 of 88 Photos: Oscar-winning best pictures 'Argo' (2012) – "Argo," based on a 1980 operation to free some of the American hostages during the Iran hostage crisis, won three Oscars: best picture, best adapted screenplay and best film editing. Ben Affleck, right, directed and starred. Hide Caption 86 of 88 Photos: Oscar-winning best pictures '12 Years a Slave' (2013) – Benedict Cumberbatch, left, and Chiwetel Ejiofor appear in "12 Years a Slave," which won the Oscar in 2013. The story of Solomon Northup (Ejiofor), a free African-American man who was kidnapped and sold into slavery, won three awards: best picture, best supporting actress (Lupita Nyong'o) and best adapted screenplay (John Ridley). Hide Caption 87 of 88 Photos: Oscar-winning best pictures 'Birdman' (2014) – "Birdman" won the Academy Award for best picture in 2016. The film also won three other Oscars: best director, best cinematography and best original screenplay. Hide Caption

The Godfather

Geoffrey Rush won an Oscar for Shine, as what type of musician?

Academy Award / Useful Notes - TV Tropes The following are some specific historical retrospectives concerning certain practices of the academy: The first Oscar ceremony involved quite a bit of Early Installment Weirdness . There was no "Best Picture Award" given, but instead, two oddly redundant awards—Most Outstanding Production, which went to Wings, and Most Unique and Artistic Quality of Production, which went to Sunrise. After that first ceremony the Unique and Artistic Quality award was discontinued and a single Best Production Award was instituted, with the name later changed to Best Picture. Wings is often listed as the sole "Best Picture" winner at the first ceremony. (Both categories are included in the list below). Winners were announced in advance, for the only time. Runner-up awards were given, for the only time. An award for Best Title Writing was given out. With the silent film era rapidly drawing to a close, the award was never given again. Two Best Director awards were given, one for drama and one for comedy. Starting with the second Oscars only one directing award was given out. For each of the first three Academy Awards, the Best Actor and Best Actress awards were given for the best body of work within a year, rather than for an individual performance. There were no nominees for the second ceremony. The nominees later listed are unofficial, taken from people and works that the Academy considered. In the 2009 Oscars, the late Heath Ledger won Best Supporting Actor for The Dark Knight , a first for a superhero film, and sparking a debate about whether Dead Artists Are Better . Ledger was only the second actor to win a posthumous Oscar, the first being Peter Finch, Best Leading Actor, who won at the 1977 ceremony for Network . Curiously, both actors were Australian. The genres Hollywood likes best are: Epic Movie , The Musical , period dramas, Biopic and realistic dramas. Pure genre works winning Oscars are highly rare: The Return Of The King 's sweep shows the Academy is willing to give a serious look to genre films as worthy of the Academy's highest honors in writing and directing in addition to the technical awards which such films can usually garnernote (although the fact The Lord of the Rings had such a significant literary pedigree before being adapted probably didn't hurt matters much). Although the Academy was knocked for not awarding the first two films in the trilogy similar honors, King's sweep is almost universally considered a recognition of the complete trilogy, as opposed to simply one film.. The victories of Dances with Wolves and Unforgiven in The '90s is seen as a belated acknowledgement of The Western as a serious genre (only three westerns have won Best Picturenote Even John Ford never won any Oscars, leave alone nomination for directing his Westerns). The crime movie:Gangster movies, Film Noir and Police Procedural never won top honours until The Godfather and The French Connection did in The '70s (followed by The Sting and the Godfather sequel). But this was very much an exception. Only one another crime movie, The Departed , (a contemporary gangster filmnote  The Godfather doubled as a period filmwith the highest degree of profanity and violence than any other winner) won Best Picture. Another exception of a genre movie to have won Oscar glory is Silence of the Lambs (a horror-thriller film about a Serial Killer and also featuring a FBI agent as the protagonist). The comedy ghetto applies for best picture also, only three films that are romantic comedies have ever won Best Picture: It Happened One Night , The Apartment and Annie Hall . Most recently, Mad Max: Fury Road an action film which won 6 Oscars (and despite not gaining Best Picture, for which it was nominated, they walked away with the most awards that night). Animated works have also undergone a major transformation. Back when studios still had theater cartoons, the Animated Short Subject feature was an award which studios clamored for. These days, animated works are most likely to be avant-garde subjects which most people are unlikely to ever see (unless, of course, the studio that produced them later becomes very famous ) aside from the festival circuit. A Best Animated Film category was introduced in 2001 that allowed high-profile cartoons such as Shrek and Toy Story 3 a chance to be honored without the potential "embarrassment" of an animated film being nominated for Best Picture, as Disney's Beauty and the Beast was in the early 1990s. Since 1945, the Best Picture Oscar has gone to the film that simply received the most votes; starting with the 2010 Academy Awards, the Academy returned to the original voting format: voters rank the nominated films from best to worst, and then the votes will be tallied up to determine which film wins the award. One could argue that this was done to ensure that all of the nominated films will be on a level playing field and (along with the extra five nominations) help to placate the people who complained about the Best Picture snubs from the 2009 awards. This USA Today article with an interactive graphic explains the voting procedure perfectly. The award for Best Documentary Feature has also suffered from having a rather strange definition — documentaries can be disqualified for airing on TV too soon as well as for involving the use of too much archival footage. This says nothing about the fact that until Bowling for Columbine won in 2002, it was fairly rare for any Academy Award-winning documentaries to be available to the common public at all. Five of the six winners before Bowling for Columbine all involved Jews being killed as a result of antisemitism. Not That There's Anything Wrong with That (the films that is, not antisemitism ), but people would raise eyebrows if this were the topic of the Best Picture nominee with that kind of frequency. Before that, there was the Hoop Dreams snub of 1994 . Since Bowling for Columbine, though, the award has come under the same scrutiny as most other major categories, and most winners, while not all are as famous as An Inconvenient Truth or March of the Penguins , can usually be found at your local video store. The nature of the category also allows for some oddities, such as installments of non-American television series being nominated as long as the documentaries haven't aired in the US; the Canadian Broadcasting Corporation current affairs program The Fifth Estate received several such nominations as a result. The first "Best Documentary" award was for feature films and short subjects both, and featured four winners and 24 nominees. Starting with the 1944 ceremony, the second time the award was given, the Academy made a distinction between features and short subjects. The Foreign Language film category is also notorious for extremely complicated rules and a country can only submit one film to the Academy for nomination consideration. It's also subject to the rules about television airings; Japan wanted to submit Shall We Dance? in 1997, but it had already had a TV airing in its home country and was disqualified. (They submitted Princess Mononoke instead; it didn't get a nomination.) Until 2010, no woman had ever won the Best Director award. Kathryn Bigelow was the first, winning for The Hurt Locker — beating out her ex-husband, James Cameronnote Cameron had already won three Oscars for Titanic (1997) . (for Avatar) in the process. As of 2013, AMPAS has retired the name "Academy Awards", referring to the ceremony only as "The Oscars". It also, at least for the 2013 awards, no longer numbers the ceremony. Though by 2016, the ceremony was once again referred to by host Chris Rock as the 88th Annual Awards. In 1947, WWII veteran and non-professional actor Harold Russell won two academy awards for the same performance in The Best Years of Our Lives, one for Best Supporting Actor, and an honorary Oscar for "bringing hope and courage to his fellow veterans" as a double amputee. Films with Best Picture wins or nominations and pages on this wiki include: Sunrise (Unique and Artistic Production) (1927-28 winner) Chang (Unique and Artistic Production) (1927-28 nominee) The Crowd : (Unique and Artistic Production): (1927-28 nominee) Wings (Best Production) (1927-28 winner)

i don't know

For which film about a Scottish hero did Mel Gibson win his first Oscars for Best Picture and Best Director?

BraveHeart – The 10 historical inaccuracies you need to know before watching the movie | Hande's Blog BraveHeart – The 10 historical inaccuracies you need to know before watching the movie December 5, 2011 The 1995 movie, BraveHeart, is a cinematic master-piece. A multiple Oscar winner, an awe-inspiring cinematic portrayal of Scottish freedom fighter William Wallace and his greatest accomplishments. It’s also an extremely historically inaccurate film, but that doesn’t devalue it as a cinematic achievement. Star and director Mel Gibson himself notes that the film is a “historical fantasy” and shouldn’t be taken as the accurate portrayal of Wallace’s life. Here is a list of the most important historical inaccuracies that people should be aware of before watching the movie. This is intended to enhance one’s enjoyment of the film and not berate it and its makers. Disclaimer 2015 (due to the huge amounts of traffic to this post and the ridiculous length of the comments section): I am not a historian and have never claimed to be. All the facts on this page are from my personal research done out of curiocity using a variety of sources. Feel free to like and share the blog if you found it an interesting read, but don’t get offended if I don’t reply to your comments since I’ve gotten quite sick of reading the comments section. Also, I’ve removed the whole “fag = cigarette” wordplay from the blog since it seemed to fly over too many peoples’ heads. Update (May 2016): Comments have now officially been closed. It’s nice that people find this blog a fun read while others still clearly miss the point which is not to belittle the movie in any way. However, I’m really getting tired of comments popping on this blog which I wrote ages ago, so I’m just doing this to stop it. Error #1: William Wallace’s origins Although Gibson can be excused on a lot of inaccuracies relating to Wallace’s early life on the basis that his pre-military life and career is not well documented, many historians may take offense to how Wee William is depicted in the film. The movie gives off the image of William being born to poverty and living the simple life of a farmer before being taken under the care of his uncle Argyle, when his father dies fighting the English. In actuality, most historians believe Wallace was born to the Scottish aristocracy and was already a knight by the time of the Battle of Stirling (and wasn’t knighted afterwards like the movie suggests). But again, no actual historical texts say one way or another, so Gibson could be just as right as the historians as far as we know. As an added side-note: Wallace’s wife was called Marian, not Murron. Gibson changed the name because he wanted to avoid the audience confusing her with Maid Marian from Robin Hood. Error #2: Wardrobe incongruities There are two major wardrobe related errors in the film. Probably the most discussed and well-known is the portrayal of Scots wearing kilts in the 13th century. In actuality, kilts did not become a popular form of men’s wear until well into the 17th century, which means that the film’s portrayal can be considered grossly inaccurate. However, there might be a legitimate cinematic reason for it which I’ll get to in a bit. Another inaccuracy is the fact that the English soldiers are shown wearing uniforms while such was not in fact the custom in Wallace’s age. Martial dress code didn’t become a norm in England until the 17th century. In the age of Wallace, soldiers would wear pretty much anything they could get their hands on (as most were so poor they didn’t have two coins to rub together). Aristocratic knights did wear suits of armour head-to-toe, but the only insignia they would wear was frequently their family coat of arms which ensured that if they were captured alive, they would still have a chance of returning home once their family paid their ransom. What can be seen both on the Scottish and English side of this wardrobe malfunction is a “uniformalization” of both sides. This is done for the audience’s convenience so that during the big battle scenes we can tell who’s who, without having to listen to who’s dying with a RP and who with a Highlands accent. Error #3: Primae Noctis may have not really existed The first night or Primae Noctis is apparently considered by most historians as a bit of a historical urban myth. There’s plenty of writings that allude to it, but very little scholarly evidence that it was ever actually used by any rulers anywhere. Certainly, during Wallace’s time, Primae Noctis was never used by Edward Longshanks (that actually was his nickname) to piss off the Scots. However, BraveHeart is neither the first nor the last movie to have adapted Primae Noctis as a story-device and we can definitely see why it’s used in the film. It certainly sounds like the sort of debauch stuff that the high and mighty of the 13th century might have done but the ugly fact may be that it’s actually mere fiction. Error #4: The Scots didn’t paint their faces for battle At least they no longer did by the time of Wallace. What Gibson was obviously alluding to is the Scottish Picts’ tradition of painting their faces blue to scare off those pansies, the Romans, from their lands. Of course, Emperor Adrian would have nothing of it and built a wall to keep those evil buggers from sacking the rest of Britain while the sandal-folk still ruled the scene. The blue face-paint is so iconic, though, you couldn’t imagine BraveHeart without it. These days of course the tradition is to paint the flag of Scotland (a white X across with blue sides) for sporting events. Error#5: The Battle of Stirling… Bridge? Probably the most glaring error in the entire film is the absence of the proverbial “Bridge” at the Battle of Stirling. This is an error that, Gibson admits, was done to make the battle more cinematically appealing. In the actual Battle of Stirling, the English had to cross a bridge in order to attack the Scottish on the other side. The Stirling Bridge was badly built and very small, only allowing three cavalrymen to cross at a time. Wallace’s troops achieved victory by waiting for the English to cross and killing them immediately as they made it to the other side. The Scots achieved a brutal victory against a far larger force and the battle was a turning point in the Scottish War for independence. In the movie, the Scots build large pikes to counter the heavy cavalry while their own cavalry rides behind the English and takes out their archers. The film’s premise of the heavy cavalry as unstoppable juggernauts on the battlefield is grounded in actual historical fact, so while the battle may not be accurate even in the loosest definition, it is at least historically plausible. Error #6:  Isabelle of France never met William Wallace Isabelle of France was Prince Edward’s fiance, but at the time of William Wallace’s military escapades, she was a mere four years old and therefore couldn’t have physically met or been in contact with Wallace (even though Wallace had travelled to France during the war to ask for assistance against the English). This obviously means that everything she does in the film, help Wallace by informing him of the English Army’s movements, the affair and giving him pain-numbing medicine before his execution did not happen. A more glaring incongruity might be that French was widely spoken in the English court even around the time of Wallace, which means that Isabelle and her handmaiden’s secret conversations in French, wouldn’t really have been very secret at all. Poor Phillip never even saw it coming. Error #7: Phillip was never defenestrated Prince Edward’s gay lover in the film, Phillip, is most likely intended to be Edward II’s actual military advisor Sir Phillip de Mowbray. In this case, Phillip was never thrown out of any castle windows but in fact lived well beyond Edward I’s death. The film’s depiction of Prince Edward II as a bisexual may not be entirely inaccurate, though it bares noting that he did have as many as five children. Edward was however, an ineffectual King which is why he was deposed at the end of his reign. It’s also unclear if Edward actually was in a homosexual relationship with Phillip de Mowbray, but the point is, as feared and crazy as his father may have been, he never threw any gays out of castle windows. Error #8: The Battle of Falkirk Now, obviously the battle of Falkirk didn’t go down quite the way it’s depicted in the film. Edward I was actually present and he was known for using Irish and Welsh conscripts, but at no point did the Scots and Irish stop in the middle of the battle to shake hands and make nice. The most overlooked aspect of the Falkirk battle is that while it was the first massive military blow for Wallace and the Scots (as depicted in the film) the actual reason for the Scot’s defeat is never mentioned in the film. Edward wasn’t quite as cold-blooded as in the film, telling the archers to fire blindly into the mêlée of Scots and English. But it was the Welsh archers, armed with the latest and most high-tech weaponry, the long bow, that won the battle for the English. They were able to fire from distances far greater than the Scottish archers, some of whom actually used slingshots rather than bows. Error #9: Robert the Bruce never betrayed Wallace Robert the 17th Bruce was one of the many people during the Scottish War of Independence who was trying to claim the throne of Scotland for himself. While during the early days of Wallace’s military campaign, he did publicly disown him, he secretly and later publicly supported him and his war effort. So, his supposed portrayal at the Battle of Falkirk is just some more cinematic fancy rather than actual historical fact. However, otherwise Robert the Bruce is very accurately depicted within the film. Wallace did support Robert the Bruce for the throne and Bruce’s father (Robert the 16th Bruce) did suffer from leprosy, which is why he couldn’t make a claim for the throne (but he did not engineer Wallace’s capture as depicted in the film). The most notable fact of all is that the name “Brave Heart” actually refers to Robert the Bruce and not William Wallace. After his death, Robert’s heart was literally carried into battle, giving birth to the nickname. Error #10: Hanged, drawn and quartered Wallace’s execution in the film, while not entirely inaccurate, is considerably tamed from what was actually done to him. Like many other famous traitors he was Hanged, Drawn and Quartered: a five stage punishment where a person was hanged, cut open to expose his intestines, castrated, chopped into pieces and finally beheaded. Before the execution Wallace was stripped naked and pulled around town by horse-carriage by a rope around his ankles and after the execution dipped in tar. The film makes note of how Wallace’s body parts and head were put up for public display and sent to “the four corners of England”. This is historically accurate. What we see in the film is a toned down version of the Hanged, Drawn and Quartered punishment. Wallace is shown hanged and stretched, and though not explicitly shown, it’s indicated that his intestines are taken out. The slicing and castration bits are left out and instead Wallace is beheaded after he screams “Freedom!” one last time. In actuality, Wallace’s last words are unknown.

Braveheart

Who got her first big break in Grease 2?

Godfreytimes Blog: 40 Richest Actors with Max Bank 40 Richest Actors with Max Bank TIMESOFINDIA Here are the Richest actors with big fat bank balances in the world! Some actors even make a salary of 20 million US Dollars (USD) per film. Check out who's at the top of the list on our Richest Actors list. No. 40: Ashton Kutcher net worth: $160 Million Ashton Kutcher is an American actor, model, investor and producer who has a net worth of $160 million. He majored in biochemical engineering at the University of Iowa before dropping out to pursue modeling in New York. He moved to LA and won the role of Michael Kelso on the FOX sitcom That '70s Show. Kutcher stayed on That '70s show for the entire series run, until the year 2006. No. 39: Samuel L Jackson net worth: $170 Million     Samuel L. Jackson is a well-known and highly-respected film and TV actor and producer who has a net worth of $170 million. Jackson's first major movie appearance came in the 1991 Spike Lee film, Jungle Fever. He and his wife has given millions of dollars over the years to causes related to education, Alzheimer's and equal rights. No. 38: Robert Redford net worth: $170 Million    Robert Redford is an American actor, director, producer, environmentalist, who has a net worth of $170 million. Robert Redford is also famous for being the founder of the Sundance Film Festival. Redford's big break was his casting in Butch Cassidy and the Sundance Kid, opposite Paul Newman. Redford received two Oscars, as best director of the movie Ordinary People, and a Lifetime Achievement Oscar in 2002. No. 37: Julia Roberts net worth: $170 Million    Julia Roberts is a highly-acclaimed American actress who has a net worth of $170 million. Julia is one of the world's highest-paid female performers. She often earns as much as $25 million per film. She is also the Number One Actress when it comes to total "Box Office Receipts." Her films have resulted in ticket sales of more than $2 billion. Julia has also been named one People magazine's most beautiful people on the planet 11 times. She is also a practicing follower of Hinduism. Her children are all named after Hindu Gods. No. 36: John Travolta net worth: $170 Million   John Travolta is an American actor, singer, producer and dancer who has a net worth of $170 million. John Travolta grew up in Englewood, New Jersey, and began his career as a member of the Broadway cast of Over Here! and the traveling cast of Grease. He moved to Los Angeles to pursue a film career, though his first significant role was in television, on the series Welcome Back, Kotter. At the same time, he landed his first notable film role: a bully in the 1976 horror film Carrie, opposite Sissy Spacek. He soon released his Billboard number-ten single, "Let Her In," and was then catapulted to stardom by his performance in Saturday Night Fever, which he followed up with starring roles in Grease and Urban Cowboy. No. 35: Akshay Kumar net worth: $170 Million   Akshay Kumar Net Worth: Akshay Kumar is an Indian film actor, producer and martial artist who has a net worth of $170 million. Rajiv Hari Om Bhatia (aka Akshay Kumar) was born September 9, 1967 in Amritsar, Punjab, India. He has made over a hundred Hindi films—over 125 films in all, to date. Aside from acting, Kumar has also worked as a stunt actor, often performing dangerous stunts in his own films and earning him a reputation as the "Indian Jackie Chan". In 2014, Kumar launched TV realty show called Dare 2 Dance. Kumar also owns the sports team Khalsa Warriors of the World Kabaddi League. No. 34: Bruce Willis net worth: $180 Million     Bruce Willis net worth: Bruce Willis is an American actor, producer and musician who has a net worth of $180 million. Bruce Willis was born in Germany to a bank teller and an American serviceman on March 19, 1955. Willis moved to Penns Grove, New Jersey as a child and attended the drama program at Montclair State University until he left to pursue acting in New York City. Today he is considered one of the biggest movie stars in the world. He has since gone on to appear in over sixty films. He is best known as an action star but got his first big break (and several major awards) on the TV comedy Moonlighting, in which he flirted with Cybill Shepherd for five seasons. No. 33: Aamir Khan net worth: $180 Million    Aamir net worth: Aamir Khan is an extremely popular and successful Indian actor who has an estimated net worth of $180 million dollars. Aamir Khan is a director, actor, producer, and writer who is most widely recognized for award-winning performances in "Raja Hindustani" and "Lagaan", and for having directed the top-grossing Bollywood film of all time, "3 Idiots". He also co-starred in the Oscar-nominated film "Lagaan" and won his second FilmFare Award for his work. No. 32: Denzel Washington net worth: $190 Million    Denzel Washington net worth: Denzel Washington is an American actor, screenwriter, producer, and director who has a net worth of $190 million dollars. Every year Denzel Washington earns $40 million to $60 million dollars. Washington was born and raised in the New York metro area, the son of a beauty salon owner and a Pentecostal minister. He earned a B.A. from Fordham University and won a full-ride scholarship to the American Conservatory Theater in San Francisco, though he returned to New York after a year to pursue acting professionally. Washington began in summer stock theater, slowly working his way into minor film and made-for-television roles, but in 1982, he landed a spot on the successful medical drama St. Elsewhere and remained there until the show's final season in 1988. The same year, he received an Oscar nomination for Best Supporting Actor in the anti-Apartheid film Cry Freedom, and in 1989, he won that same award for his performance in Glory. In 1992, he received a Best Actor nomination for his performance in Malcolm X, and in 1999, he was nominated again and also won a Golden Globe for The Hurricane. The following year, he finally won Best Actor for his role in Training Day, becoming only the second African-American actor to win Best Actor; that year, he also appeared in the Disney football drama Remember the Titans, which earned over $100 million at the box office. In 2002, Washington stepped behind the camera to direct Antwone Fisher; he has since directed The Great Debaters and produced several more movies, including The Book of Eli and several television programs. No. 31: Sandra Bullock net worth: $200 Million    Sandra Bullock net worth: Sandra Bullock is a Virginia-born actress and producer who has a net worth of $200 million. Sandra Bullock was born on July 26, 1964 in Arlington County, Virginia. She is the daughter of an American voice coach and a German opera singer. Sandra spent a good portion of her youth singing in a choir in Germany. Abandoning her University studies to pursue a career in acting, Bullock lived in New York City where she worked, attended acting classes and went on auditions, taking roles for the stage and student films. After moving to Los Angeles, Bullock maintained a steady roster of small roles until landing a major part in 1993's Demolition Man opposite Sylvester Stallone and Wesley Snipes. No. 30: Robert De Niro net worth: $200 Million    Robert De Niro net worth: Robert De Niro is an American film and stage actor, producer and director who has a net worth of $200 million. Robert De Niro is one of cinema's greatest actors with classic films such as Taxi Driver, Raging Bull, Goodfellas and The Godfather II under his belt. De Niro was born on August 14th 1943 in New York City. He was the son of two artists. His mother Virginia Admiral was a painter and his father Robert De Niro Sr. was an abstract expressionist painter and sculptor. Sadly, De Niro's parents divorced by the time he was three. De Niro was raised by his mother in Greenwich Village. No. 29: Jet Li net worth: $200 Million    Jet Li Net North: Jet Li is a Chinese film actor, film producer, martial artist and Wushu champion who has a net worth of $200 million dollars. Li Lianjie (aka Jet Li) was born April 26, 1963 in Beijing, China. He is a naturalized citizen of Singapore. As an adolescent, Jet Li received three years of intensive training with Wu Bin and won his first national championship for the Beijing Wushu Team. After retiring from Wushu as a teenager, he went on to win great acclaim in China as an actor, making his debut in the film Shaolin Temple (1982). He went on to star in many critically acclaimed martial arts epic films, most notably the Once Upon A Time in China series, in which he portrayed folk hero Wong Fei-hung. Li's first role in a Hollywood film was as a villain in Lethal Weapon 4 (1998) and his first leading role in a Hollywood film was as Han Sing in Romeo Must Die (2000). He went on to star in many Hollywood action films, including Kiss of the Dragon and Unleashed. He co-starred in The Forbidden Kingdom (2008) with Jackie Chan and as the title character villain in The Mummy: Tomb of the Dragon Emperor (2008) opposite Brendan Fraser. After a one-year hiatus from filmmaking, Jet Li returned to acting in 2010, portraying a mercenary in the film The Expendables, teaming up with action stars Sylvester Stallone, Jason Statham, Dolph Lundgren, Mickey Rourke, Eric Roberts, Steve Austin, Terry Crews, and Randy Couture. It was the third time he had teamed up with Statham. In 2012, he reprised his role briefly in the sequel The Expendables 2 and was also cast in the third film The Expendables 3. Li is a practitioner of Tibetan Buddhism. His master is Lho Kunsang. No. 28: Robert Downey Jr net worth: $220 Million    Robert Downey, Jr net worth and salary: Robert Downey, Jr is a New York-born actor and producer who has a net worth of $220 million dollars. Robert Downey, Jr is an actor, singer, and producer, who appeared in his first film at the age of five. He was born on April 4, 1965 in Manhattan, New York City. His father is a writer, actor and director. Robert Downey, Jr. is most widely recognized for his roles in such films as "Less Than Zero", "Chaplin", "Soapdish", the "Iron Man" franchise, and "Tropic Thunder". Robert most recently made headlines thanks to his massive success in the film The Avengers and as Tony "Iron Man" Stark. In a contract clause that ended up making him almost as rich as his onscreen alter-ego, Downey made a staggering $50 million cut off The Aveners' enormous box office take. And the Marvel Studios pictures aren't the only big screen blockbusters pinned on Downey Jr.'s unique onscreen charisma – the Sherlock Holmes films have also hung on his unique box office draw. And RDJ is showing no signs of slowing down in his new career as a big Hollywood blockbuster attraction. Iron Man 3 was written and directed by Shane Black, the author behind Downey's late-career cult favorite Kiss Kiss Bang Bang. No. 27: Mark Wahlberg net worth: $225 Million    Mark Wahlberg net worth: Mark Wahlberg is an American actor, rapper, and model who has a net worth of $225 million. Mark Wahlberg was born the youngest of nine children in Boston, Massachusetts. He was a troubled youth who actually served forty-five days in prison as a teenager after robbing a pharmacy. Mark later began his musical career as rapper "Marky Mark". Mark's brother Donnie was a member of boy band, New Kids on the Block. Mark's 1991 single "Good Vibrations," off the album Music for the People, was number one on the Billboard Hot 100 and later went platinum. His second album was less successful, but earned him a fan base and a reputation for dropping his pants in public. In 1992, Wahlberg was recruited as a model for Calvin Klein underwear, and his image was famously displayed on a Times Square billboard for much of the year. Soon after, he began appearing in films beginning with a made-for-TV movie. Soon Mark was attracting critics' attention with roles in movies like The Basketball Diaries, Boogie Nights, The Perfect Storm, and The Italian Job. In 2006, he earned Academy Award and Golden Globe nominations for his performance in Martin Scorsese's The Departed. Walhberg married model Rhea Durham in 2009. The couple has four children. No. 26: Salman Khan net worth: $230 Million    Salman Khan net worth: Salman Khan is an Indian film actor who has a net worth of $230 million. Salman Khan has earned this net worth by appearing in more than eighty Hindi Movies. Salman Khan was born in Indore, Madhya Pradesh, India on December, 27th 1965 and he is the eldest son of the popular screen-writer Salim Khan and his first wife Salma. Salman Khan made his acting debut with the movie Maine Pyar Kiya. He appeared in several movies after that both in the lead and small roles like the one in Biwi Ho To Aisi in 1998. For his first film he also won the FilmFare award as the best new male actor. No. 25: Jackie Chan net worth: $230 Million    Jackie Chan net worth and salary: Jackie Chan is a Hong Kong born movie star who has a net worth of $230 million. Jackie Chan was born Chan Kong Sang in Hong Kong on April 7, 1954. Today audiences around the world know Jackie as the wildly popular star of dozens of hit action and comedy films. Outside of acting, Jackie is choreographer, film maker, comedian, producer, martial artist, screenwriter, entrepreneur, singer and stunt performer. Jackie Chan is famous for his acrobatic fighting style and for his comic flair and timing. He famously does most of his own stunts. Chan, whose breakthrough came with the 1978 release of his first film, "Snake who Eagles Follow," has appeared in more than 100 films during his career to date and is a cultural icon in his home country. He is also well-known as a singer in Hong Kong, famous for tunes in "Cantopop" and "Mandopop". Jackie Chan's name also appears on the Hollywood Walk of Fame. Funny and engaging, he is extremely popular with movie fans in Hong Kong and in the United States, as well. Jackie is probably most famous to Western audiences for his appearance in the "Rush Hour" film franchise which have grossed a cumulative $845 million globally to date. No. 24: Harrison Ford net worth: $230 Million     Harrison Ford net worth: Harrison Ford is an American actor and producer who has a net worth of $230 million dollars. Harrison Ford rose to international fame after playing the role of Han Solo in the original Star Wars trilogy. His fame was further launched to the stratosphere when he played the title character in the Indiana Jones film series. Ford is also known for action films and dramatic roles, including Witness, Blade Runner, Clear and Present Danger, The Fugitive, and Patriot Games. No. 23: Brad Pitt net worth: $240 Million    Brad Pitt net worth: Brad Pitt is an award-winning film actor and producer who has net worth of $240 million. Brad Pitt was raised in Springfield Missouri but left the University of Missouri for Los Angeles two weeks prior to his graduation in order to pursue his dreams of a career in acting. After various guest appearances and minor roles, Pitt gained notoriety for his supporting role in Thelma and Louise before going on to star in the Academy-Award winning film A River Runs Through It. Pitt received tremendous praise for his performance in the highly successful 1995 crime drama Seven, which grossed $327 million worldwide. Pitt received a Golden Globe award as well as an Academy Award nomination for his next film, Twelve Monkeys. No. 22: Leonardo DiCaprio net worth: $245 Million    Leonardo DiCaprio net worth: Leonardo DiCaprio is an American actor and producer who has a net worth of $245 million. Leonardo got his start in Hollywood by appearing in a smattering of commercials and television roles as a child. His biggest early role was on the last season of Growing Pains. DiCaprio then landed the lead role in the biopic This Boy's Life and received much critical praise for this performance. Leonardo's next movie What's Eating Gilbert Grape? earned him an Academy Award nomination for best supporting actor. Dicaprio also garnered acclaim for his performances in the intense dramas, Total Eclipse and The Basketball Diaries. In 1996, DiCaprio starred in the box office hit, William Shakespeare's Romeo + Juliet which grossed $147.5 million worldwide. Following this success came the 1997 film Titanic by James Cameron. Titanic eventually smashed all box office records, won multiple awards and secured DiCaprio's place as a leading man. DiCaprio moved forward with a string of successful movies, including Steven Spielberg's Catch Me if You Can (grossed $352 million worldwide), Christopher Nolan's Inception and the award-winning film Revolutionary Road. He has starred in several films directed by the legendary Martin Scorsese including Gangs of New York (grossed $193.7 million worldwide), The Aviator (grossed $211.7 million worldwide), The Departed ($289 million worldwide) and Shutter Island. DiCaprio's credits as a producer include The Aviator and Orphan. Among DiCaprio's awards are two Blockbuster Entertainment Awards, one Golden Globe Award and numerous critics' groups' awards. No. 21: George Clooney net worth: $250 Million    George Clooney net worth: George Clooney is an American actor, screenwriter, director, and activist who has a net worth of $250 million. George Clooney is one of most sought-after A-List actors in Hollywood. Clooney was born in Lexington, Kentucky on May 6, 1961. After moving to Los Angeles, he lived in his car for a time. Although it should be noted that the car was parked in the driveway of his famous aunt Rosemary Clooney's mansion. He soon won minor roles in television shows such as The Facts of Life, Roseanne, and The Golden Girls. His first major role was on the sitcom E/R in 1984—not to be confused with his star-making role on the NBC drama ER, which began ten years later. While still on ER, he appeared in a number of films, including From Dusk til Dawn, One Fine Day, and Out of Sight. He also succeeded Val Kilmer as Batman, though he appeared only in one Batman film. No. 20: Will Smith net worth: $260 Million    Will Smith net worth: Will Smith is an actor, film producer and rapper who has a net worth of $260 million. He was consistently listed in Fortune Magazine's "Richest 40" list of the forty wealthiest Americans under the age of 40 and is a ardent philanthropist who donates to a variety of causes. Will Smith rose from modest beginnings as the son of a school administrator and refrigerator engineer in west Philadelphia, to become one of the biggest actors on the planet. He first gained recognition as a rapper alongside friend DJ Jazzy Jeff. Smith earned the first Grammy ever won for the newly formed Rap category in 1988. Smith's acting debut came in 1990 starring in the NBC sitcom The Fresh Prince of Bel-Air, which spanned six seasons and won several awards. Will Smith's film debut with the drama Where the Day Takes You, but kicked his career into high gear with a rapid succession of action films including Bad Boys, Independence Day, and Men in Black, the latter two earning worldwide revenues at $817.4 million and $589.3 million, respectfully. Smith never left music, and while working simultaneously on his films he released four solo albums, two which have gone platinum. Smith had numerous hit singles, among them "Men in Black," and "Gettin' Jiggy Wit It," earning Smith two consecutive Grammy Awards for Best Rap Solo Performance. Smith was twice nominated for an Academy Award, both for portraying real people, Muhammad Ali in Ali and Chris Gardner in The Pursuit of Happyness. In addition to acting in, Smith has also produced several of his films including I Am Legend, Seven Pounds and Hitch. Among his awards, Smith has two BET Awards, one Image Award, four MTV movie Awards, and two People's Choice Awards. He has three children, Jaden Smith, Willow Smith (with his wife, Jada Pinkett) and Trey Smith (with his first wife, Sheree Ampino). No. 19: The Olsen Twins net worth: $300 Million      Mary-Kate and Ashley Olsen have a combined net worth estimated at $300 million. They began their acting career at the age of nine months in the television sitcom Full House, which ran from 1987 to 1995 and at its peak, was in the top 20 of Neilson Ratings. Mary-Kate and Ashley earned their first awards portraying the singular role of Michelle Tanner. In 1993, the twins founded Dualstar Entertainment Group, LLC through which they used to produce a successful series of direct-to-video (The Adventures of Mary-Kate and Ashley, and You're invited to Mary-Kate and Ashley's… series) and made-for-television films, such as Double, double toil and trouble and How the West was Fun. Their last feature film together was New York Minute, theatrically released in 2004. Part of their brand is licensing their image to a number of official Olsen Twins products including books, posters, school supplies, and apparel among others. Their ready-to-wear clothing line, Mary-Kate and Ashley: Real fashion for real girls, is sold exclusively at North American Wal-Mart stores while their couture line, The Row, is sold at Barneys and other high-end retailers. Under The Row, the Olsen Twins launched a contemporary sportswear line, Elizabeth and James, named after their younger sister and older brother. Together, the Olsen Twins have four Young Artists Awards, two Kids Choices Awards and earned their star on the Hollywood Walk of Fame in 2004. No. 18: Michael Douglas net worth: $300 Million    Michael Douglas net worth: Michael Douglas is an American actor, director and producer who has a net worth of $300 million. Michael Douglas was born in New Brunswick, New Jersey, the son of legendary movie actor Kirk Douglas and Bermudian actress Diana Dill. Douglas has won three Golden Globes and two Academy Awards, first as producer of 1975's Best Picture, One Flew Over the Cuckoo's Nest and as Best Actor in 1987 for his role in Wall Street. In 2009 Douglas received the AFI Life Achievement Award. Douglas began his career co-starring with Karl Malden in the TV series The Streets of San Francisco from 1972 to 1976. Douglas formed a father/son relationship with the elder Malden until Malden's death on July 1, 2009. Douglas' current net worth is $145 million USD. No. 17: Ryan Seacrest net worth: $330 Million    Ryan Seacrest net worth: Ryan Seacrest is an American television host, radio host and entrepreneur who has a net worth of $330 million and annual income of $65 million. Ryan Seacrest is probably best known as the host of popular singing competition American Idol. He is also Casey Kasem's successor as the host of American Top 40, the legendary "countdown" radio program popularized by Kasem and continued by Seacrest today. Seacrest's big break happened in 1993, when he landed the job of hosting Radical Outdoor Challenge on ESPN. One year later, in 1994, Seacrest began hosting Gladiators 2000, a children's spin-off of the popular athletic competition American Gladiators. Eventually, Seacrest was seen as the host of NBC Saturday Night at the Movies, answering trivia questions and generally "hosting" the popular theatrical films broadcast on the network  No. 16: Tom Hanks net worth: $350 Million    Tom Hanks net worth: Tom Hanks is an American actor, director, writer and producer who has a net worth of $350 million. Tom Hanks is by far one of the most famous, highest-regarded, and best-paid actors in Hollywood. In total, Hanks' domestic lifetime box office gross is more than $4.1 billion. As of December 2013, his world total box office gross is approximately $8.3 billion. He is also the number-one, most consistent box office money making star in the world. Tom Hanks was born and raised near San Francisco, and studied drama in community college and at California State University at Sacramento until he was encouraged to join the Great Lakes Theater Festival, an internship that stretched into a three-year commitment. In 1980, he moved to New York City and landed the cross-dressing sitcom Bosom Buddies, which lasted two seasons, and which he followed up with a series of minor film roles. No. 15: Sean Connery net worth: $350 Million   Sean Connery net worth: Sean Connery is a Scottish actor and producer who has a net worth of $350 million. Sean Connery was born on August, 25, 1930 in Edinburgh, Scotland. Sir Thomas Sean Connery has won an Academy Award, Golden Globe and BAFTA during his prolific acting career. He is frequently called "the greatest James Bond of them all" but that is just one of many iconic roles he has played over the last several decades. He has appeared in many well-received films, including Indiana Jones and the Last Crusade, The Hunt for Red October, Dragonheart, The Rock, and many, many more. However, it is his appearances in the James Bond films that catapulted him into international super stardom. Connery starred in a total of seven James Bond Films. He won an Oscar for Best Supporting Actor for his role in The Untouchables. In 1999, People Magazine voted him "The Sexiest Man Alive" even though he was 69 years old at the time. More impressively, he was also named "The Sexiest Man of the Century" that same year. Connery became "Sir Sean Connery" when Queen Elizabeth elevated him to knighthood in July, 2000. He has been called "The Greatest Living Scotsman." Connery famously turned down the opportunity to play Gandlalf in the original Lord of the Rings trilogy. Had he accepted the role, he would have been given a generous percentage of backend profits. This backend deal would have ultimately resulted in an estimated $450 million salary for Sir Sean.  No. 14: Keanu Reeves net worth: $350 Million   Keanu Reeves net worth: Keanu Reeves is an actor, musician, producer and philanthropist who has a net worth of $350 million. Keanu Reeves was born in Beirut, Lebanon in 1964. Although he spent much of his early childhood globe-trotting with his family, they finally settled in Toronto and became Canadian citizens. Hampered by dyslexia, Reeves's education suffered but he compensated for this on the ice, excelling as goaltender for his high school hockey team. After performing in a school production of Romeo and Juliet, Reeves left hockey and school to pursue a career in acting. Starting out with small roles on Canadian television, commercials, and various stage productions, Reeves first appeared on the big screen in Youngblood and then in various co-starring roles. Reeves achieved box office success with the 1989 smash-hit Bill and Ted's Excellent Adventure, which domestically grossed over $40 million dollars. Reeves went on to star in a host of films, both major and independent, including the drama Point Break, the indie cult-hit My Own Private Idaho. No. 13: Jessica Alba net worth: $350 Million   Jessica Alba net worth: Jessica Alba is an American actress who has a net worth of $350 million. Jessica Alba got her big-screen start at the age of twelve when she appeared in the movie Camp Nowhere after another girl dropped out of the film. Alba made guest appearances on several television shows throughout her teens, and in 2000, she made the jump to prime time when director James Cameron selected her from a field of 1,200 candidates to star on the Fox action show "Dark Angel". Dark Angel ran until 2002 and earned Alba a Golden Globe nomination for her performance as genetically engineered super-soldier Max Guevara. No. 12: Clint Eastwood net worth: $375 Million    Clint Eastwood net worth: Clint Eastwood is an American actor, director and producer who has a net worth of $375 million. Clint Eastwood was born on May 31st, 1930 in San Francisco. His father was a migrant worker and steelworker and his mother worked in a factory. His family often had to move throughout the West Coast so his father could find work. They eventually settled in Piedmont, California where Eastwood attended both junior high school and high school. After high school he became interested in acting, though it was an interest he chose not to pursue. Instead he took on a slew of other activities including piano playing, lifeguarding, and even a brief stint in the U.S. Army. He later moved to Los Angeles and married his first wife, Maggie Johnson. One of the lucky breaks he had in the Army would be when he met Chuck Hill. Hill had contacts in the entertainment industry and would later introduce Eastwood to the director of photography Irvine Glassberg who in turn introduced him to director Arthur Libin. Libin was impressed with Eastwood's good looks and movie star appearance. Libin saw potential in Eastwood and suggested he take an acting class. Eastwood followed the advice and began going on auditions. His first part would be in the film Revenge of the Creature. He landed his first big role in the western comedy "Ginger Rogers". This would lead Eastwood to land a few other parts but it was not until 1959 that he was cast in the television series "Rawhide", that his career really took off. The show ran for six seasons and would set up Eastwood as a star of the old west. In 1964 Eastwood was cast in his first iconic role as the "Man with no name" in Sergio Leone's "A fistful of dollars". The character would go on to "For a few more dollars" and "The Good, the bad, and the ugly". The film reconfirmed Eastwood as a western hero and he would go on to star in other westerns such as "Hang em High", "Paint your wagon", and "Two Mules for sister Sara". In 1971, he would take on his other iconic role in the movie "Dirty Harry". The film caused a stir because of it's take on the law enforcement in the 70s. The film also received criticism for the way it portrayed the African American community. Though it was met with some backlash, Dirty Harry would go on to become a classic in American cinema. No. 11: Sylvester Stallone net worth: $400 Million    Sylvester Stallone net worth: Sylvester Stallone is an American actor, screenwriter, producer and director who has a net worth of $400 million dollars. Sylvester Stallone was born in New York City on July 6, 1946. He grew up in New York and in Silver Spring, Maryland. Stallone dropped out of college to pursue screenwriting. He first starred in an adult movie before landing minor roles in a number of theatrical releases. Sylvester achieved immediate A-list status with the 1976 classic film "Rocky", which he both wrote and starred in. In 1982, he appeared for the first time as John James Rambo in the movie "First Blood". This was the first of four Rambo movies. Between the two franchises, Stallone has portrayed Rocky and Rambo in a total of ten films. No. 10: Johnny Depp net worth: $400 Million    Johnny Depp net worth and salary: Johnny Depp is an American actor and producer who has a net worth of $400 million. His annual salary can reach $100 million. To date, Johnny Depp's many successful films have grossed over $3.1 billion in America and $7.6 billion worldwide at the box office. Depp was born in Kentucky and moved frequently as a child; at the age of fifteen, he dropped out of school and joined a band, and later moved to Los Angeles in pursuit of a record contract. He decided to pursue acting instead, and took minor film roles throughout the 1980s, including a role in Nightmare on Elm Street. In 1987, he won a starring role on the TV show 21 Jump Street, and in 1990 he collaborated for the first time with Tim Burton, playing the title role in Edward Scissorhands. The two would go on to collaborate on a total of seven films, including Sleepy Hollow and Charlie and the Chocolate Factory. No. 9: Jack Nicholson net worth: $400 Million    Jack Nicholson net worth and salary: Jack Nicholson is an American actor who has a net worth of $400 million. Jack Nicholson is one of the wealthiest and most-award-nominated actors in American history. Nicholson has appeared in sixty-four films and been nominated for twelve Academy Awards. He won the Academy Award for Best Actor twice, for One Flew Over the Cuckoo's Nest and for As Good as It Gets, and the Academy Award for Best Supporting Actor for Terms of Endearment. He is tied with Walter Brennan for the most performance wins by a male actor (three), and second to Katharine Hepburn for most acting wins overall (four). He is also one of only two actors — the other being Michael Caine — who has been nominated for an Academy Award for acting, either lead or supporting, in every decade since the 1960s. No. 8: Mel Gibson net worth: $425 Million   Mel Gibson is an American and Australian actor, screenwriter, director, producer and investor who has a net worth estimated at $425 million. Gibson grew up in Peekskill, New York, and moved with his famy to Australia at the age of twelve. He was educated by the Christian Brothers and attended the National Institute of Dramatic Art in Sydney, working on stage before transitioning into the Australian film scene. Gibson's first major roles were in the Mad Max series, with Mad Max Beyond Thunderdome commanding his first million-dollar salary. His first American film was the 1984 drama The River; he then appeared in 1987's Lethal Weapon, which placed him squarely on the Hollywood A-list. Notable films for Gibson include Braveheart—for which he won two Academy Awards, including Best Picture—Ransom, Conspiracy Theory, The Patriot, What Women Want, and Signs. Gibson directed his first film, The Man Without a Face, in 1993, and went on to win the Oscar for Best Director with Braveheart. He went on to direct The Passion of the Christ in 2004 and Apocalypto in 2006. Gibson married Robin Moore in 1980; the couple had seven children before divorcing in 2009, and Gibson has a daughter with his girlfriend, Russian musician Oksana Grigorieva, the same year. No. 7: Tom Cruise net worth: $470 Million    Tom Cruise Net Worth: Tom Cruise is an American actor and producer who has a net worth of $470 million. Over the last three decades, Tom Cruise has starred in dozens of major blockbuster movies and is generally considered one of the biggest stars in Hollywood. Tom Cruise spent his early years moving around the country, with a brief stint in Canada. His first taste of acting came in high school when, after a knee injury forced him off the wrestling team, Cruise won the lead role in Guys and Dolls. After high school, Cruise moved to Los Angeles to pursue a career in acting. After a handful of minor and supporting roles, Cruise had his big break with Risky Business, and secured Cruise as an up and coming star and earned him his first Golden Globe nomination. His next big hits were the 1986 film Top Gun, which grossed $356 million worldwide and 1989's Rain Man, which won four Academy Awards. Cruise's first Oscar nomination came a year later with Born on the Fourth of July, followed by a Golden Globe nomination for A Few Good Men. Cruise simultaneously starred in and produced the blockbuster hit Mission: Impossible, which grossed worldwide at $457 million and produced two more successful sequels. Other films produced by Cruise include The Last Samurai, The Others, and Shattered Glass. Cruise's second and third Academy Award nominations came with the critically and commercially successful films Jerry Maguire and Magnolia, for which he did earn a Golden Globe Award. To date, over twenty of Cruise's films have grossed well over $100 million worldwide. Tom has been married several times, to actresses Mimi Rogers, Nicole Kidman and most recently Katie Holmes. No. 6: Simon Cowell net worth: $550 Million    Simon Cowell net worth: Simon Cowell is a British music executive and television producer who has a net worth of $550 million. Simon Cowell was born in Lambeth, London, England on October 7, 1959. When you total up all of Simon's various business venture incomes, his annual salary regularly exceeds $95 million. After a smattering of odd jobs in his youth, Simon went to work for his father, Eric Philip Cowell, who was an executive at EMI Music Publishing. Initially starting out in the mail room, Simon worked his way up at the company before leaving to form his own label, E&S Music. He then went work at a company called Fanfare Records for eight years until its parent company was sold to BMG. Cowell then formed another label of his own called S-Records. No. 5: Shahrukh Khan net worth: $600 Million   Shahrukh Khan net worth: Shahrukh Khan is an actor, film producer and tv personality who has a net worth of $600 million. Shahrukh Khan earned his net worth through his many acting roles in Hindi films, such as, Kuch Kuch Hota Hai, Om Shanti Om, Rab Ne Bana Di Jodi, and many more. He received the Padma Shri for his outstanding work in Indian films and eight Filmfare Awards for Best Actor, as well as, six other Filmfare Awards. Shahrukh Khan has become one of the most well known and successful Indian Actors alive. Shahrukh opened two production companies, Dreamz Unlimited and Red Chillies Entertainment. Fans, around the world, consider Khan to be one of the greatest movie stars in history. Billions of fans follow his career through the years, and the number just seems to keep growing. No. 4: Jacqueline Gold net worth: $860 Million    Jacqueline Gold Net Worth: Jacqueline Gold is an English businesswoman who has a net worth of $860 million. Born Jacqueline S Gold on 16 July 1960, in Bromley, Kent, England, she is best known for serving as Chief Executive of Gold Group International companies Ann Summers and Knickerbox, which are managed by women, for women. At the time she joined her father's Ann Summers, the working atmosphere was completely different at the company since it was run by men or as Karen herself said, "It was all men, it was the sex industry as we all perceive it to be." As she acquired more and more information about Ann Summers of the 1970's, Karen recognized the potential to switch the focus of the business by turning it into a biz and brand that would be focused on women allowing them to shop for lingerie and sex toys in a safe and female friendly environment. In 1987, she took the helm of the company as Chief Executive, transforming it into a multi-million pound business that now has a sales force of over 7,500 women as party organizers. Even though the multinational retailer company has seen some falls in sales and profits recently, it still stands as bankable business with 136 high street stores in the UK, Ireland, Channel Islands. Whereas the acquisition of Knickerbox in 2000 added five more stores. A remarkable businesswoman as she is, Jacqueline Gold's autobiography "Good Vibrations" was published in 1995, which was followed with a second book "A Woman's Courage" published in April 2007. However, the latter fetched her a bad publicity as it led to Jaqueline being sued by a former employee for libel. The case ended with "A Woman's Courage" being withdrawn from sale and then re-published with three pages less, plus with the former employee being paid costs and substantial damages. Luckily, this unfortunate episode didn't kill Gold's aspiration to write as she serves today as a columnist for Retail Week, New Business, Kent Business and Women Mean Business. No. 3: Jami Gertz net worth: $2 Billion    Jami Gertz net worth: Jami Gertz is an American actress and philanthropist who has a net worth of $2 billion dollars. Jami Gertz's net worth is mostly derived from her marriage to LA based billionaire Tony Ressler. Ressler is the co-founder of Ares Management which has over $40 billion under management. Ressler is a former owner of the Milwaukee Brewers and was once in the running to purchase the Dodgers. Born in Chicago, Illinois, Jami Gertz attended NYU and began her professional acting career in the early 80s. She first gained notice appearing in such popular 80s programs as "Square Pegs", "Diff'rent Strokes", "The Facts of Life", "Family Ties", and "Dreams". In the mid-80s, she began appearing in film projects, including co-starring roles in "Sixteen Candles", "Solarbabies", "Less Than Zero", and "The Lost Boys". She moved to France for a few years to work as a scent designer for Lanvin, before returning and resuming her acting career in the late 80s and early 90s. She has had guest starring or co-starring roles in such television programs as "Sibs", "Seinfeld", "E.R.", "Ally McBeal", "Still Standing", "Shark", and "Entourage". She has also appeared in such films as "Twister" and "Keeping Up with the Steins". She also portrayed Gilda Radner in the 2002 television movie about her life, "Gilda Radner: It's Always Something". Most recently, she guest starred on the hit television series, "Modern Family". No.2: Oprah Winfrey net worth: $3.2 Billion $300 Million Per Year    Oprah Winfrey is a media mogul, television host, and author who has a net worth of $3.2 billion. Oprah Winfey rose from poverty, abuse, and prejudice to become one of the most influential people on the planet. Today she earns an annual salary of $315 million thanks to her highly lucrative media empire. A dedicated scholar, she excelled at school and earned a scholarship to Tennessee State University. Her career in media began in her teens when she was hired by a local radio station to announce the news. From there she moved on to television with The Oprah Winfrey Show debuting in 1984. It quickly rose to the number one talk show in Chicago, displacing Phil Donahue. When Oprah began to broadcast nationally two years later, Donahue's show was once again surpassed in ratings. No.1: Dina Merrill net worth: $5 Billion    Dina Merrill is an American heiress, socialite, philanthropist and actress who has a net worth of $5 billion. She attended the prestigious Miss Porter's School and she studied at the George Washington University for a time before dropping out to enroll at the American Academy of Dramatic Arts. They divorced in 1966. That same year she married actor Cliff Robertson and had a daughter with him. They divorced in 1986. In 1989, she married actor Ted Hartley. Dina is one of the wealthiest actress in the world, but it should be noted that the majority of her wealth comes from inheritance. Dina's mother, Marjorie Merriweather Post, was at one time the richest woman in the United States. At the age of 27 in 1914, Marjorie's father died and left her with a $250 million fortune. Her fortune is equal to $5 billion after adjusting for inflation.   

i don't know

Who played Charlie Chaplin in Richard Attenborough's 1992 film?

Chaplin (1992) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A film about the troubled and controversial life of the master comedy filmmaker Charles Chaplin . Director: From $2.99 (SD) on Amazon Video ON DISC a list of 46 titles created 11 Feb 2013 a list of 43 titles created 28 Feb 2013 a list of 40 titles created 07 Dec 2013 a list of 35 images created 03 Jul 2014 a list of 38 titles created 06 Oct 2015 Search for " Chaplin " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 3 Oscars. Another 3 wins & 11 nominations. See more awards  » Videos Edit Storyline The biography of Charlie Chaplin, filmmaker extraordinaire. From his formative years in England to his highest successes in America, Charlie's life, work, and loves are followed. While his screen characters were extremely hilarious, the man behind "The Little Tramp" was constantly haunted by a sense of loss. Written by Murray Chapman <[email protected]> He made the whole world laugh and cry. He will again. See more  » Genres: Rated PG-13 for nudity and language | See all certifications  » Parents Guide: 8 January 1993 (USA) See more  » Also Known As: Did You Know? Trivia In real life, Charles Chaplin 's eyes were reportedly very strikingly blue by those who knew him, but in the movie Robert Downey Jr. 's are a darker; medium brown/green. (They look dark brown at first glance, but the brighter lighting of his face in "Restoration" reveals a much lighter honey/syrup colour with hints of green.) See more » Goofs During Chaplin's 1921 trip to Great Britain, he rides a Southern Railway train, which pulls into St. Pancras Station. Southern Railway didn't exist until 1923. St. Pancras Station was owned by the Midland Railway, which became the London, Midland and Scottish Railway in 1923. See more » Quotes [first lines] George Hayden : Ha ha ha ha ha. Come on Charlie stop messing about, we really have to get down to it now. I just hope our friendship survives the day, that's all. Charlie Chaplin : Ha George, don't be so melodramatic. George Hayden : Well, it's your autobiography Charlie. And as your editor I have to tell you that parts of the manuscript are pretty vague, to say the least. I mean for instance, your mother. Now when did she first lose control? We need to know those facts. Charlie Chaplin : It's hard to say. She could be so wonderful, on good days... Fantastic Performance By Downey As Chaplin 24 April 2006 | by ccthemovieman-1 (United States) – See all my reviews Wow, this is one of the finest acting jobs I have seen as Robert Downey Jr. portrays the famous Charlie Chaplin. His performance includes some of Chaplin's famous slapstick moves and Downey is tremendous at executing them. To the film's credit ,it does show both the good and bad sides to this famous man. But it's definitely biased. Just check out how they portray J. Edgar Hoover, a man Hollywood loves to hate (along with any Conservative or Republican). Hoover is pictured as mean-spirited and nasty throughout, and is even blasted in the ending credits! His first speech at a dinner table, intended to show him in a negative actually shows him to be prophetic whether Tinseltown ever admits it or not. Regarding Chaplin, if the film was the truth (that's always a big "if"), then it WAS a real miscarriage of justice to kick him out of the country for having a baby he didn't produce. Nevertheless, most of the film centers around his career and his wives, most of whom were very pretty with great figures.....but too young, most of them being teenagers! Also shown nicely in the film are Chaplin's talent, his obsession with work, his great friendship with Douglas Fairbanks Jr. (Kevin Kline), the great films he produced and the sympathy he had with the American poor. On the other side, in addition to his pedophile instincts, one wonders why Chaplin never became an American citizen? They certainly did not help his cause. The movie sports a big-name cast, with Kline probably providing the most likable role next to Downey. The women were very interesting: from Geraldine Chaplin playing Charlie's insane, pathetically-sad mother to beauties like Milla Jovovich, Diane Lane and Moria Kelly, the latter playing Chaplin's final and devoted wife "Oona." Also in here are some big names: Anthony Hopkins, Dan Ackroyd, Penelope Ann Miller, Marissa Tomei, James Woods, Nancy Travis and Paul Rhys. They all help make this a memorable biography. It's beautifully filmed with a number of stunning scenes and also has a classy soundtrack. The ending is manipulative, but it works. It always brings a tear to my eye. I liked what they did at the end with the small biographies of all the leading characters and visually showing who played each one. I wish all films did that. 37 of 62 people found this review helpful.  Was this review helpful to you? Yes

Robert Downey, Jr.

Which star of Gypsy and West Side Story married Robert Wagner twice?

Chaplin: a little tramp through Charlie's love affairs | Film | The Guardian Film blog Chaplin: a little tramp through Charlie's love affairs Robert Downey Jr sparkles as the British comedy giant but Richard Attenborough's film feels somewhat dutiful around him Citizen cane … Robert Downey Jr in Chaplin (1992). Photos: Snap Stills/Rex Features Thursday 22 November 2012 05.03 EST First published on Thursday 22 November 2012 05.03 EST Entertainment grade: C+ History grade: B+ Charlie Chaplin was a British comedian who became one of the earliest and greatest stars of Hollywood cinema. Childhood The film begins with Chaplin's grim childhood in Victorian London, complete with an absentee father, a mentally ill mother (played by Geraldine Chaplin, the granddaughter of the real thing) and a stint in the workhouse. One night, when his mother sings in a music-hall show, her voice fails. Five-year-old Charlie is brought on to replace her. His precociously adorable performance brings the house down. Much though this rise-to-fame story sounds too good to be true, it is what Chaplin described in his autobiography. Love Chaplin (1992) Photograph: Snap Stills/Rex Features In adulthood, Chaplin is played by Robert Downey Jr. The film makes a big deal of the 19-year-old Chaplin's infatuation with Hetty Kelly (Moira Kelly), a 15-year-old dancer. The real Chaplin also made a big deal of this in his dotage, recalling Kelly as a formative love from whose loss he never entirely recovered. Several biographers have seized upon this convenient story to explain his lifelong weakness for slightly alarmingly young girls. It's a simplistic theory that avoids delving into the man's character at all. This may well be why Chaplin – who was defensive about his personal life – was happy to propagate it. Regrettably, the film swallows it whole. Marriage Chaplin (1992) Photograph: Snap Stills/Rex Features Chaplin heads off to the United States and accepts an offer to star in motion pictures. In California, he comes up with the character that would define him: the Little Tramp . At a party with Douglas Fairbanks (Kevin Kline, perfectly cast) and Mary Pickford (Maria Pitillo), he spots Mildred Harris (Milla Jovovich). "An actress?" says Chaplin. "A child actress," replies Pickford. "Ever hear the word 'jailbait', Charlie? That's the definition." The film skips lightly over the sad episode that followed. Mildred, just 16, claimed to be pregnant. Chaplin swiftly married her before finding out that she wasn't. Within a month or two of the wedding, she was – but the baby survived for just three days. The couple divorced the following year. Religion Chaplin (1992) Photograph: Snap Stills/Rex Features The film follows Chaplin through City Lights , The Kid, The Gold Rush , Modern Times and a couple more marriages to very young women. At a Hollywood party in the 1930s, he encounters a visiting Nazi and refuses to shake his hand. Another guest remarks, "You'll have to forgive him. He's a Jew." Chaplin replies sharply: "I'm afraid I don't have that honour." Chaplin was often presumed (and sometimes claimed) to be Jewish. The line in the film is an authentic reply he once gave to the suggestion. Both the FBI and MI5 investigated whether he was really a French Jew called Israel Thornstein – a rumour spread by Nazi sympathisers. He wasn't. The film is right that J Edgar Hoover's FBI were really trying to prove that Chaplin was a communist . Again, he wasn't. Unlike some in Hollywood, though, Chaplin was disgusted by Adolf Hitler's politics from the beginning – prompting him to make The Great Dictator . Politics Chaplin (1992) Photograph: Moviestore Collection/Rex Features Aged 53, Chaplin meets the love of his life: 17-year-old Oona O'Neill , daughter of the playwright Eugene O'Neill. In a cheesy piece of casting which is fortunately rendered almost imperceptible by the hair and makeup department, Moira Kelly – who played Chaplin's paragon Hetty Kelly at the beginning of the film – is brought back to play Oona. In September 1952, they leave for a trip to Europe. As the liner steams out of New York, Chaplin is told he will not be allowed back into the US on account of his suspect politics. In real life, this happened halfway across the Atlantic, but the film can be forgiven wanting to show it with the Statue of Liberty in the background. Retirement The film suggests Chaplin did nothing much in exile, which isn't entirely fair. He continued to make films, notably A King in New York , in which he is called before the House Un-American Activities Committee and turns a firehose on them.

i don't know

Which lyricist who has worked with Elton John and Andrew Lloyd Webber won an award for A Whole New World from Aladdin?

ABOUT THE PLAYWRIGHTS: JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT — Utah Shakespeare Festival ABOUT THE PLAYWRIGHTS: JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT ABOUT THE PLAYWRIGHTS: JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT By Lynnette Horner Like many musical partnerships, the collaboration of Andrew Lloyd Webber and Tim Rice brought together the essential elements of musical creation: a passion for their art, astronomical talent, and enough diversity to keep things interesting. Andrew Lloyd Webber attacked his career with a single-minded vision that produced dramatic spectacles such as Cats (1981), Starlight Express (1984), and Phantom of the Opera (1986). Tim Rice, as a modern Renaissance man, has shown an amazing ability to diversify his interests. In addition to collaborating with Lloyd Webber on Joseph and the Amazing Technicolor Dreamcoat (1968), Jesus Christ Superstar (1971), and Evita (1976), he has been a successful non-fiction writer, publisher, cricket player, pop song writer, radio show host, and collaborator with other music heavyweights such as Alan Menken, Aladdin and Beauty and the Beast, and Elton John, The Lion King. Andrew Lloyd Webber’s biography reads like the reincarnation of historic music geniuses. He was born into a musical family on March 22, 1948, and was raised in South Kensington, England. His father was a professor at the Royal College of Music and taught music theory and composition. His mother, also employed at the Royal College, taught piano and was a singer and violinist. At the age of three, Lloyd Webber was playing the violin; at six, he was composing music, and at nine, he was published in the magazine Music Teacher. At the age of seventeen, Lloyd Webber received the following letter from the then twenty one-year-old law student, Tim Rice: “Dearest Andrew, I’ve been told you’re looking for a “with it” writer of lyrics for your songs, and as I’ve been writing pop songs for a while and particularly enjoy writing the lyrics I wonder if you consider it worth your while meeting me. Tim Rice.” He obviously did consider it “worth his while” and thus began the collaboration of Tim Rice and Andrew Lloyd Webber. Tim Rice was born November 10, 1944, in Amersham, Buckinghamshire, England. He briefly studied law, then ended up working for EMI Records while Lloyd Webber was studying serious music. After their meeting in 1965, they began working on their first musical, The Likes of Us, which was never performed. After this time Rice wanted to compose pop songs, but Lloyd Webber, true to his vision, wanted to work on another musical. It was during this impasse that they were contacted by Alan Doggett, the head of music at Colt Court, a small preparatory school in West London. He commissioned them to write an end-of-term religious concert. During the next two months a twenty-minute “pop-cantata” version of Joseph and his colored coat was born. (Today Joseph and the Amazing Technicolor Dreamcoat is a two hour stage spectacular.) The play made its debut on March 1, 1968, and its immediate popularity demanded repeat performances in May and November of the same year. With each performance, “Joseph” got bigger and better. An early review notes that Tim Rice sang the part of Pharaoh in several of the early performances. The success of “Joseph” led to a record deal with Decca for an album that was cut in January of 1969. Perhaps Lloyd Webber and Rice felt they had really hit on something with their Bible theme and once again raided the Good Book to write Jesus Christ Superstar which premiered in 1969. In 1975 they began another venture based on the classic tales of P. G. Wodehouse and began writing the musical Jeeves. However, Rice soon lost interest and dropped out of the project. It wasn’t long, however, before they got back together to collaborate on Evita, which premiered successfully in 1976. These two enormous talents parted ways at this time to “recharge their batteries,” as Rice said, away from each other. However, unlike many other musical collaborations, both men went on to phenomenal success in solo careers. With his unique ability to mold music from disparate genres into music with wide popular appeal, Lloyd Webber’s other credits include Sunset Boulevard (1993), a rewrite of Jeeves titled Now Jeeves (1996), and his most current work, Whistle Down the Wind. In October 1982, Lloyd Webber made history by being the first person to have three smash hit musicals running simultaneously in New York and London. With the opening of Phantom of the Opera he repeated that accomplishment in 1988. He has also worn the hats of music composer for British film, producer at the London Palace Theater which he owns, and record producer. Andrew Lloyd Webber has accumulated countless awards, and his smash musicals have generated astounding box office revenues. Therefore, it is not surprising that he was named the most powerful person in American theatre in a list compiled by Theater Weekly. He was knighted in 1992 by Queen Elizabeth for services to the theater not only in the United States and the United Kingdom, but throughout the world. Tim Rice’s other musical theater credits include Blondel with Stephen Oliver, Chess with Benny Andersson and Bjorn Uvaeus (from the pop group Abba). In 1986 he co-wrote the smaller scale Cricket, again with Lloyd Webber. In 1991 he produced Tycoon from his translation of the hit French musical, Starmania. In 1993, Rice replaced the late Howard Ashman as Alan Menken’s lyricist on Disney’s Aladdin. Their song, “A Whole New World,” won them a Golden Globe and Academy Award. He also was awarded, with Elton John, the Golden Globe, Academy Award, and Ivor Novello Award for his work on Disney’s Lion King and the song, Circle of Life. As a journalist, Rice has written regular columns for national newspapers and cricket magazines, reflecting his abiding interest in the game. His continued passion for popular music not only won him the BBC Radio’s title of “Rock Brain of the Year” in 1986, but led him to co-author The Guinness Hit Singles series with Paul Gambaccini, Mike Read, and his brother Jo Rice. In 1994, Rice was granted knighthood for services to the arts, particularly music, and sports. The biographies of Andrew Lloyd Webber and Tim Rice are as yet unfinished. With the universality and diversity of the upbeat “Hakuna Matata” to the poignant “Don’t Cry for Me, Argentina,” to the passionate “Music of the Night,” their music is almost omnipresent. Hopefully, there are still many songs to be written. ×

Tim Rice

Raindrops Keep Falling On My Head was an Oscar winner from which movie with Robert Redford & Paul Newman?

Jesus Christ Superstar – About The Show Andrew Lloyd Webber » Composer Andrew Lloyd Webber is the composer of some of the world’s best-known musicals including Cats, Evita, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, The Phantom of the Opera and Sunset Boulevard. His latest musical, the hit stage version of the movie “School of Rock”, opened on Broadway in December 2015. His awards, both as composer and producer, include seven Tonys, seven Oliviers, a Golden Globe, an Oscar, the Praemium Imperiale, the Richard Rodgers Award for Excellence in Musical Theatre, a BASCA Fellowship, the Kennedy Center Honor and a Grammy for Best Contemporary Classical Composition for Requiem, his setting of the Latin Requiem mass which contains one of his best known compositions, Pie Jesu. He owns seven London theatres including the Theatre Royal, Drury Lane and the London Palladium. He was knighted by Her Majesty The Queen in 1992 and created an honorary member of the House of Lords in 1997. He is passionate about the importance of music in education and the Andrew Lloyd Webber Foundation has become one of Britain’s leading charities supporting the arts and music. Tim Rice » Lyricist TIM RICE has worked in music, theatre and films since 1965 when he met Andrew Lloyd Webber, a fellow struggling songwriter. Rather than pursue Tim’s ambitions to write rock or pop songs they turned their attention to Andrew’s obsession – musical theatre. Their first collaboration (lyrics by Tim, music by Andrew) was an unsuccessful show based on the life of Dr. Barnardo, the Victorian philanthropist, The Likes Of Us. Their next three works together were much more successful – Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar and Evita. Tim has also worked with other distinguished popular composers such as Elton John (The LionKing, Aida), Alan Menken (Aladdin, King David, Beauty and the Beast) and Bjorn Ulvaeus and Benny Andersson (Chess). His first new show for ten years, From Here To Eternity, with music by newcomer Stuart Brayson, co-produced with Lee Menzies, directed by Tamara Harvey, and with book by Bill Oakes, opened in the West End in 2013. He formed his own cricket team in 1973 and was President of the MCC in 2002. He recently wrote and presented a 52-partseries for BBC Radio 2, American Pie, a trawl through the music and musicians of every American State. He has won several awards, mainly for the wrong thing or for simply turning up. Relive The Story Arena Tour (2012) Filmed as an arena rock opera, the performance features a star-studded line-up which includes award-winning musical comedian, Tim Minchin as the role of Judas Iscariot; pop icon and former Spice Girl Melanie C as Mary Magdalene; radio DJ Chris Moyles in his stage debut as King Herod; and Ben Forster, to take on the title role of Jesus. This award-winning creative team is sure to captivate audiences and transform the hugely popular stage production into a unique, modern, state-of-the-art spectacular. Jesus Christ Superstar (2000) A bold and fresh adaptation of the classic Andrew Lloyd Webber and Tim Rice rock opera, this version released in 2000 re-orchestrates and reinterprets the 1970s version, itself a creative retelling of a celebrated, timeless tale. Shot at Pinewood Studios,this filmed stage version starring Glenn Carter and Rik Mayall captures one of the best scores Andrew Lloyd Webber has ever written and is packed with hit songs including “I Don’t Know How to Love Him”, “Gethesmane” and “Superstar”. Remastered Album (2012) The original concept album, remastered in 2012. The album features renowned rock vocalist and Deep Purple frontman Ian Gillan voicing the part of Jesus, platinum selling solo artist Murray Head as Judas Iscariot and the inimitable Yvonne Elliman in the role of Mary Magdalene. Originally released in 1970, the album achieved huge global fame, most notably in the US where it went to Number 1 on the Billboard Album Chart, keeping other seminal records by George Harrison and Led Zeppelin off the top spot and going on to sell over 7 million copies worldwide. Perform The Show If you are involved with an amateur dramatic society, school, college, church group or youth group and would like to stage a musical, then you can’t go wrong with an Andrew Lloyd Webber classic! The catalogue includes family favourites such as Cats, The Phantom of the Opera, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, Evita, Starlight Express and more. To find out more about how the licensing process works and how much it might cost to put on one of the these world-renowned musicals, visit the Stage a Musical website » (Photo: Guildford School of Acting’s production of Jesus Christ Superstar) © Really Useful Group Ltd. | All rights reserved.

i don't know

The multi-Oscar winning The Deer Hunter was about steelworkers who went to fight where?

LiveLeak.com - ‘Deer Hunter’ director Michael Cimino dies at 77 Browse Channels ‘Deer Hunter’ director Michael Cimino dies at 77 Michael Cimino, the American award-winning filmmaker best known for his Vietnam War classic “The Deer Hunter,” has died at the age of 77. He passed away on Saturday (July 2) at his home in Los Angeles. The cause of his death was not immediately known. Cimino won two Academy awards for his 1978 masterpiece “The Deer Hunter” – the story of three Pennsylvania steelworkers who go off to fight in the Vietnam War, starring Robert De Niro, Christopher Walken and John Savage. But Cimino’s career took a hit just two years later with “Heaven’s Gate,” a Western that went wildly out of budget, was a huge commercial flop and became a cautionary tale for giving directors too much power. Michael Cimino: A Filmmaker Who Dared to Dream Big https://t.co/uNqtlp36dv — Variety (@Variety) July 3, 2016 Loading the player ...

Vietnam

Which red-haired actress had the Margarita cocktail named after her as her real name was Margarita Cansino?

Oscars: What to watch for - CNN.com 1 of 88 Photos: Oscar-winning best pictures 'Wings' (1927) – The first Academy Awards were given out at a dinner on May 16, 1929. The best picture winner was 1927's "Wings," a film about World War I pilots starring Clara Bow, right, Charles "Buddy" Rogers, left, Richard Arlen and Gary Cooper. Even today, the silent film's aerial sequences stand out as some of the most exciting ever filmed. Another film, "Sunrise," was given an Oscar as most "unique and artistic production," an honor that was eliminated the next year. The academy didn't begin using a calendar year for awards until movies made in 1934 (with ceremonies held in 1935). Hide Caption 2 of 88 Photos: Oscar-winning best pictures 'The Broadway Melody' (1929) – The musical "The Broadway Melody" was the first sound film to win best picture. The film stars Charles King, Anita Page and Bessie Love. Hide Caption 3 of 88 Photos: Oscar-winning best pictures 'All Quiet on the Western Front' (1930) – "All Quiet on the Western Front," best picture of 1929-30, was the film adaptation of Erich Maria Remarque's classic novel. The film stars Lewis Wolheim and Lew Ayres and was directed by Lewis Milestone. Hide Caption 4 of 88 Photos: Oscar-winning best pictures 'Cimarron' (1931) – "Cimarron," based on the Edna Ferber novel, is best remembered for its portrayal of the 1889 Oklahoma Land Rush, which literally featured a cast of thousands. Richard Dix and Irene Dunne star in the film. Hide Caption 5 of 88 Photos: Oscar-winning best pictures 'Grand Hotel' (1932) – The all-star cast of "Grand Hotel," including Greta Garbo and John Barrymore (pictured), portrayed characters in a mix of plot lines at a Berlin hotel. The film won just the one Oscar, but has been immortalized for one of Garbo's lines of dialogue: "I want to be alone." Hide Caption 6 of 88 Photos: Oscar-winning best pictures 'Cavalcade' (1933) – "Cavalcade," based on a Noel Coward play, won the 1932-33 prize for best picture. The film follows a London family from 1899 to 1933 and stars, left to right, Una O'Connor, Diana Wynyard and Clive Brook. Hide Caption 7 of 88 Photos: Oscar-winning best pictures 'It Happened One Night' (1934) – "It Happened One Night" was one of the great underdog winners. Its studio, Columbia, wasn't considered one of the majors at the time, and neither Clark Gable nor Claudette Colbert, its stars, were excited about the project. But it became the first film to sweep the five major categories of picture, actor, actress, director and screenplay. To this day, only two other films -- "One Flew Over the Cuckoo's Nest" (1975) and "The Silence of the Lambs" (1991) -- have pulled off the same trick. Hide Caption 8 of 88 Photos: Oscar-winning best pictures 'Mutiny on the Bounty' (1935) – Clark Gable was in the best picture winner the next year as well, playing Fletcher Christian in the 1935 version of "Mutiny on the Bounty." Charles Laughton plays Captain Bligh. Hide Caption 9 of 88 Photos: Oscar-winning best pictures 'The Great Ziegfeld' (1936) – Luise Rainer stars in "The Great Ziegfeld." She picked up an Oscar for best actress, though William Powell, who played the title figure, came up empty (although he was nominated for another movie, "My Man Godfrey"). Hide Caption 10 of 88 Photos: Oscar-winning best pictures 'The Life of Emile Zola' (1937) – "The Life of Emile Zola" won three Oscars, including best picture. The film is a biography of the famed French author. Star Paul Muni was nominated for best actor but lost to Spencer Tracy ("Captains Courageous"). Hide Caption 11 of 88 Photos: Oscar-winning best pictures 'You Can't Take It With You' (1938) – "You Can't Take It With You" is one of the rare comedies to win best picture. The film, based on the George Kaufman and Moss Hart play, stars James Stewart, Jean Arthur and Lionel Barrymore. It also won a best director Oscar for Frank Capra, Capra's third in five years. Hide Caption 12 of 88 Photos: Oscar-winning best pictures 'Gone With the Wind' (1939) – Still considered one of the great Hollywood epics, 1939's "Gone With the Wind" won 10 Oscars, including best picture and best actress for star Vivien Leigh, right. Though Clark Gable was nominated for best actor, he lost to Robert Donat ("Goodbye, Mr. Chips") in one of the great Oscar upsets. Hide Caption 13 of 88 Photos: Oscar-winning best pictures 'Rebecca' (1940) – After "Gone With the Wind," producer David O. Selznick scored again with another adaptation of a best-seller, Daphne du Maurier's "Rebecca." He brought Alfred Hitchcock from Britain to direct Laurence Olivier and Joan Fontaine in a tale of a shy young woman living in the shadow of her husband's first wife. "Rebecca" was not only Hitchcock's first American film, but also his only one to win a best picture Oscar. Hide Caption 14 of 88 Photos: Oscar-winning best pictures 'How Green Was My Valley' (1941) – The movie many critics regard as the greatest American film didn't win the best picture Oscar for 1941. Orson Welles' "Citizen Kane" lost to a film directed by another classic director, John Ford, who helped re-create a Welsh mining village in California for "How Green Was My Valley." Roddy McDowall, left, and Walter Pidgeon starred. Hide Caption 15 of 88 Photos: Oscar-winning best pictures 'Mrs. Miniver' (1942) – Hollywood's war effort went full throttle with William Wyler's "Mrs. Miniver" starring Walter Pidgeon and Greer Garson as a heroic couple whose family endures German air raids during the Battle of Britain. Garson also won the best actress award and received much flak for a lengthy acceptance speech that became the stuff of Hollywood legend. Hide Caption 16 of 88 Photos: Oscar-winning best pictures 'Casablanca' (1943) – We'll always have Bogart and Bergman, aka Rick and Ilsa, in Michael Curtiz's "Casablanca." Nobody at Warner Bros. expected this movie, based on an unproduced play, "Everybody Comes to Rick's," to be a classic when it came out, but the American Film Institute ranked this best picture winner as the third-greatest U.S. film more than 60 years later. Hide Caption 17 of 88 Photos: Oscar-winning best pictures 'Going My Way' (1944) – Hollywood's favorite crooner became its favorite priest. Bing Crosby, left, won the best actor award as Father Chuck O'Malley in "Going My Way." He encountered resistance from a crusty old priest (Barry Fitzgerald) when he tried to help an impoverished church parish. Hide Caption 18 of 88 Photos: Oscar-winning best pictures 'The Lost Weekend' (1945) – With World War II coming to an end, Hollywood turned to dark subject matter, such as alcoholism in Billy Wilder's "The Lost Weekend." Star Ray Milland, left, won the best actor award as a writer on a binge. Howard Da Silva was the bartender. Hide Caption 19 of 88 Photos: Oscar-winning best pictures 'The Best Years of Our Lives' (1946) – Veterans Fredric March, pictured, Dana Andrews and Harold Russell returned home to adjust to life in post-war America in this William Wyler classic. Myrna Loy, Teresa Wright and Cathy O'Donnell were the women in their lives who also found the world much more complicated with the war's end. Russell, a real vet, lost both hands in World War II. Hide Caption 20 of 88 Photos: Oscar-winning best pictures 'Gentleman's Agreement' (1947) – Elia Kazan's "Gentleman's Agreement" continued Hollywood's exploration of more serious subject matter, this time anti-Semitism. Gregory Peck, right, plays a reporter who goes undercover posing as a Jew, making his girlfriend (Dorothy McGuire) face uncomfortable truths about her upper class WASP life. A young Dean Stockwell played Peck's son. Hide Caption 21 of 88 Photos: Oscar-winning best pictures 'Hamlet' (1948) – A British film took home the best picture Oscar when Laurence Olivier directed himself in an Oscar-winning role as Shakespeare's famous Danish prince who cannot make up his mind. Olivier trimmed the play's text and chose to do Hamlet's famous soliloquy ("To be, or not to be, that is the question") as a voice-over. Jean Simmons was Ophelia. Hide Caption 22 of 88 Photos: Oscar-winning best pictures 'All the King's Men' (1949) – Unlike the 2006 remake with Sean Penn, this adaptation of Robert Penn Warren's Pulitzer Prize-winning novel was a critical and box-office success. Star Broderick Crawford also won the best actor award for his role as Willie Stark, a cynical politician who rises to become governor. Any resemblance to Louisiana's Huey Long was mere coincidence. Hide Caption 23 of 88 Photos: Oscar-winning best pictures 'All About Eve' (1950) – Director Joseph L. Mankiewicz's screenplay about an aging actress (Bette Davis, right) battling a scheming newcomer (Anne Baxter) remains one of the most quotable movies ever almost 65 years after its release. "All About Eve" held the record for a movie with the most Oscar nominations (14) until "Titanic" tied it in 1997. A young Marilyn Monroe, center, also attracted attention in an early role. As Margo Channing (Davis' character) would say, "Fasten your seat belts, it's going to be bumpy night!" Hide Caption 24 of 88 Photos: Oscar-winning best pictures 'An American in Paris' (1951) – This MGM musical with Gene Kelly as an aspiring artist who falls for Leslie Caron in the City of Light faced stiff competition at the Oscars. But "An American in Paris" scored a major upset when it beat dramatic heavyweights "A Place in the Sun" and "A Streetcar Named Desire" for best picture. Hide Caption 25 of 88 Photos: Oscar-winning best pictures 'The Greatest Show on Earth' (1952) – Producer-director Cecil B. DeMille had been making epics since the silents, but none had won best picture until "The Greatest Show on Earth," a 1952 circus spectacular with Betty Hutton, pictured, and Charlton Heston. Many critics and fans dismiss the movie as one of the worst best picture Oscar winners. "Singin' in the Rain," considered Hollywood's greatest movie musical , wasn't even nominated that year. Hide Caption 26 of 88 Photos: Oscar-winning best pictures 'From Here to Eternity' (1953) – Facing the strict movie censorship of the 1950s, director Fred Zinnemann's version of "From Here to Eternity" considerably toned down James Jones' tough and profane novel about military life in Hawaii on the eve of the Pearl Harbor attack. But Burt Lancaster and Deborah Kerr's sexy tryst on the beach made waves among moviegoers. Hide Caption 27 of 88 Photos: Oscar-winning best pictures 'On the Waterfront' (1954) – Marlon Brando, right, went up against corrupt union boss Lee J. Cobb in Elia Kazan's "On the Waterfront." In one of moviedom's most famous scenes that inspired countless future actors, Brando confronts his brother, a union lawyer played by Rod Steiger, in the back seat of a car: "I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am." Hide Caption 28 of 88 Photos: Oscar-winning best pictures 'Marty' (1955) – Hollywood studios saw television as the enemy in the 1950s as Americans stayed home in droves to watch series such as "I Love Lucy." But live TV plays soon were providing material for movies, including 1955's best picture winner, "Marty." Ernest Borgnine won stardom and the best actor award as a lonely butcher in the Paddy Chayefsky drama. Hide Caption 29 of 88 Photos: Oscar-winning best pictures 'Around the World in 80 Days' (1956) – Responding to the competition from TV, the movies turned increasingly to epics in the 1950s such as producer Mike Todd's "Around the World in 80 Days." The picture was based on Jules Verne's novel and starred Shirley MacLaine, David Niven and Cantinflas as well as dozens of other celebrities in cameo roles, such as Noel Coward, Marlene Dietrich, Red Skelton and Frank Sinatra. Hide Caption 30 of 88 Photos: Oscar-winning best pictures 'The Bridge on the River Kwai' (1957) – Director David Lean proved filmmakers could make intelligent epics such as "The Bridge on the River Kwai." Already a star in British films, Alec Guinness won international fame and a best actor Oscar as a British colonel held prisoner with his men in a Japanese camp during World War II. Hide Caption 31 of 88 Photos: Oscar-winning best pictures 'Gigi' (1958) – For one of its last great musicals, MGM turned to Alan Jay Lerner and Frederick Loewe after their success with "My Fair Lady" to create a musical based on Colette's "Gigi." The Vincente Minnelli film with Louis Jourdan, center, and Leslie Caron, right, won every Oscar it was nominated for (nine), including best picture and director. Legendary French star Maurice Chevalier had a memorable song with "Thank Heaven for Little Girls." Hide Caption 32 of 88 Photos: Oscar-winning best pictures 'Ben-Hur' (1959) – Biblical epics were all the rage in the 1950s, and none more so than William Wyler's "Ben-Hur." The movie won a then-record 11 Academy Awards, including best picture, director (Wyler) and actor (Charlton Heston, right). The chariot scene undoubtedly helped ensure "Ben-Hur's" No. 2 ranking on the American Film Institute's list of greatest epics. Hide Caption 33 of 88 Photos: Oscar-winning best pictures 'The Apartment' (1960) – Long before "Mad Men," Billy Wilder's "The Apartment" skewered corporate life of the early 1960s. Up-and-comer Jack Lemmon stays busy loaning his apartment key to company men who need a place to cheat on their wives. He falls for Shirley MacLaine, center, who is having an affair with one of the bosses ("My Three Sons' " Fred MacMurray in an unsympathetic role). Hide Caption 34 of 88 Photos: Oscar-winning best pictures 'West Side Story' (1961) – "West Side Story" used the streets of New York as backdrops for this musical version of "Romeo and Juliet." The Jets and Sharks replaced the Montagues and Capulets as rival gangs ready to rumble, leading to tragedy for young lovers Tony (Richard Beymer) and Maria (Natalie Wood). The film took home 10 Oscars, including best supporting actor (George Chakiris), supporting actress (Rita Moreno) and direction (Robert Wise and Jerome Robbins, the first time the award was shared). Hide Caption 35 of 88 Photos: Oscar-winning best pictures 'Lawrence of Arabia' (1962) – David Lean created the epic of all epics with "Lawrence of Arabia." Peter O'Toole , left, with Omar Sharif, became a superstar with his portrayal of T.E. Lawrence, the legendary British officer who helped lead the Arab revolt against the Ottoman Empire in World War I. The movie won seven Oscars, including for Lean's direction. Hide Caption 36 of 88 Photos: Oscar-winning best pictures 'Tom Jones' (1963) – Albert Finney tackled the amorous title role in "Tom Jones," a British comedy based on Henry Fielding's novel about a foundling raised by a wealthy landowner. Diane Cilento, right, was one of his conquests. Tony Richardson also won the Oscar for his direction of the film. Hide Caption 37 of 88 Photos: Oscar-winning best pictures 'My Fair Lady' (1964) – Julie Andrews' fans were upset when the original Broadway star of "My Fair Lady" wasn't chosen for the film of the Lerner-Loewe musical. Audrey Hepburn may not have been convincing as a guttersnipe in the opening scenes of George Cukor's best picture winner, but no one could deny she was ravishing in Cecil Beaton's costumes once Eliza Doolittle had been transformed into a swan. Hide Caption 38 of 88 Photos: Oscar-winning best pictures 'The Sound of Music' (1965) – Forget the recent live broadcast of the Richard Rodgers and Oscar Hammerstein musical on NBC with Carrie Underwood. For many movie fans, Julie Andrews remains the one and only Maria, governess to the von Trapp children in Austria on the eve of World War II. Marni Nixon, who dubbed the singing voices of Natalie Wood in "West Side Story," Deborah Kerr in "The King and I" and Audrey Hepburn in "My Fair Lady," had her first on-screen role as a nun. Not only did "The Sound of Music" win best picture, it was also for a time the biggest moneymaker ever. Hide Caption 39 of 88 Photos: Oscar-winning best pictures 'A Man for All Seasons' (1966) – Paul Scofield re-created his stage role as Sir Thomas More in Fred Zinnemann's film version of the Robert Bolt drama "A Man for All Seasons." The film portrayed More as a man of conscience who refused to recognize King Henry VIII as head of the Church of England because of his denial of the Pope's authority. Scofield and director Zinnemann both won Oscars for their work. Susannah York, right, co-starred. Hide Caption 40 of 88 Photos: Oscar-winning best pictures 'In the Heat of the Night' (1967) – Youth-oriented movies began taking over Hollywood by 1967, the year of "Bonnie and Clyde" and "The Graduate." But the best picture winner went to Norman Jewison's "In the Heat of the Night," an old-fashioned crime drama in which an African-American detective (Sidney Poitier, left) goes South to solve a murder, working with a reluctant redneck sheriff (Rod Steiger). Poitier played the role of Virgil Tibbs in two sequels, and the movie later spawned a hit TV series with Carroll O'Connor. Hide Caption 41 of 88 Photos: Oscar-winning best pictures 'Oliver!' (1968) – This best picture winner was a musical adaptation of Charles Dickens' "Oliver Twist" with Mark Lester as an orphan who teams up with other young pickpockets led by an old criminal. Carol Reed also took home the Oscar for best director. Two of 1968's best-remembered movies, Stanley Kubrick's "2001: A Space Odyssey" and Roman Polanski's "Rosemary's Baby," weren't even nominated for best picture. Hide Caption 42 of 88 Photos: Oscar-winning best pictures 'Midnight Cowboy' (1969) – John Schlesinger's "Midnight Cowboy" was the first best picture Oscar winner to be rated X, reflecting the easing of censorship in the late '60s. The movie established Jon Voight, right, as a star for his portrayal of a dumb, naive Texan who fancies himself a gigolo to rich women in New York but ends up a hustler. Fresh from "The Graduate," co-star Dustin Hoffman as con man Ratso Rizzo proved he was one of the top actors of his generation. Hide Caption 43 of 88 Photos: Oscar-winning best pictures 'Patton' (1970) – George C. Scott made Oscar history when he became the first actor to refuse the award. Scott played the title role in this biography of volatile World War II Gen. George S. Patton Jr. The film, directed by Franklin J. Schaffner, reportedly was one of President Richard Nixon's favorite films. Hide Caption 44 of 88 Photos: Oscar-winning best pictures 'The French Connection' (1971) – Gene Hackman as Detective "Popeye" Doyle goes after hit man Marcel Bozzuffi in William Friedkin's "The French Connection." This best picture winner about New York cops trying to stop a huge heroin shipment from France features one of the movies' most memorable chase scenes. Hide Caption 45 of 88 Photos: Oscar-winning best pictures 'The Godfather' (1972) – With his career in decline for nearly a decade, Marlon Brando scored a comeback as Don Vito Corleone, the aging patriarch of a crime family, in Francis Ford Coppola's "The Godfather." Brando won his second Oscar for best actor (which he refused), and the movie made a superstar of Al Pacino as the son who takes over the "family business." The movie ranked No. 2 on the American Film Institute's list of the top 100 U.S. films. Hide Caption 46 of 88 Photos: Oscar-winning best pictures 'The Sting' (1973) – Teaming up again after "Butch Cassidy and the Sundance Kid" (1969), Paul Newman and Robert Redford in best picture winner "The Sting" helped make the buddy film one of the key movie genres of the '70s. The two played con men in 1930s Chicago in the George Roy Hill movie, which featured the music of ragtime composer Scott Joplin. Hide Caption 47 of 88 Photos: Oscar-winning best pictures 'The Godfather: Part II' (1974) – Al Pacino returned as Michael Corleone in "The Godfather: Part II," which became the first sequel to win the best picture Oscar. Francis Ford Coppola received the best director award this time, and newcomer Robert De Niro won the best supporting actor Oscar playing Vito Corleone as a young man. Coppola's "The Godfather: Part III," released in 1990, did not repeat the success of the first two films. Hide Caption 48 of 88 Photos: Oscar-winning best pictures 'One Flew Over the Cuckoo's Nest' (1975) – "One Flew Over the Cuckoo's Nest" captured all four top Academy Awards, a feat that had not been accomplished in more than 40 years (not since "It Happened One Night.") Besides best picture, the movie took home Oscars for best director (Milos Forman), actor (Jack Nicholson) and actress (Louise Fletcher). It won a fifth for best adapted screenplay. In this film of Ken Kesey's novel, Nicholson, second from left, struck a chord with audiences as McMurphy, a rebellious inmate in a mental institution who faces off against the ultimate authority figure, Nurse Ratched (Fletcher). Hide Caption 49 of 88 Photos: Oscar-winning best pictures 'Rocky' (1976) – Sylvester Stallone, left, as struggling boxer Rocky Balboa, gets his shot at the championship against Carl Weathers as Apollo Creed in this best picture winner. Like its hero, "Rocky" was an underdog, a low-budget film written by Stallone, then an unknown actor, that became one of the decade's biggest sleeper hits. Stallone would go on to make five sequels. Hide Caption 50 of 88 Photos: Oscar-winning best pictures 'Annie Hall' (1977) – Moviegoers fell in love with Diane Keaton in her Oscar-winning role as the ditsy, insecure heroine of Woody Allen's autobiographical "Annie Hall." Her thrift-store fashions and offbeat sayings ("La-di-da, la-di-da") became hallmarks of the late '70s. Allen won Oscars for best director and original screenplay (with Marshall Brickman) for the film. Hide Caption 51 of 88 Photos: Oscar-winning best pictures 'The Deer Hunter' (1978) – Hollywood began to explore the Vietnam War in the late '70s. Michael Cimino's "The Deer Hunter" examined the effects on steelworkers, from left, John Cazale, Chuck Aspegren, Robert De Niro, John Savage and Christopher Walken. Cimino and Walken also won Oscars for best director and best supporting actor, respectively. Hide Caption 52 of 88 Photos: Oscar-winning best pictures 'Kramer vs. Kramer' (1979) – Dustin Hoffman played a bewildered dad who had paid little attention to family life until his wife leaves him and he has to raise their son (Justin Henry, right) alone in "Kramer vs. Kramer." A bitter custody battle ensues once the wife (played by Meryl Streep) decides she wants her son back. Both Hoffman (best actor) and Streep (best supporting actress) won Oscars for their roles, and Robert Benton took home direction and writing honors for the film. Hide Caption 53 of 88 Photos: Oscar-winning best pictures 'Ordinary People' (1980) – Timothy Hutton, right, played a suicidal young man struggling to cope with the death of his brother in "Ordinary People," the first film directed by actor Robert Redford. Donald Sutherland, left, was his helpless father, and Mary Tyler Moore surprised audiences with her portrayal as Hutton's icy, controlling mother. Hide Caption 54 of 88 Photos: Oscar-winning best pictures 'Chariots of Fire' (1981) – In another Oscar sleeper, "Chariots of Fire," a small British film about two English runners competing in the 1924 Olympics, beat Warren Beatty's epic film "Reds" for best picture. "Chariots" won four Oscars, including one for its stirring score by Vangelis. The theme music also hit No. 1 on the pop charts. Beatty wasn't entirely shut out: He picked up the Oscar for best director. Hide Caption 55 of 88 Photos: Oscar-winning best pictures 'Gandhi' (1982) – Director Richard Attenborough's epic, three-hour film about the life of Mohandas K. "Mahatma" Gandhi won eight Oscars. Ben Kingsley, here with Candice Bergen, played the inspiring leader who used nonviolent tactics to help establish the modern country of India. Among the films it beat for best picture: "E.T. The Extra-Terrestrial" and "Tootsie." Hide Caption 56 of 88 Photos: Oscar-winning best pictures 'Terms of Endearment' (1983) – Debra Winger, Shirley MacLaine and Jack Nicholson starred in James L. Brooks' adaptation of Larry McMurtry's novel about an up-and-down mother-daughter relationship. Brooks produced, directed and wrote the film and won Oscars for all three (best picture goes to the producer); to this day, he's the only person to pull off the trick solo. Hide Caption 57 of 88 Photos: Oscar-winning best pictures 'Amadeus' (1984) – Another epic, "Amadeus" was based on Peter Shaffer's award-winning play about composer Wolfgang Amadeus Mozart (Tom Hulce) and his rival, Antonio Salieri. The film won eight Oscars, including awards for director Milos Forman -- his second, after "One Flew Over the Cuckoo's Nest" -- and star F. Murray Abraham, who played Salieri. Hide Caption 58 of 88 Photos: Oscar-winning best pictures 'Out of Africa' (1985) – Isak Dinesen's autobiographical book was turned into a movie that won seven Oscars. Meryl Streep stars as the independent-minded Danish author who spent part of her married life in British East Africa, later Kenya. She falls for a big-game hunter, played by Robert Redford, while her fragile marriage falls apart. Hide Caption 59 of 88 Photos: Oscar-winning best pictures 'Platoon' (1986) – "Platoon" made headlines in 1986 for its blunt and unsparing look at the U.S. experience in Vietnam. It follows a small group of men, including leaders Willem Dafoe, pictured, and Tom Berenger, who play on the loyalties of raw recruit Charlie Sheen. The film made director and writer Oliver Stone, himself a Vietnam veteran, a household name. "Platoon" won four Oscars, including best picture and best director. Hide Caption 60 of 88 Photos: Oscar-winning best pictures 'The Last Emperor' (1987) – Director Bernardo Bertolucci's film about the life of Chinese emperor Puyi won nine Oscars -- quite an achievement, considering it was nominated for zero awards in the acting categories. Besides best picture, it also won best director, best adapted screenplay and best cinematography, among others. Hide Caption 61 of 88 Photos: Oscar-winning best pictures 'Rain Man' (1988) – Though "Rain Man" is ostensibly about the relationship between Dustin Hoffman's autistic Raymond Babbitt and his brother, Charlie (Tom Cruise), it's probably best remembered for Hoffman's performance as a savant who can do complicated calculations in his head, count cards in Las Vegas and never miss an episode of Judge Joseph Wapner's "People's Court." The film won four Oscars, including a best actor award for Hoffman and a best director trophy for Barry Levinson. Hide Caption 62 of 88 Photos: Oscar-winning best pictures 'Driving Miss Daisy' (1989) – Stage actress Jessica Tandy finally became a movie star at age 80 as an Atlanta Jewish matriarch who develops a close relationship with her driver, Hoke, played by Morgan Freeman, in Bruce Beresford's film of Alfred Uhry's Pulitzer Prize-winning play. "Driving Miss Daisy" didn't compete for best picture against some of the year's most acclaimed movies -- "Sex, Lies, and Videotape," "Do the Right Thing" and "Drugstore Cowboy" weren't nominated for the top award. Hide Caption 63 of 88 Photos: Oscar-winning best pictures 'Dances With Wolves' (1990) – In what was essentially a two-horse race, Kevin Costner's three-hour "Dances With Wolves" faced off against one of Martin Scorsese's best, "Goodfellas." "Dances With Wolves," about a Civil War soldier who falls in with a Lakota tribe in the American West, was the decisive winner, earning best picture, best director for Costner and best adapted screenplay for Michael Blake, three of its seven Oscars. "Goodfellas" won just one: Joe Pesci's best supporting actor trophy. Hide Caption 64 of 88 Photos: Oscar-winning best pictures 'The Silence of the Lambs' (1991) – It's rare that a film released early in the year manages to even get nominated for best picture, not to mention winning the award, but "Lambs" -- based on the Thomas Harris novel about a serial killer helping an FBI agent to catch another killer -- took home best picture, best actor (Anthony Hopkins, who plays Hannibal Lecter), best actress (Jodie Foster), best director (Jonathan Demme) and best adapted screenplay. Hopkins' performance had relatively little screen time -- less than 20 minutes -- but was so commanding he can be credited for the continuing fascination with Lecter, who now headlines an NBC series. Hide Caption 65 of 88 Photos: Oscar-winning best pictures 'Unforgiven' (1992) – "It's a hell of a thing, killing a man," says Clint Eastwood's gunfighter, William Munny, in "Unforgiven" -- and, indeed, the Western can be seen as one of Eastwood's many meditations on the impact of violence in society. The actor and director plays Munny, a retired outlaw who is drawn back into his old role to avenge himself on a brutal sheriff (Gene Hackman). "Unforgiven" was just the third Western to win best picture, after "Cimarron" (1931) and "Dances With Wolves" (1990). Hide Caption 66 of 88 Photos: Oscar-winning best pictures 'Schindler's List' (1993) – By 1993, Steven Spielberg was already known as one of the great directors in Hollywood history, but an Oscar had eluded him. That changed with "Schindler's List," a gripping story about a German industrialist who saved more than 1,000 Jews during the Holocaust. The film earned honors for picture, director, adapted screenplay and cinematography. Hide Caption 67 of 88 Photos: Oscar-winning best pictures 'Forrest Gump' (1994) – Tom Hanks plays a Southern bumpkin who always seems to be in proximity to great events, whether they be the Vietnam War, U.S.-Chinese ping-pong diplomacy or the writing of "Imagine." Though some critics hooted, the film was a popular success and also won Oscars for Hanks, director Robert Zemeckis and adapted screenplay -- six in all. Hide Caption 68 of 88 Photos: Oscar-winning best pictures 'Braveheart' (1995) – Mel Gibson directed and starred in the story of Scottish warrior William Wallace, who led the Scottish army against English invaders led by King Edward I. The film won five Oscars, including best picture and best director, and has led to countless sports teams yelling "Freedom!" as they go up against opponents. Hide Caption 69 of 88 Photos: Oscar-winning best pictures 'The English Patient' (1996) – Some found it lyrical. Others, such as an episode of "Seinfeld," mocked it as boring. Either way, "The English Patient," with Ralph Fiennes and Kristin Scott Thomas, was a huge hit with audiences and critics -- and with the academy, which bestowed nine Oscars on the film about a burned British soldier and a loving nurse. Among the winners: director Anthony Minghella and supporting actress Juliette Binoche. Hide Caption 70 of 88 Photos: Oscar-winning best pictures 'Titanic' (1997) – In the months leading up to its release, "Titanic" was rumored to be as big a disaster as the ship on which its story was based. But director James Cameron had the last laugh: When the final results were tallied, "Titanic," with Leonardo DiCaprio and Kate Winslet, had become the biggest box-office hit of all time (since surpassed by another Cameron film, "Avatar") and winner of 11 Oscars in 1997 -- the most of any film since 1959's "Ben-Hur." Cameron took home a trophy for best director, too. Hide Caption 71 of 88 Photos: Oscar-winning best pictures 'Shakespeare in Love' (1998) – Was the film really that good or had Harvey Weinstein, its co-producer and head of studio Miramax, done an exceptionally good job at lobbying? Either way, there were gasps when best picture went to "Shakespeare" and not to favorite "Saving Private Ryan." Still, "Shakespeare" had plenty going for it, including an Oscar-winning best actress performance by Gwyneth Paltrow (here with Joseph Fiennes) and a clever script by Marc Norman and Tom Stoppard. It won seven Oscars total. Hide Caption 72 of 88 Photos: Oscar-winning best pictures 'American Beauty' (1999) – Kevin Spacey stars as a frustrated middle manager who develops a crush on one of his daughter's friends (Mena Suvari) in "American Beauty." Besides the big prize, the film won best director for Sam Mendes and best actor for Spacey as part of its five Oscars. Also immortalized: a plastic bag blowing in the breeze. Hide Caption 73 of 88 Photos: Oscar-winning best pictures 'Gladiator' (2000) – Russell Crowe stars as Maximus in "Gladiator," the hugely successful Ridley Scott film about a warrior in ancient Rome. The film took home five Oscars, including best actor for Crowe. Hide Caption 74 of 88 Photos: Oscar-winning best pictures 'A Beautiful Mind' (2001) – "A Beautiful Mind," the story of troubled mathematician John Nash (Russell Crowe) and his battle with mental illness, won four Oscars. Hide Caption 75 of 88 Photos: Oscar-winning best pictures 'Chicago' (2002) – For years, musicals had had a rough time at the Oscars -- indeed, they'd had a rough time in Hollywood, period -- until 2002's "Chicago" won best picture. The movie, which stars Renee Zellweger as a wily murderess in 1920s Chicago, won six Oscars. Hide Caption 76 of 88 Photos: Oscar-winning best pictures 'Lord of the Rings: The Return of the King' (2003) – The final film in Peter Jackson's "The Lord of the Rings" trilogy, "The Return of the King," swept all 11 categories in which it was nominated -- including best picture. From left, Elijah Wood, Andy Serkis and Sean Astin play three of J.R.R. Tolkien's characters: Frodo Baggins, Gollum and Samwise Gamgee. Hide Caption 77 of 88 Photos: Oscar-winning best pictures 'Million Dollar Baby' (2004) – "Million Dollar Baby" is about an old trainer (Clint Eastwood, left, with Morgan Freeman and Hilary Swank) who takes on a female boxer, with unforeseen consequences. The film won four Oscars, including a directing prize for Eastwood, best actress for Swank and best supporting actor for Freeman. Hide Caption 78 of 88 Photos: Oscar-winning best pictures 'Crash' (2005) – Few best pictures have been as polarizing as "Crash," about the criss-crossing lives of several Los Angeles residents. The film touches on issues of race and justice and stars -- among many others -- Thandie Newton and Matt Dillon. Hide Caption 79 of 88 Photos: Oscar-winning best pictures 'The Departed' (2006) – Director Martin Scorsese's films were often well-reviewed but couldn't win the big prize, until "The Departed," about a Boston gangster and some corrupt cops. The film stars Leonardo DiCaprio, left, Ray Winstone, and Jack Nicholson, right. Hide Caption 80 of 88 Photos: Oscar-winning best pictures 'No Country for Old Men' (2007) – The Coen brothers' grim "No Country for Old Men," about a Texas drug deal gone wrong, won four Oscars. Javier Bardem received a best supporting actor award for his portrayal of the brutal enforcer Anton Chigurh, who carries around a lethal bolt gun and doesn't hesitate to use it. Hide Caption 81 of 88 Photos: Oscar-winning best pictures 'Slumdog Millionaire' (2008) – Another little movie that paid off big, "Slumdog Millionaire" was slated to go straight to video until its American distributor found a partner. The sleeper film, about a poor Indian man (Dev Patel, left) whose success on "Who Wants to Be a Millionaire" is questioned by a suspicious detective, won eight Oscars. Hide Caption 82 of 88 Photos: Oscar-winning best pictures 'The Hurt Locker' (2009) – In a David-vs.-Goliath scenario, "Avatar," James Cameron's big-budget box office king, was pitted against "The Hurt Locker," a low-budget film about a bomb disposal unit in the Iraq War. "The Hurt Locker" won six Oscars, including best picture and best director (Kathryn Bigelow, one of Cameron's ex-wives). Hide Caption 83 of 88 Photos: Oscar-winning best pictures 'The King's Speech' (2010) – "The King's Speech," about England's King George VI and how he overcame his stutter, won four Oscars, including a best actor trophy for star Colin Firth. Hide Caption 84 of 88 Photos: Oscar-winning best pictures 'The Artist' (2011) – Jean Dujardin and Bérénice Bejo star in "The Artist," the first (mostly) silent film to win best picture since 1927's "Wings." The film, about the fall and rise of a silent film star, won five Oscars. Hide Caption 85 of 88 Photos: Oscar-winning best pictures 'Argo' (2012) – "Argo," based on a 1980 operation to free some of the American hostages during the Iran hostage crisis, won three Oscars: best picture, best adapted screenplay and best film editing. Ben Affleck, right, directed and starred. Hide Caption 86 of 88 Photos: Oscar-winning best pictures '12 Years a Slave' (2013) – Benedict Cumberbatch, left, and Chiwetel Ejiofor appear in "12 Years a Slave," which won the Oscar in 2013. The story of Solomon Northup (Ejiofor), a free African-American man who was kidnapped and sold into slavery, won three awards: best picture, best supporting actress (Lupita Nyong'o) and best adapted screenplay (John Ridley). Hide Caption 1 of 89 Photos: Oscar-winning best actors Emil Jannings (1929) – The first best actor Oscar went to Emil Jannings at the academy's inaugural ceremony held in 1929. Jannings received the honors for two films: 1927's "The Way of All Flesh" and 1928's "The Last Command." Hide Caption 2 of 89 Photos: Oscar-winning best actors Warner Baxter (1930) – Warner Baxter, right, earned the best actor Oscar for his role as the Cisco Kid in "In Old Arizona" (1929). Baxter appears here with best actress winner Mary Pickford at the April 1930 awards ceremony, which recognized films made between August 1, 1928, and July 31, 1929. Baxter loved the role so much he reprised it twice more, in "The Cisco Kid" (1931) and again in "The Return of the Cisco Kid" (1939). Hide Caption 3 of 89 Photos: Oscar-winning best actors George Arliss (1930) – George Arliss won the best actor Oscar for "Disraeli," apparently also beating himself since he was nominated for that film and "The Green Goddess." In the early years of the Oscar, a single nomination could recognize more than one role. However, for reasons not entirely clear, the actor won solely for "Disraeli." Perhaps it was a glitch on behalf of the academy, or perhaps voters truly preferred his portrayal as the famed British prime minister. The November 1930 awards ceremony recognized work from 1929 and 1930. Hide Caption 4 of 89 Photos: Oscar-winning best actors Lionel Barrymore (1931) – Lionel Barrymore, here with "Min and Bill" best actress winner Marie Dressler, won the best actor Oscar for his work in "A Free Soul." Barrymore played an alcoholic lawyer whose daughter gets involved with a mobster he helped go free. Hide Caption 5 of 89 Photos: Oscar-winning best actors Wallace Beery (1932) – The previous year's Oscar winner Lionel Barrymore, left, presents Wallace Beery, right, with the best actor Oscar for "The Champ." Beery tied that year with Fredric March in "Dr. Jekyll and Mr. Hyde." Hide Caption 6 of 89 Photos: Oscar-winning best actors Fredric March (1932) – Fredric March, right, was honored the same year as Wallace Beery for "Dr. Jekyll and Mr. Hyde." Beery actually received one less vote than March, which it resulted in a tie winner according to academy rules of the day. Hide Caption 7 of 89 Photos: Oscar-winning best actors Charles Laughton (1934) – British actor Charles Laughton won the best actor Oscar for the title role "The Private Life of Henry VIII" (1933), beating out Leslie Howard in "Berkeley Square" (1933) and Paul Muni in "I Am a Fugitive From a Chain Gang" (1932). The sixth awards ceremony was held in March 1934 and recognized movies released from August 1, 1932, to December 31, 1933. Hide Caption 8 of 89 Photos: Oscar-winning best actors Clark Gable (1935) – Clark Gable's status as a Hollywood icon was cemented when the box-office star won the best actor Oscar for Frank Capra's "It Happened One Night" (1934). The screwball comedy was a massive hit with academy voters at the February 1935 ceremony, sweeping the five big categories -- best picture, best director (Capra), best adapted screenplay and best actress (Claudette Colbert). Hide Caption 9 of 89 Photos: Oscar-winning best actors Victor McLaglen (1936) – Victor McLaglen, left, beat out two earlier Oscar winners to claim the best actor prize for "The Informer." He was up against Charles Laughton and Clark Gable, both nominated for their roles in best picture winner "Mutiny on the Bounty." McLaglen appears with best actress winner Bette Davis and filmmaker D.W. Griffith of "The Birth of a Nation" fame at the March 1936 ceremony. Hide Caption 10 of 89 Photos: Oscar-winning best actors Paul Muni (1937) – After two earlier best actor nominations, Paul Muni finally won for the title role in "The Story of Louis Pasteur," the first of several biographical films he made at Warner Bros. Hide Caption 11 of 89 Photos: Oscar-winning best actors Spencer Tracy (1938) – Spencer Tracy, left, with co-star Freddie Bartholomew, won his first best actor Oscar as a Portuguese fisherman in "Captains Courageous." He beat out Oscar-winning actors Fredric March in "A Star Is Born" and Paul Muni in "The Life of Emile Zola." It was Tracy's second nomination. Hide Caption 12 of 89 Photos: Oscar-winning best actors Spencer Tracy (1939) – Spencer Tracy takes home his second best actor Oscar for "Boys Town." He appears here with Bette Davis, best actress for "Jezebel," at the ceremony held in 1939. Hide Caption 13 of 89 Photos: Oscar-winning best actors Robert Donat (1940) – Robert Donat's Oscar win for "Goodbye, Mr. Chips" was definitely a surprise. Donat earned the honors for his title role as a schoolteacher, beating out some strong performances, including Clark Gable in "Gone With the Wind," James Stewart in "Mr. Smith Goes to Washington" and Laurence Olivier in "Wuthering Heights." Hide Caption 14 of 89 Photos: Oscar-winning best actors James Stewart (1941) – After losing the Oscar a year earlier for his iconic role in "Mr. Smith Goes to Washington," James Stewart received the award playing a reporter who falls for Katharine Hepburn in "The Philadelphia Story." Stewart and best actress winner Ginger Rogers celebrate their wins at the ceremony held in 1941. Hide Caption 15 of 89 Photos: Oscar-winning best actors Gary Cooper (1942) – James Stewart, right, bestows pal Gary Cooper with the statuette for "Sergeant York." Cooper nabbed the win over Orson Welles, whose "Citizen Kane" also lost out on the best picture award but has become the epitome of a Hollywood classic. Hide Caption 16 of 89 Photos: Oscar-winning best actors James Cagney (1943) – Gary Cooper, right, congratulates James Cagney for his best actor win in "Yankee Doodle Dandy" at the Oscar ceremony held in 1943. Cooper, also a nominee for "The Pride of the Yankees," didn't seem to hold a grudge against Cagney. Hide Caption 17 of 89 Photos: Oscar-winning best actors Paul Lukas (1944) – Character actor Paul Lukas faced stiff competition from stars Humphrey Bogart ("Casablanca") and Gary Cooper ("For Whom the Bell Tolls"), but he was able to take home the Oscar for "Watch on the Rhine." Lukas and best actress winner Jennifer Jones celebrate at the ceremony held in 1944. Hide Caption 18 of 89 Photos: Oscar-winning best actors Bing Crosby (1945) – Bing Crosby, right, and co-star Barry Fitzgerald find a reason to celebrate after the 1945 awards ceremony. They won the best actor and best supporting actor awards, respectively, for "Going My Way." Hide Caption 19 of 89 Photos: Oscar-winning best actors Ray Milland (1946) – Ray Milland had a prolific career for decades -- including a standout role in Alfred Hitchcock's "Dial M for Murder" -- but he received only one Oscar nomination. Luckily, he made it count, winning the best actor prize for his role as an alcoholic writer in "The Lost Weekend." Ingrid Bergman presents Milland with the prize at the 1946 ceremony. Hide Caption 20 of 89 Photos: Oscar-winning best actors Fredric March (1947) – Fredric March, right, Dana Andrews, center, and Harold Russell struck a chord with postwar audiences as servicemen returning home in "The Best Years of Our Lives." March picked up his second Oscar for the role. Hide Caption 21 of 89 Photos: Oscar-winning best actors Ronald Colman (1948) – Ronald Colman, far right, a star since the silent days, picked up the best actor Oscar as a jealous actor in "A Double Life." Coleman appears with the year's other winners at the 1948 ceremony -- from left, Darryl Zanuck, producer of best picture "Gentleman's Agreement," best actress Loretta Young, best supporting actor Edmund Gwenn and best supporting actress Celeste Holm. Hide Caption 22 of 89 Photos: Oscar-winning best actors Laurence Olivier (1949) – Laurence Olivier's commitment to bringing Shakespeare's "Hamlet" to the screen paid off handsomely at the Oscars. Olivier walked away with the best actor Oscar in the title role, and "Hamlet" also won for best picture. Here Olivier appears with best actress winner Jane Wyman in 1949. Hide Caption 23 of 89 Photos: Oscar-winning best actors Broderick Crawford (1950) – Broderick Crawford, second from left, pushed past Kirk Douglas, Gregory Peck, Richard Todd and John Wayne to win the best actor Oscar with "All the King's Men." Crawford appears with best supporting actress winner Mercedes McCambridge, far left, best actress winner Olivia de Havilland and best supporting actor winner Dean Jagger at the 1950 ceremony. Hide Caption 24 of 89 Photos: Oscar-winning best actors José Ferrer (1951) – Puerto Rican-born José Ferrer became the first Hispanic to win an Oscar when he was named best actor for "Cyrano de Bergerac." Here he appears with Gloria Swanson, left, and Judy Holliday (best actress for "Born Yesterday") in 1951. Hide Caption 25 of 89 Photos: Oscar-winning best actors Humphrey Bogart (1952) – Claire Trevor can't resist giving Humphrey Bogart a kiss backstage at the 1952 Oscars ceremony after he won the best actor award for "The African Queen." Bogart beat out Marlon Brando in "A Streetcar Named Desire," Fredric March in "Death of a Salesman" and Montgomery Clift in "A Place in the Sun." Hide Caption 26 of 89 Photos: Oscar-winning best actors Gary Cooper (1953) – Gary Cooper won his second best actor award for the classic Western "High Noon" with Grace Kelly. Among Cooper's competitors were Kirk Douglas in "The Bad and the Beautiful," José Ferrer in "Moulin Rouge," Alec Guinness in "The Lavender Hill Mob" and Marlon Brando in "Viva Zapata!" Hide Caption 27 of 89 Photos: Oscar-winning best actors William Holden (1954) – William Holden celebrates his best actor win for "Stalag 17" with best supporting actress winner Donna Reed at the Oscar ceremony in 1954. It was the actor's second nomination; his first was for Billy Wilder's 1950 classic "Sunset Boulevard." Hide Caption 28 of 89 Photos: Oscar-winning best actors Marlon Brando (1955) – Oscars host Bob Hope, right, might have tried, but there was no way Marlon Brando was parting with his best actor award at the 1955 ceremony. Brando had lost three years in a row before then, but the actor's luck finally changed with "On the Waterfront." Hide Caption 29 of 89 Photos: Oscar-winning best actors Ernest Borgnine (1956) – Ernest Borgnine faced heavy competition for best actor, beating out James Dean ("East of Eden"), Frank Sinatra ("The Man With the Golden Arm"), James Cagney ("Love Me or Leave Me") and Spencer Tracy ("Bad Day at Black Rock"). Backstage at the 1956 ceremony, Borgnine holds the Oscar for his portrayal of a lonely butcher in "Marty." Hide Caption 30 of 89 Photos: Oscar-winning best actors Yul Brynner (1957) – Yul Brynner repeated his stage success as the King of Siam, winning the best actor Oscar for "The King and I." He's pictured at the 1957 ceremony. Hide Caption 31 of 89 Photos: Oscar-winning best actors Alec Guinness (1958) – British actor Alec Guinness will always be known to "Star Wars" fans as Obi-Wan Kenobi, but he had an illustrious career on stage and screen long before the George Lucas blockbuster. After losing an earlier Oscar nomination, he finally won the best actor award as a World War II British officer in "The Bridge on the River Kwai." Hide Caption 32 of 89 Photos: Oscar-winning best actors David Niven (1959) – David Niven, right, joins fellow Oscar winners Burl Ives and Susan Hayward at the 1959 ceremony after winning the best actor award for "Separate Tables." The actor fought off competition from Tony Curtis and Sidney Poitier, both up for "The Defiant Ones"; Paul Newman in "Cat on a Hot Tin Roof"; and Spencer Tracy in "The Old Man and the Sea." Hide Caption 33 of 89 Photos: Oscar-winning best actors Charlton Heston (1960) – Charlton Heston helped "Ben-Hur" to win a record 11 Academy Awards, shutting out Jack Lemmon, James Stewart, Paul Muni and Laurence Harvey as best actor. Heston appears with French actress Simone Signoret (best actress for "Room at the Top") at the 1960 ceremony. Hide Caption 34 of 89 Photos: Oscar-winning best actors Burt Lancaster (1961) – Burt Lancaster was a winner two times over at the 1961 Oscar ceremony. He won the best actor prize for the title role in "Elmer Gantry," and he had glamorous Elizabeth Taylor, best actress winner for "Butterfield 8," by his side backstage. Hide Caption 35 of 89 Photos: Oscar-winning best actors Maximilian Schell (1962) – Maximilian Schell won the best actor Oscar over his "Judgment at Nuremberg" co-star Spencer Tracy. Schell had previously portrayed the character of German lawyer Hans Rolfe in a television version of "Judgment." Hide Caption 36 of 89 Photos: Oscar-winning best actors Gregory Peck (1963) – Gregory Peck's performance as lawyer Atticus Finch in the film of Harper Lee's novel, "To Kill a Mockingbird," was a standout to academy voters. He beat out some stiff competition for best actor: Peter O'Toole for "Lawrence of Arabia" and Burt Lancaster for "Birdman of Alcatraz." Here Peck and his wife, Veronique, attend an Oscar after-party in 1963. Hide Caption 37 of 89 Photos: Oscar-winning best actors Sidney Poitier (1964) – Sidney Poitier became the first African-American to win the best actor Oscar -- for his work in "Lilies of the Field." Poitier had been nominated once before for "The Defiant Ones." Interestingly, Poitier was the only one of the four acting category winners present at the 1964 ceremony. Hide Caption 38 of 89 Photos: Oscar-winning best actors Rex Harrison (1965) – Who didn't fall in love with "My Fair Lady"? The academy sure did. Rex Harrison took the best actor prize for his role as Henry Higgins at the 1965 ceremony, and the musical won best picture honors, among others. But Audrey Hepburn's performance has Eliza Doolittle wasn't even nominated -- the Oscar went to Julie Andrews for "Mary Poppins." Hide Caption 39 of 89 Photos: Oscar-winning best actors Lee Marvin (1966) – Lee Marvin won the Oscar for his comic role in "Cat Ballou" over dramatic heavyweights such as Laurence Olivier in "Othello," Richard Burton in "The Spy Who Came in From the Cold," Rod Steiger in "The Pawnbroker" and Oskar Werner in "Ship of Fools." Here, Marvin appears with then-girlfriend Michelle Triola in 1966. Hide Caption 40 of 89 Photos: Oscar-winning best actors Paul Scofield (1967) – Paul Scofield also was up against some heavyweight actors, particularly Richard Burton in "Who's Afraid of Virginia Woolf?" But Scofield, here with Susannah York, won for his work as Thomas More in the period drama "A Man for All Seasons." Hide Caption 41 of 89 Photos: Oscar-winning best actors Rod Steiger (1968) – Sidney Poitier may have been the star of the detective drama "In the Heat of the Night," but he was snubbed in the Oscars race. It wasn't that academy voters didn't love the movie though: "In the Heat of the Night" won best picture as well as best actor for Poitier's co-star, Rod Steiger, here holding his Oscar at the 1968 ceremony. Hide Caption 42 of 89 Photos: Oscar-winning best actors Cliff Robertson (1969) – Cliff Robertson's portrayal of a mentally challenged man in the drama "Charly" was enough to bowl over competition such as Peter O'Toole and Alan Arkin. Hide Caption 43 of 89 Photos: Oscar-winning best actors John Wayne (1970) – The best actor category was fierce the year John Wayne won the gold for "True Grit." In only his second nomination, the Hollywood legend beat out newcomers Dustin Hoffman and Jon Voight in "Midnight Cowboy" as well as Richard Burton in "Anne of the Thousand Days" and Peter O'Toole in "Goodbye, Mr. Chips." Barbra Streisand congratulates Wayne at the 1970 ceremony. Hide Caption 44 of 89 Photos: Oscar-winning best actors George C. Scott (1971) – "Patton" features one of the most readily recognizable images in films -- that of George C. Scott's general standing in front of the American flag -- and it was as critically acclaimed as it was popular. But while "Patton" nabbed the best picture title and a best actor Oscar for Scott, the actor was having none of it. He refused to accept the prize, calling the politics surrounding the ceremony "demeaning" and likening the Oscars to a "two-hour meat parade." Hide Caption 45 of 89 Photos: Oscar-winning best actors Gene Hackman (1972) – Everyone wanted in on "The French Connection," and star Gene Hackman was rewarded handsomely with the best actor award at the 1972 ceremony. Hide Caption 46 of 89 Photos: Oscar-winning best actors Marlon Brando (1973) – An Oscar is an honor most stars would never refuse, but Marlon Brando did when the academy bestowed him with the best actor prize for "The Godfather" at the 1973 ceremony. Brando, who had won the award once before, said he was protesting the portrayal of Native Americans on TV and in film. Hide Caption 47 of 89 Photos: Oscar-winning best actors Jack Lemmon (1974) – The academy loved to nominate Jack Lemmon, but it wasn't always so quick to give him the prize. The star's luck changed when "Save the Tiger" earned him a best actor Oscar. Hide Caption 48 of 89 Photos: Oscar-winning best actors Art Carney (1975) – For Art Carney, there were two phrases that helped him secure the best actor Oscar for "Harry and Tonto." "Do it! You are old," words of wisdom that came from his agent. Hide Caption 49 of 89 Photos: Oscar-winning best actors Jack Nicholson (1976) – After losing out four times as an Oscar nominee, Jack Nicholson triumphantly claimed his prize for "One Flew Over the Cuckoo's Nest." Hide Caption 50 of 89 Photos: Oscar-winning best actors Peter Finch (1977) – "Network's" Peter Finch faced some tough competition for the best actor award. He was up against Robert De Niro in "Taxi Driver" and Sylvester Stallone in best picture winner "Rocky" as well as his "Network" co-star, William Holden. Finch died two months before the March 1977 ceremony and became the first actor to win an Oscar posthumously. Hide Caption 51 of 89 Photos: Oscar-winning best actors Richard Dreyfuss (1978) – John Travolta in "Saturday Night Fever" and Woody Allen in "Annie Hall" have become prime examples of characters in '70s films, but Richard Dreyfuss' performance as a struggling actor in "The Goodbye Girl" stood out the most to academy voters at the time. Here the actor accepts his prize at the 1978 ceremony. Hide Caption 52 of 89 Photos: Oscar-winning best actors Jon Voight (1979) – Jon Voight had been nominated for a best actor Oscar once before for 1969's "Midnight Cowboy," but it was the Vietnam War drama "Coming Home" that finally earned him the honors. Hide Caption 53 of 89 Photos: Oscar-winning best actors Dustin Hoffman (1980) – Like Jack Nicholson before him, Dustin Hoffman was forever the bridesmaid and never the bride. But after losing for "Midnight Cowboy," "The Graduate" and "Lenny," Hoffman got to accept the award at the 1980 ceremony, thanks to his work in best picture winner "Kramer vs. Kramer." Hide Caption 54 of 89 Photos: Oscar-winning best actors Robert De Niro (1981) – Robert De Niro faced movie greats such as Peter O'Toole and Jack Lemmon in the best actor category. De Niro had already won the best supporting actor Oscar for "The Godfather: Part II," and academy voters couldn't help but hand him the best actor prize for "Raging Bull" -- especially since he gained nearly 60 pounds to play Jake LaMotta as an aging boxer. Hide Caption 55 of 89 Photos: Oscar-winning best actors Henry Fonda (1982) – After being a movie legend for more than 40 years, Henry Fonda won his first competitive Oscar for "On Golden Pond." His co-star, Katharine Hepburn, also shined in the movie as his wife, picking up her fourth best actress prize. Hide Caption 56 of 89 Photos: Oscar-winning best actors Ben Kingsley (1983) – Ben Kingsley's portrayal in "Gandhi" was the performance to beat in that year's best actor Oscar race, and neither Dustin Hoffman in "Tootsie" nor Paul Newman in "The Verdict" could compete. Hide Caption 57 of 89 Photos: Oscar-winning best actors Robert Duvall (1984) – Robert Duvall won the best actor prize for his performance as a country singer in "Tender Mercies." Hide Caption 58 of 89 Photos: Oscar-winning best actors F. Murray Abraham (1985) – F. Murray Abraham's performance as Salieri in "Amadeus" rocked academy voters, who named him best actor. Hide Caption 59 of 89 Photos: Oscar-winning best actors William Hurt (1986) – "Out of Africa" dominated the Oscars at the 1986 ceremony, but William Hurt picked up the best actor award for his portrayal of a gay imprisoned man in "Kiss of the Spider Woman." Hide Caption 60 of 89 Photos: Oscar-winning best actors Paul Newman (1987) – Paul Newman's performance in "The Color of Money" struck Oscar gold. It was the actor's first competitive Oscar win, but he wasn't there to accept it -- he'd joked that, after showing up and losing six other times, he might finally nab the prize if he stayed away. Hide Caption 61 of 89 Photos: Oscar-winning best actors Michael Douglas (1988) – Gordon Gekko's creed of greed was very, very good to Michael Douglas. The star -- and son of another frequent Oscar nominee, Kirk Douglas -- earned his first Oscar nomination and first win for best actor for his role as the ruthless corporate raider in "Wall Street." Here Douglas appears with Marlee Matlin at the 1988 ceremony. Hide Caption 62 of 89 Photos: Oscar-winning best actors Dustin Hoffman (1989) – Awards came pouring in for "Rain Man" with Dustin Hoffman, left, as an autistic savant and Tom Cruise as his younger brother. Hoffman picked up his second best actor Oscar and received congratulations from Cruise at the 1989 ceremony. Cruise wasn't even nominated, but he was probably just fine with starring in the best picture winner. Hide Caption 63 of 89 Photos: Oscar-winning best actors Daniel Day-Lewis (1990) – Before Daniel Day-Lewis became so revered he could strike fear in the hearts of Oscar competitors, the British performer proved his mettle with the biopic "My Left Foot," earning his first best actor Oscar. It was no easy task: Day-Lewis was up against Morgan Freeman in "Driving Miss Daisy," Kenneth Branagh in "Henry V," Tom Cruise in "Born on the Fourth of July" and Robin Williams in "Dead Poets Society." Hide Caption 64 of 89 Photos: Oscar-winning best actors Jeremy Irons (1991) – We suppose the academy couldn't justify giving Kevin Costner the best director, best picture and the best actor prize for "Dances With Wolves," so Jeremy Irons took home the statuette for best actor for his role as Claus von Bülow in "Reversal of Fortune." Hide Caption 65 of 89 Photos: Oscar-winning best actors Anthony Hopkins (1992) – Anthony Hopkins absolutely killed as Hannibal Lecter in "The Silence of the Lambs," so it wasn't surprising that he secured the best actor Oscar for the role. Hide Caption 66 of 89 Photos: Oscar-winning best actors Al Pacino (1993) – Before "Scent of a Woman," Al Pacino had been nominated for best actor four times and best supporting actor twice without winning. But the star's moment to accept the best actor Oscar finally came at the 1993 ceremony. Pacino may have won for "Scent of a Woman," but he also lost that year in the best supporting actor category for "Glengarry Glen Ross." Hide Caption 67 of 89 Photos: Oscar-winning best actors Tom Hanks (1994) – Little did anyone know that when Tom Hanks won the best actor Oscar for the legal drama "Philadelphia" he'd be back at the Oscars very soon, and in a very different role. Hide Caption 68 of 89 Photos: Oscar-winning best actors Tom Hanks (1995) – Tom Hanks proved his versatility when he won the best actor Oscar for the second year in a row. His prize this time was for his performance as the mentally challenged but indefatigable "Forrest Gump." Hide Caption 69 of 89 Photos: Oscar-winning best actors Nicolas Cage (1996) – Nicolas Cage may now be the butt of Internet jokes -- surely you've seen him swing from a "Wrecking Ball" ? -- but he was the man to beat at the 1996 Oscar ceremony. Cage won the best actor prize for "Leaving Las Vegas," his first nomination and first win. Hide Caption 70 of 89 Photos: Oscar-winning best actors Geoffrey Rush (1997) – Some actors languish as nominees for years before winning an Oscar, but Geoffrey Rush won the best actor prize on his first try with "Shine." Hide Caption 71 of 89 Photos: Oscar-winning best actors Jack Nicholson (1998) – By now, everyone knew what a powerhouse Jack Nicholson was, but he reminded moviegoers again with "As Good as It Gets," picking up yet another best actor Oscar. Hide Caption 72 of 89 Photos: Oscar-winning best actors Roberto Benigni (1999) – Italian actor Roberto Benigni was unknown to American audiences before "Life Is Beautiful," but he stole the show at the 1999 Oscars ceremony. The academy gave him the best actor Oscar for "Life Is Beautiful," which also won the prize for best foreign-language film. Hide Caption 73 of 89 Photos: Oscar-winning best actors Kevin Spacey (2000) – "American Beauty" was a cynical look at American middle class life with a new century arriving. Star Kevin Spacey received the best actor award for his portrayal of a middle-aged man who lusts after his teenage daughter's friend. The film also won best picture, director (Sam Mendes) and original screenplay (Alan Ball). Hide Caption 74 of 89 Photos: Oscar-winning best actors Russell Crowe (2001) – The academy fawned over Russell Crowe's "Gladiator," a sword and sandals epic that picked up honors for best picture, best costume design, best sound, best visual effects and best actor -- the first win for the Australian Crowe. Hide Caption 75 of 89 Photos: Oscar-winning best actors Denzel Washington (2002) – Denzel Washington has a reputation as a nice guy in Hollywood, so his transformation into the monstrous detective Alonzo in "Training Day" was incredible to watch. After already winning a best supporting actor statuette for "Glory," Washington took home the best actor award for "Training Day," making him the first African-American to win both. Hide Caption 76 of 89 Photos: Oscar-winning best actors Adrien Brody (2003) – Adrien Brody appeared so thrilled when he won best actor award for "The Pianist" he even got Oscar presenter Halle Berry caught up in the moment with a passionate kiss at the 2003 ceremony. "I bet they didn't tell you that was in the gift bag," he joked when he finished. It was his first nomination and win. Hide Caption 77 of 89 Photos: Oscar-winning best actors Sean Penn (2004) – The Oscar race for best actor was a tough one when Sean Penn faced off with Jude Law for "Cold Mountain" and Bill Murray for "Lost in Translation," among others. In the end, it was Penn's work in "Mystic River" that earned him his first Academy Award. Hide Caption 78 of 89 Photos: Oscar-winning best actors Jamie Foxx (2005) – Before "Ray," Jamie Foxx was known primarily as a comedian -- the kind who would star in a popcorn flick like "Booty Call." But after his portrayal of singer Ray Charles in a musical biography, people realized he had been underestimated as an actor. The academy started paying attention, too, and gave Foxx two nominations for the 2005 ceremony: one for best actor for "Ray" and another for best supporting actor for "Collateral." He didn't win in the best supporting category, but we bet he's been able to live with that loss. Hide Caption 79 of 89 Photos: Oscar-winning best actors Philip Seymour Hoffman (2006) – Philip Seymour Hoffman 's portrayal of writer Truman Capote in "Capote" was the kind of rock-solid immersion audiences had come to expect from the actor. He got his due with the best actor award -- his only Oscar. Hide Caption 80 of 89 Photos: Oscar-winning best actors Forest Whitaker (2007) – Until "The Last King of Scotland," Forest Whitaker had been completely overlooked by the academy. But after he turned in a masterful portrayal of Ugandan dictator Idi Amin, academy voters handed him the Oscar. Hide Caption 81 of 89 Photos: Oscar-winning best actors Daniel Day-Lewis (2008) – If Daniel Day-Lewis is in the running, chances are there will be an award for him. The actor won his second best actor Oscar for "There Will Be Blood." He receives the award from Helen Mirren at the 2008 ceremony. Hide Caption 82 of 89 Photos: Oscar-winning best actors Sean Penn (2009) – Sean Penn, here with best actress Kate Winslet, left, and best supporting actress Penelope Cruz, gave the performance of a lifetime as openly gay politician and activist Harvey Milk in "Milk." The academy rewarded Penn with his second best actor Oscar at the 2009 ceremony. Hide Caption 83 of 89 Photos: Oscar-winning best actors Jeff Bridges (2010) – Jeff Bridges was understandably ecstatic when he won the best actor Oscar for "Crazy Heart." Bridges had been nominated four times before, and, with competition from George Clooney in "Up in the Air" and Jeremy Renner in "The Hurt Locker," his wasn't an obvious win. So when his name was called at the 2010 ceremony, Bridges relished the moment in his acceptance speech : "Thank you, mom and dad, for turning me on to such a groovy profession," he said. Hide Caption 84 of 89 Photos: Oscar-winning best actors Colin Firth (2011) – Colin Firth's portrayal of King George VI's fight to overcome a speech impediment beat out Jesse Eisenberg ("The Social Network") and James Franco ("127 Hours"), among others, to win the best actor Oscar. Hide Caption 85 of 89 Photos: Oscar-winning best actors Jean Dujardin (2012) – "The Artist," a silent, black-and-white movie, was a celebration of old-school film. Its star, French actor Jean Dujardin, seemed to have a virtual lock on the best actor Oscar, even though he was competing against the likes of George Clooney and Brad Pitt. When awards night arrived in 2012, Dujardin walked away with the prize. Hide Caption 86 of 89 Photos: Oscar-winning best actors Daniel Day-Lewis (2013) – Once again, the Oscar race for best actor was jam-packed with amazing performances, from Bradley Cooper in "Silver Linings Playbook" to Denzel Washington in "Flight." But Daniel Day-Lewis completely transformed himself into the 16th U.S. president for Steven Spielberg's "Lincoln," and he walked away with the honors at the 2013 ceremony, becoming the first three-time best actor winner. Hide Caption 87 of 89 Photos: Oscar-winning best actors Matthew McConaughey (2014) – Matthew McConaughey won the Oscar in 2014 for his role in "Dallas Buyers Club" as Ron Woodroof, an HIV-positive man who smuggles drugs to AIDS patients. Co-star Jared Leto was named best supporting actor. Hide Caption 1 of 89 Photos: Oscar-winning best actresses Janet Gaynor (1929) – Douglas Fairbanks Sr. hands Janet Gaynor her best actress Oscar in 1929 for Gaynor's performance in the 1927 film ''Sunrise." It was the first best actress Oscar ever awarded. Hide Caption 2 of 89 Photos: Oscar-winning best actresses Mary Pickford (1930) – In 1930, there were actually two Oscar ceremonies. Actress Mary Pickford, seen here, receives her best actress Oscar in April 1930 for her performance in the 1929 film "Coquette." Hide Caption 3 of 89 Photos: Oscar-winning best actresses Norma Shearer (1930) – Norma Shearer receives a best actress Oscar in October 1930 for her role in "The Divorcee." Giving her the award is Conrad Nagel, who starred with her in the film released earlier that year. Hide Caption 4 of 89 Photos: Oscar-winning best actresses Marie Dressler (1931) – Marie Dressler and Lionel Barrymore collect their best actress and best actor Oscars in 1931. Dressler won for "Min and Bill" and Barrymore won for "A Free Soul." Hide Caption 5 of 89 Photos: Oscar-winning best actresses Helen Hayes (1932) – Film producer Louis B. Mayer presents the best actress Oscar to Helen Hayes for her role in "The Sin of Madelon Claudet." Hide Caption 6 of 89 Photos: Oscar-winning best actresses Katharine Hepburn (1934) – Douglas Fairbanks Jr. and Katharine Hepburn appear in the 1933 film "Morning Glory." Hepburn's performance earned her the best actress Oscar in 1934. There was no Academy Awards ceremony in 1933; films from that year and the last half of 1932 were eligible to win at the 1934 ceremony. Hide Caption 7 of 89 Photos: Oscar-winning best actresses Claudette Colbert (1935) – Claudette Colbert won the best actress Oscar in 1935 for "It Happened One Night," a film that was the first to win all five of the major Academy Award categories -- best picture, best director, best actor, best actress and best screenplay. Hide Caption 8 of 89 Photos: Oscar-winning best actresses Bette Davis (1936) – Bette Davis and film producer Jack L. Warner hold Davis' best actress Oscar at the ceremony held in 1936. Davis won her first Oscar for her role in the film "Dangerous." Hide Caption 9 of 89 Photos: Oscar-winning best actresses Luise Rainer (1937) – Luise Rainer, second from left, is seen at the 1937 ceremony with, from left, Louis B. Mayer, Louise Tracy and Frank Capra. Rainer won for "The Great Ziegfeld." Hide Caption 10 of 89 Photos: Oscar-winning best actresses Luise Rainer (1938) – For her performance in "The Good Earth," Luise Rainer won the best actress Oscar for the second consecutive year. Hide Caption Bette Davis (1939) – Bette Davis won her second Oscar in 1939, this time for "Jezebel." Hide Caption 12 of 89 Photos: Oscar-winning best actresses Vivien Leigh (1940) – Vivien Leigh accepts her Oscar in 1940 for her performance in "Gone With the Wind." Hide Caption 13 of 89 Photos: Oscar-winning best actresses Ginger Rogers (1941) – Actors James Stewart and Ginger Rogers smile after winning Oscars in 1941. Stewart won best actor for his performance in "The Philadelphia Story," while Rogers won best actress for her performance in "Kitty Foyle: The Natural History of a Woman." Hide Caption 14 of 89 Photos: Oscar-winning best actresses Joan Fontaine (1942) – Joan Fontaine looks at the best actress Oscar she won for her role in the film "Suspicion." Hide Caption 15 of 89 Photos: Oscar-winning best actresses Greer Garson (1943) – After winning the best actress Oscar in 1943, Greer Garson gets a congratulatory kiss from her "Mrs. Miniver" co-star Walter Pidgeon. Hide Caption 16 of 89 Photos: Oscar-winning best actresses Jennifer Jones (1944) – Jennifer Jones holds the best actress Oscar she won in 1944 for her performance in "Song of Bernadette." To her right is actress Ingrid Bergman. Hide Caption 17 of 89 Photos: Oscar-winning best actresses Ingrid Bergman (1945) – Ingrid Bergman didn't have to wait long to hold her own best actress award. Here, she poses with the Oscar she earned for her role in the film "Gaslight." Hide Caption 18 of 89 Photos: Oscar-winning best actresses Joan Crawford (1946) – Joan Crawford receives her Academy Award in bed because of an illness. She was recognized for her performance in the 1945 film "Mildred Pierce." Hide Caption 19 of 89 Photos: Oscar-winning best actresses Olivia de Havilland (1947) – Olivia de Havilland receives her best actress Oscar from actor Ray Milland for her performance in "To Each His Own." Hide Caption 20 of 89 Photos: Oscar-winning best actresses Loretta Young (1948) – Loretta Young, second from left, won the best actress Oscar in 1948 for her role in "Farmer's Daughter." Hide Caption 21 of 89 Photos: Oscar-winning best actresses Jane Wyman (1949) – Jane Wyman stands by a doorway backstage at the Academy Awards. She won her best actress Oscar for the film "Johnny Belinda." Hide Caption 22 of 89 Photos: Oscar-winning best actresses Olivia de Havilland (1950) – Olivia de Havilland looks at her two best actress Oscars. She won her second in 1950 for her role in "The Heiress." Hide Caption 23 of 89 Photos: Oscar-winning best actresses Judy Holliday (1951) – Judy Holliday bursts into tears in 1951 after winning the best actress Oscar for her performance in "Born Yesterday." Hide Caption 24 of 89 Photos: Oscar-winning best actresses Vivien Leigh (1952) – Vivien Leigh appears with Karl Malden in "A Streetcar Named Desire." Her performance in the film earned her a second Oscar. Hide Caption 25 of 89 Photos: Oscar-winning best actresses Shirley Booth (1953) – Shirley Booth wins the best actress Oscar for "Come Back, Little Sheba" in 1953. Hide Caption 26 of 89 Photos: Oscar-winning best actresses Audrey Hepburn (1954) – Audrey Hepburn is surrounded by reporters as she holds her best actress Oscar for "Roman Holiday." Hide Caption 27 of 89 Photos: Oscar-winning best actresses Grace Kelly (1955) – Grace Kelly poses with her Oscar after the Academy Awards ceremony in 1955. She won the statuette for her role in "The Country Girl." Hide Caption 28 of 89 Photos: Oscar-winning best actresses Anna Magnani (1956) – Anna Magnani enthusiastically holds the Oscar she won for "Rose Tattoo." The award was presented to her by U.S. Ambassador Clare Luce at the Villa Taverna in Rome. Hide Caption 29 of 89 Photos: Oscar-winning best actresses Ingrid Bergman (1957) – Ingrid Bergman, right, appears with Helen Hayes in a scene from the movie "Anastasia." Her performance earned her a second Oscar for best actress. Hide Caption 30 of 89 Photos: Oscar-winning best actresses Joanne Woodward (1958) – Joanne Woodward smiles while holding her best actress Oscar (and a cigarette). She received the award for her role in the film "Three Faces of Eve." Hide Caption 31 of 89 Photos: Oscar-winning best actresses Susan Hayward (1959) – From left, actor Burl Ives, actress Susan Hayward and actor David Niven pose with their Oscars in 1959. Hayward won for her role in "I Want to Live!" Hide Caption 32 of 89 Photos: Oscar-winning best actresses Simone Signoret (1960) – Actress Simone Signoret, seen here next to actor Rock Hudson at the Academy Awards ceremony in 1960, won the best actress Oscar for her role in "Room at the Top." Hide Caption 33 of 89 Photos: Oscar-winning best actresses Elizabeth Taylor (1961) – Elizabeth Taylor is seen with her Oscar after being named best actress for her part in "Butterfield 8." Hide Caption Sophia Loren (1962) – Sophia Loren reacts after winning best actress for the film "La Ciociara." Hide Caption 35 of 89 Photos: Oscar-winning best actresses Anne Bancroft (1963) – Anne Bancroft cries in her New York apartment as she accepts a congratulatory phone call following her win for "The Miracle Worker." Hide Caption 36 of 89 Photos: Oscar-winning best actresses Patricia Neal (1964) – Patricia Neal and her three children look at her Oscar statuette, which she won in 1964 for her role in "Hud." Hide Caption 37 of 89 Photos: Oscar-winning best actresses Julie Andrews (1965) – Julie Andrews looks at the Academy Award she won for "Mary Poppins'" in 1965. The role was her film debut. Hide Caption 38 of 89 Photos: Oscar-winning best actresses Julie Christie (1966) – Julie Christie is seen with her Academy Award, which she won for her role in "Darling." Hide Caption 39 of 89 Photos: Oscar-winning best actresses Elizabeth Taylor (1967) – Elizabeth Taylor holds up her second Oscar, this one for the film "Who's Afraid of Virginia Woolf." Hide Caption 40 of 89 Photos: Oscar-winning best actresses Katharine Hepburn (1968) – Katharine Hepburn and Cecil Kellaway appear in a scene from "Guess Who's Coming to Dinner." Hepburn won her second Oscar more than 30 years after her first. Hide Caption 41 of 89 Photos: Oscar-winning best actresses Barbra Streisand (1969) – Barbra Streisand gazes at the best actress statuette she won for "Funny Girl." There was a tie for the award in 1969, with the other winner being Katharine Hepburn. Hide Caption 42 of 89 Photos: Oscar-winning best actresses Katharine Hepburn (1969) – Katharine Hepburn and Peter O'Toole appear in "The Lion in Winter." The film earned Hepburn her third Oscar for best actress. Hide Caption 43 of 89 Photos: Oscar-winning best actresses Maggie Smith (1970) – Maggie Smith, who won for "The Prime of Miss Jean Brodie," celebrates with her husband at the time, Robert Stephens. Hide Caption 44 of 89 Photos: Oscar-winning best actresses Glenda Jackson (1971) – Glenda Jackson won the best actress Oscar for her part in "Women In Love." Hide Caption Liza Minnelli (1973) – Liza Minnelli holds the Oscar she won for "Cabaret." Hide Caption 47 of 89 Photos: Oscar-winning best actresses Glenda Jackson (1974) – George Segal and Glenda Jackson appear in a scene from "A Touch of Class," which snagged Jackson the best actress Oscar in 1974. Hide Caption 48 of 89 Photos: Oscar-winning best actresses Ellen Burstyn (1975) – Ellen Burstyn, left, appears in "Alice Doesn't Live Here Anymore," which won her the best actress Oscar in 1975. Hide Caption 49 of 89 Photos: Oscar-winning best actresses Louise Fletcher (1976) – From left, producer Saul Zaentz, actor Jack Nicholson, actress Louise Fletcher and producer Michael Douglas pose with their Oscars at the 1976 Academy Awards ceremony. They all won for the film "One Flew Over the Cuckoo's Nest," which swept the major categories that year. Hide Caption 50 of 89 Photos: Oscar-winning best actresses Faye Dunaway (1977) – Faye Dunaway rests by the Beverly Hills Hotel swimming pool the morning after she received the best actress Oscar for "Network." Hide Caption 51 of 89 Photos: Oscar-winning best actresses Diane Keaton (1978) – Diane Keaton places her Oscar on a restaurant table after the Academy Awards ceremony in 1978. She received the award for her role in "Annie Hall." Hide Caption 52 of 89 Photos: Oscar-winning best actresses Jane Fonda (1979) – Jane Fonda is ecstatic about winning her second Academy Award, this one for "Coming Home." Hide Caption Cher (1988) – Cher wears that dress in 1988, when she won the Academy Award for "Moonstruck." Hide Caption 62 of 89 Photos: Oscar-winning best actresses Jodie Foster (1989) – Jodie Foster holds her Oscar in the press room after winning for her role in "The Accused." Hide Caption 63 of 89 Photos: Oscar-winning best actresses Jessica Tandy (1990) – Jessica Tandy acknowledges applause after receiving the Oscar for her role in "Driving Miss Daisy." Hide Caption 64 of 89 Photos: Oscar-winning best actresses Kathy Bates (1991) – Kathy Bates, far left, clutches the best actress award for her role in "Misery." To her left are fellow Oscar winners Jeremy Irons, Whoopi Goldberg and Joe Pesci. Hide Caption 65 of 89 Photos: Oscar-winning best actresses Jodie Foster (1992) – Jodie Foster holds up her second Oscar, this one for her role in "The Silence of the Lambs." Hide Caption 66 of 89 Photos: Oscar-winning best actresses Emma Thompson (1993) – Emma Thompson poses with her Oscar after winning best actress for her role in "Howards End." Hide Caption 67 of 89 Photos: Oscar-winning best actresses Holly Hunter (1994) – Holly Hunter poses in the press room after being awarded the best actress Oscar for her performance in "The Piano." Hide Caption 68 of 89 Photos: Oscar-winning best actresses Jessica Lange (1995) – Jessica Lange holds the Oscar she won for her role in the film "Blue Sky." Hide Caption Charlize Theron (2004) – Charlize Theron poses with her Oscar after winning for the film "Monster." Hide Caption 78 of 89 Photos: Oscar-winning best actresses Hilary Swank (2005) – Hilary Swank grabbed her second Academy Award in 2005 for the film "Million Dollar Baby." Hide Caption 79 of 89 Photos: Oscar-winning best actresses Reese Witherspoon (2006) – Reese Witherspoon kisses then-husband Ryan Phillippe before going on stage to accept the best actress award for "Walk the Line." Hide Caption 80 of 89 Photos: Oscar-winning best actresses Helen Mirren (2007) – Director Taylor Hackford kisses his wife, Helen Mirren, after Mirren won the best actress Oscar for her role in "The Queen." Hide Caption Kate Winslet (2009) – Kate Winslet reacts after winning the best actress Oscar for "The Reader." Hide Caption 83 of 89 Photos: Oscar-winning best actresses Sandra Bullock (2010) – Best actress Sandra Bullock gives her acceptance speech after winning for "The Blind Side." Hide Caption 84 of 89 Photos: Oscar-winning best actresses Natalie Portman (2011) – Natalie Portman poses in the press room after winning the best actress Oscar for "Black Swan." Hide Caption 85 of 89 Photos: Oscar-winning best actresses Meryl Streep (2012) – Meryl Streep, right, laughs with Sandra Bullock after Streep's win for her role in "The Iron Lady." Hide Caption 86 of 89 Photos: Oscar-winning best actresses Jennifer Lawrence (2013) – Jennifer Lawrence charms the audience in 2013 as she accepts the best actress Oscar for her performance in "Silver Linings Playbook." Hide Caption 87 of 89 Photos: Oscar-winning best actresses Cate Blanchett (2014) – Cate Blanchett won an Oscar in 2014 for her turn as a modern-day Blanche DuBois in the Woody Allen film "Blue Jasmine." Hide Caption 88 of 89 Photos: Oscar-winning best actresses Matthew McConaughey presents Julianne Moore with the Oscar for best actress at the 87th Academy Awards in 2015. She won for her role in "Still Alice." Hide Caption 1 of 88 Photos: Oscar-winning best pictures 'Wings' (1927) – The first Academy Awards were given out at a dinner on May 16, 1929. The best picture winner was 1927's "Wings," a film about World War I pilots starring Clara Bow, right, Charles "Buddy" Rogers, left, Richard Arlen and Gary Cooper. Even today, the silent film's aerial sequences stand out as some of the most exciting ever filmed. Another film, "Sunrise," was given an Oscar as most "unique and artistic production," an honor that was eliminated the next year. The academy didn't begin using a calendar year for awards until movies made in 1934 (with ceremonies held in 1935). Hide Caption 2 of 88 Photos: Oscar-winning best pictures 'The Broadway Melody' (1929) – The musical "The Broadway Melody" was the first sound film to win best picture. The film stars Charles King, Anita Page and Bessie Love. Hide Caption 3 of 88 Photos: Oscar-winning best pictures 'All Quiet on the Western Front' (1930) – "All Quiet on the Western Front," best picture of 1929-30, was the film adaptation of Erich Maria Remarque's classic novel. The film stars Lewis Wolheim and Lew Ayres and was directed by Lewis Milestone. Hide Caption 4 of 88 Photos: Oscar-winning best pictures 'Cimarron' (1931) – "Cimarron," based on the Edna Ferber novel, is best remembered for its portrayal of the 1889 Oklahoma Land Rush, which literally featured a cast of thousands. Richard Dix and Irene Dunne star in the film. Hide Caption 5 of 88 Photos: Oscar-winning best pictures 'Grand Hotel' (1932) – The all-star cast of "Grand Hotel," including Greta Garbo and John Barrymore (pictured), portrayed characters in a mix of plot lines at a Berlin hotel. The film won just the one Oscar, but has been immortalized for one of Garbo's lines of dialogue: "I want to be alone." Hide Caption 6 of 88 Photos: Oscar-winning best pictures 'Cavalcade' (1933) – "Cavalcade," based on a Noel Coward play, won the 1932-33 prize for best picture. The film follows a London family from 1899 to 1933 and stars, left to right, Una O'Connor, Diana Wynyard and Clive Brook. Hide Caption 7 of 88 Photos: Oscar-winning best pictures 'It Happened One Night' (1934) – "It Happened One Night" was one of the great underdog winners. Its studio, Columbia, wasn't considered one of the majors at the time, and neither Clark Gable nor Claudette Colbert, its stars, were excited about the project. But it became the first film to sweep the five major categories of picture, actor, actress, director and screenplay. To this day, only two other films -- "One Flew Over the Cuckoo's Nest" (1975) and "The Silence of the Lambs" (1991) -- have pulled off the same trick. Hide Caption 8 of 88 Photos: Oscar-winning best pictures 'Mutiny on the Bounty' (1935) – Clark Gable was in the best picture winner the next year as well, playing Fletcher Christian in the 1935 version of "Mutiny on the Bounty." Charles Laughton plays Captain Bligh. Hide Caption 9 of 88 Photos: Oscar-winning best pictures 'The Great Ziegfeld' (1936) – Luise Rainer stars in "The Great Ziegfeld." She picked up an Oscar for best actress, though William Powell, who played the title figure, came up empty (although he was nominated for another movie, "My Man Godfrey"). Hide Caption 10 of 88 Photos: Oscar-winning best pictures 'The Life of Emile Zola' (1937) – "The Life of Emile Zola" won three Oscars, including best picture. The film is a biography of the famed French author. Star Paul Muni was nominated for best actor but lost to Spencer Tracy ("Captains Courageous"). Hide Caption 11 of 88 Photos: Oscar-winning best pictures 'You Can't Take It With You' (1938) – "You Can't Take It With You" is one of the rare comedies to win best picture. The film, based on the George Kaufman and Moss Hart play, stars James Stewart, Jean Arthur and Lionel Barrymore. It also won a best director Oscar for Frank Capra, Capra's third in five years. Hide Caption 12 of 88 Photos: Oscar-winning best pictures 'Gone With the Wind' (1939) – Still considered one of the great Hollywood epics, 1939's "Gone With the Wind" won 10 Oscars, including best picture and best actress for star Vivien Leigh, right. Though Clark Gable was nominated for best actor, he lost to Robert Donat ("Goodbye, Mr. Chips") in one of the great Oscar upsets. Hide Caption 13 of 88 Photos: Oscar-winning best pictures 'Rebecca' (1940) – After "Gone With the Wind," producer David O. Selznick scored again with another adaptation of a best-seller, Daphne du Maurier's "Rebecca." He brought Alfred Hitchcock from Britain to direct Laurence Olivier and Joan Fontaine in a tale of a shy young woman living in the shadow of her husband's first wife. "Rebecca" was not only Hitchcock's first American film, but also his only one to win a best picture Oscar. Hide Caption 14 of 88 Photos: Oscar-winning best pictures 'How Green Was My Valley' (1941) – The movie many critics regard as the greatest American film didn't win the best picture Oscar for 1941. Orson Welles' "Citizen Kane" lost to a film directed by another classic director, John Ford, who helped re-create a Welsh mining village in California for "How Green Was My Valley." Roddy McDowall, left, and Walter Pidgeon starred. Hide Caption 15 of 88 Photos: Oscar-winning best pictures 'Mrs. Miniver' (1942) – Hollywood's war effort went full throttle with William Wyler's "Mrs. Miniver" starring Walter Pidgeon and Greer Garson as a heroic couple whose family endures German air raids during the Battle of Britain. Garson also won the best actress award and received much flak for a lengthy acceptance speech that became the stuff of Hollywood legend. Hide Caption 16 of 88 Photos: Oscar-winning best pictures 'Casablanca' (1943) – We'll always have Bogart and Bergman, aka Rick and Ilsa, in Michael Curtiz's "Casablanca." Nobody at Warner Bros. expected this movie, based on an unproduced play, "Everybody Comes to Rick's," to be a classic when it came out, but the American Film Institute ranked this best picture winner as the third-greatest U.S. film more than 60 years later. Hide Caption 17 of 88 Photos: Oscar-winning best pictures 'Going My Way' (1944) – Hollywood's favorite crooner became its favorite priest. Bing Crosby, left, won the best actor award as Father Chuck O'Malley in "Going My Way." He encountered resistance from a crusty old priest (Barry Fitzgerald) when he tried to help an impoverished church parish. Hide Caption 18 of 88 Photos: Oscar-winning best pictures 'The Lost Weekend' (1945) – With World War II coming to an end, Hollywood turned to dark subject matter, such as alcoholism in Billy Wilder's "The Lost Weekend." Star Ray Milland, left, won the best actor award as a writer on a binge. Howard Da Silva was the bartender. Hide Caption 19 of 88 Photos: Oscar-winning best pictures 'The Best Years of Our Lives' (1946) – Veterans Fredric March, pictured, Dana Andrews and Harold Russell returned home to adjust to life in post-war America in this William Wyler classic. Myrna Loy, Teresa Wright and Cathy O'Donnell were the women in their lives who also found the world much more complicated with the war's end. Russell, a real vet, lost both hands in World War II. Hide Caption 20 of 88 Photos: Oscar-winning best pictures 'Gentleman's Agreement' (1947) – Elia Kazan's "Gentleman's Agreement" continued Hollywood's exploration of more serious subject matter, this time anti-Semitism. Gregory Peck, right, plays a reporter who goes undercover posing as a Jew, making his girlfriend (Dorothy McGuire) face uncomfortable truths about her upper class WASP life. A young Dean Stockwell played Peck's son. Hide Caption 21 of 88 Photos: Oscar-winning best pictures 'Hamlet' (1948) – A British film took home the best picture Oscar when Laurence Olivier directed himself in an Oscar-winning role as Shakespeare's famous Danish prince who cannot make up his mind. Olivier trimmed the play's text and chose to do Hamlet's famous soliloquy ("To be, or not to be, that is the question") as a voice-over. Jean Simmons was Ophelia. Hide Caption 22 of 88 Photos: Oscar-winning best pictures 'All the King's Men' (1949) – Unlike the 2006 remake with Sean Penn, this adaptation of Robert Penn Warren's Pulitzer Prize-winning novel was a critical and box-office success. Star Broderick Crawford also won the best actor award for his role as Willie Stark, a cynical politician who rises to become governor. Any resemblance to Louisiana's Huey Long was mere coincidence. Hide Caption 23 of 88 Photos: Oscar-winning best pictures 'All About Eve' (1950) – Director Joseph L. Mankiewicz's screenplay about an aging actress (Bette Davis, right) battling a scheming newcomer (Anne Baxter) remains one of the most quotable movies ever almost 65 years after its release. "All About Eve" held the record for a movie with the most Oscar nominations (14) until "Titanic" tied it in 1997. A young Marilyn Monroe, center, also attracted attention in an early role. As Margo Channing (Davis' character) would say, "Fasten your seat belts, it's going to be bumpy night!" Hide Caption 24 of 88 Photos: Oscar-winning best pictures 'An American in Paris' (1951) – This MGM musical with Gene Kelly as an aspiring artist who falls for Leslie Caron in the City of Light faced stiff competition at the Oscars. But "An American in Paris" scored a major upset when it beat dramatic heavyweights "A Place in the Sun" and "A Streetcar Named Desire" for best picture. Hide Caption 25 of 88 Photos: Oscar-winning best pictures 'The Greatest Show on Earth' (1952) – Producer-director Cecil B. DeMille had been making epics since the silents, but none had won best picture until "The Greatest Show on Earth," a 1952 circus spectacular with Betty Hutton, pictured, and Charlton Heston. Many critics and fans dismiss the movie as one of the worst best picture Oscar winners. "Singin' in the Rain," considered Hollywood's greatest movie musical , wasn't even nominated that year. Hide Caption 26 of 88 Photos: Oscar-winning best pictures 'From Here to Eternity' (1953) – Facing the strict movie censorship of the 1950s, director Fred Zinnemann's version of "From Here to Eternity" considerably toned down James Jones' tough and profane novel about military life in Hawaii on the eve of the Pearl Harbor attack. But Burt Lancaster and Deborah Kerr's sexy tryst on the beach made waves among moviegoers. Hide Caption 27 of 88 Photos: Oscar-winning best pictures 'On the Waterfront' (1954) – Marlon Brando, right, went up against corrupt union boss Lee J. Cobb in Elia Kazan's "On the Waterfront." In one of moviedom's most famous scenes that inspired countless future actors, Brando confronts his brother, a union lawyer played by Rod Steiger, in the back seat of a car: "I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am." Hide Caption 28 of 88 Photos: Oscar-winning best pictures 'Marty' (1955) – Hollywood studios saw television as the enemy in the 1950s as Americans stayed home in droves to watch series such as "I Love Lucy." But live TV plays soon were providing material for movies, including 1955's best picture winner, "Marty." Ernest Borgnine won stardom and the best actor award as a lonely butcher in the Paddy Chayefsky drama. Hide Caption 29 of 88 Photos: Oscar-winning best pictures 'Around the World in 80 Days' (1956) – Responding to the competition from TV, the movies turned increasingly to epics in the 1950s such as producer Mike Todd's "Around the World in 80 Days." The picture was based on Jules Verne's novel and starred Shirley MacLaine, David Niven and Cantinflas as well as dozens of other celebrities in cameo roles, such as Noel Coward, Marlene Dietrich, Red Skelton and Frank Sinatra. Hide Caption 30 of 88 Photos: Oscar-winning best pictures 'The Bridge on the River Kwai' (1957) – Director David Lean proved filmmakers could make intelligent epics such as "The Bridge on the River Kwai." Already a star in British films, Alec Guinness won international fame and a best actor Oscar as a British colonel held prisoner with his men in a Japanese camp during World War II. Hide Caption 31 of 88 Photos: Oscar-winning best pictures 'Gigi' (1958) – For one of its last great musicals, MGM turned to Alan Jay Lerner and Frederick Loewe after their success with "My Fair Lady" to create a musical based on Colette's "Gigi." The Vincente Minnelli film with Louis Jourdan, center, and Leslie Caron, right, won every Oscar it was nominated for (nine), including best picture and director. Legendary French star Maurice Chevalier had a memorable song with "Thank Heaven for Little Girls." Hide Caption 32 of 88 Photos: Oscar-winning best pictures 'Ben-Hur' (1959) – Biblical epics were all the rage in the 1950s, and none more so than William Wyler's "Ben-Hur." The movie won a then-record 11 Academy Awards, including best picture, director (Wyler) and actor (Charlton Heston, right). The chariot scene undoubtedly helped ensure "Ben-Hur's" No. 2 ranking on the American Film Institute's list of greatest epics. Hide Caption 33 of 88 Photos: Oscar-winning best pictures 'The Apartment' (1960) – Long before "Mad Men," Billy Wilder's "The Apartment" skewered corporate life of the early 1960s. Up-and-comer Jack Lemmon stays busy loaning his apartment key to company men who need a place to cheat on their wives. He falls for Shirley MacLaine, center, who is having an affair with one of the bosses ("My Three Sons' " Fred MacMurray in an unsympathetic role). Hide Caption 34 of 88 Photos: Oscar-winning best pictures 'West Side Story' (1961) – "West Side Story" used the streets of New York as backdrops for this musical version of "Romeo and Juliet." The Jets and Sharks replaced the Montagues and Capulets as rival gangs ready to rumble, leading to tragedy for young lovers Tony (Richard Beymer) and Maria (Natalie Wood). The film took home 10 Oscars, including best supporting actor (George Chakiris), supporting actress (Rita Moreno) and direction (Robert Wise and Jerome Robbins, the first time the award was shared). Hide Caption 35 of 88 Photos: Oscar-winning best pictures 'Lawrence of Arabia' (1962) – David Lean created the epic of all epics with "Lawrence of Arabia." Peter O'Toole , left, with Omar Sharif, became a superstar with his portrayal of T.E. Lawrence, the legendary British officer who helped lead the Arab revolt against the Ottoman Empire in World War I. The movie won seven Oscars, including for Lean's direction. Hide Caption 36 of 88 Photos: Oscar-winning best pictures 'Tom Jones' (1963) – Albert Finney tackled the amorous title role in "Tom Jones," a British comedy based on Henry Fielding's novel about a foundling raised by a wealthy landowner. Diane Cilento, right, was one of his conquests. Tony Richardson also won the Oscar for his direction of the film. Hide Caption 37 of 88 Photos: Oscar-winning best pictures 'My Fair Lady' (1964) – Julie Andrews' fans were upset when the original Broadway star of "My Fair Lady" wasn't chosen for the film of the Lerner-Loewe musical. Audrey Hepburn may not have been convincing as a guttersnipe in the opening scenes of George Cukor's best picture winner, but no one could deny she was ravishing in Cecil Beaton's costumes once Eliza Doolittle had been transformed into a swan. Hide Caption 38 of 88 Photos: Oscar-winning best pictures 'The Sound of Music' (1965) – Forget the recent live broadcast of the Richard Rodgers and Oscar Hammerstein musical on NBC with Carrie Underwood. For many movie fans, Julie Andrews remains the one and only Maria, governess to the von Trapp children in Austria on the eve of World War II. Marni Nixon, who dubbed the singing voices of Natalie Wood in "West Side Story," Deborah Kerr in "The King and I" and Audrey Hepburn in "My Fair Lady," had her first on-screen role as a nun. Not only did "The Sound of Music" win best picture, it was also for a time the biggest moneymaker ever. Hide Caption 39 of 88 Photos: Oscar-winning best pictures 'A Man for All Seasons' (1966) – Paul Scofield re-created his stage role as Sir Thomas More in Fred Zinnemann's film version of the Robert Bolt drama "A Man for All Seasons." The film portrayed More as a man of conscience who refused to recognize King Henry VIII as head of the Church of England because of his denial of the Pope's authority. Scofield and director Zinnemann both won Oscars for their work. Susannah York, right, co-starred. Hide Caption 40 of 88 Photos: Oscar-winning best pictures 'In the Heat of the Night' (1967) – Youth-oriented movies began taking over Hollywood by 1967, the year of "Bonnie and Clyde" and "The Graduate." But the best picture winner went to Norman Jewison's "In the Heat of the Night," an old-fashioned crime drama in which an African-American detective (Sidney Poitier, left) goes South to solve a murder, working with a reluctant redneck sheriff (Rod Steiger). Poitier played the role of Virgil Tibbs in two sequels, and the movie later spawned a hit TV series with Carroll O'Connor. Hide Caption 41 of 88 Photos: Oscar-winning best pictures 'Oliver!' (1968) – This best picture winner was a musical adaptation of Charles Dickens' "Oliver Twist" with Mark Lester as an orphan who teams up with other young pickpockets led by an old criminal. Carol Reed also took home the Oscar for best director. Two of 1968's best-remembered movies, Stanley Kubrick's "2001: A Space Odyssey" and Roman Polanski's "Rosemary's Baby," weren't even nominated for best picture. Hide Caption 42 of 88 Photos: Oscar-winning best pictures 'Midnight Cowboy' (1969) – John Schlesinger's "Midnight Cowboy" was the first best picture Oscar winner to be rated X, reflecting the easing of censorship in the late '60s. The movie established Jon Voight, right, as a star for his portrayal of a dumb, naive Texan who fancies himself a gigolo to rich women in New York but ends up a hustler. Fresh from "The Graduate," co-star Dustin Hoffman as con man Ratso Rizzo proved he was one of the top actors of his generation. Hide Caption 43 of 88 Photos: Oscar-winning best pictures 'Patton' (1970) – George C. Scott made Oscar history when he became the first actor to refuse the award. Scott played the title role in this biography of volatile World War II Gen. George S. Patton Jr. The film, directed by Franklin J. Schaffner, reportedly was one of President Richard Nixon's favorite films. Hide Caption 44 of 88 Photos: Oscar-winning best pictures 'The French Connection' (1971) – Gene Hackman as Detective "Popeye" Doyle goes after hit man Marcel Bozzuffi in William Friedkin's "The French Connection." This best picture winner about New York cops trying to stop a huge heroin shipment from France features one of the movies' most memorable chase scenes. Hide Caption 45 of 88 Photos: Oscar-winning best pictures 'The Godfather' (1972) – With his career in decline for nearly a decade, Marlon Brando scored a comeback as Don Vito Corleone, the aging patriarch of a crime family, in Francis Ford Coppola's "The Godfather." Brando won his second Oscar for best actor (which he refused), and the movie made a superstar of Al Pacino as the son who takes over the "family business." The movie ranked No. 2 on the American Film Institute's list of the top 100 U.S. films. Hide Caption 46 of 88 Photos: Oscar-winning best pictures 'The Sting' (1973) – Teaming up again after "Butch Cassidy and the Sundance Kid" (1969), Paul Newman and Robert Redford in best picture winner "The Sting" helped make the buddy film one of the key movie genres of the '70s. The two played con men in 1930s Chicago in the George Roy Hill movie, which featured the music of ragtime composer Scott Joplin. Hide Caption 47 of 88 Photos: Oscar-winning best pictures 'The Godfather: Part II' (1974) – Al Pacino returned as Michael Corleone in "The Godfather: Part II," which became the first sequel to win the best picture Oscar. Francis Ford Coppola received the best director award this time, and newcomer Robert De Niro won the best supporting actor Oscar playing Vito Corleone as a young man. Coppola's "The Godfather: Part III," released in 1990, did not repeat the success of the first two films. Hide Caption 48 of 88 Photos: Oscar-winning best pictures 'One Flew Over the Cuckoo's Nest' (1975) – "One Flew Over the Cuckoo's Nest" captured all four top Academy Awards, a feat that had not been accomplished in more than 40 years (not since "It Happened One Night.") Besides best picture, the movie took home Oscars for best director (Milos Forman), actor (Jack Nicholson) and actress (Louise Fletcher). It won a fifth for best adapted screenplay. In this film of Ken Kesey's novel, Nicholson, second from left, struck a chord with audiences as McMurphy, a rebellious inmate in a mental institution who faces off against the ultimate authority figure, Nurse Ratched (Fletcher). Hide Caption 49 of 88 Photos: Oscar-winning best pictures 'Rocky' (1976) – Sylvester Stallone, left, as struggling boxer Rocky Balboa, gets his shot at the championship against Carl Weathers as Apollo Creed in this best picture winner. Like its hero, "Rocky" was an underdog, a low-budget film written by Stallone, then an unknown actor, that became one of the decade's biggest sleeper hits. Stallone would go on to make five sequels. Hide Caption 50 of 88 Photos: Oscar-winning best pictures 'Annie Hall' (1977) – Moviegoers fell in love with Diane Keaton in her Oscar-winning role as the ditsy, insecure heroine of Woody Allen's autobiographical "Annie Hall." Her thrift-store fashions and offbeat sayings ("La-di-da, la-di-da") became hallmarks of the late '70s. Allen won Oscars for best director and original screenplay (with Marshall Brickman) for the film. Hide Caption 51 of 88 Photos: Oscar-winning best pictures 'The Deer Hunter' (1978) – Hollywood began to explore the Vietnam War in the late '70s. Michael Cimino's "The Deer Hunter" examined the effects on steelworkers, from left, John Cazale, Chuck Aspegren, Robert De Niro, John Savage and Christopher Walken. Cimino and Walken also won Oscars for best director and best supporting actor, respectively. Hide Caption 52 of 88 Photos: Oscar-winning best pictures 'Kramer vs. Kramer' (1979) – Dustin Hoffman played a bewildered dad who had paid little attention to family life until his wife leaves him and he has to raise their son (Justin Henry, right) alone in "Kramer vs. Kramer." A bitter custody battle ensues once the wife (played by Meryl Streep) decides she wants her son back. Both Hoffman (best actor) and Streep (best supporting actress) won Oscars for their roles, and Robert Benton took home direction and writing honors for the film. Hide Caption 53 of 88 Photos: Oscar-winning best pictures 'Ordinary People' (1980) – Timothy Hutton, right, played a suicidal young man struggling to cope with the death of his brother in "Ordinary People," the first film directed by actor Robert Redford. Donald Sutherland, left, was his helpless father, and Mary Tyler Moore surprised audiences with her portrayal as Hutton's icy, controlling mother. Hide Caption 54 of 88 Photos: Oscar-winning best pictures 'Chariots of Fire' (1981) – In another Oscar sleeper, "Chariots of Fire," a small British film about two English runners competing in the 1924 Olympics, beat Warren Beatty's epic film "Reds" for best picture. "Chariots" won four Oscars, including one for its stirring score by Vangelis. The theme music also hit No. 1 on the pop charts. Beatty wasn't entirely shut out: He picked up the Oscar for best director. Hide Caption 55 of 88 Photos: Oscar-winning best pictures 'Gandhi' (1982) – Director Richard Attenborough's epic, three-hour film about the life of Mohandas K. "Mahatma" Gandhi won eight Oscars. Ben Kingsley, here with Candice Bergen, played the inspiring leader who used nonviolent tactics to help establish the modern country of India. Among the films it beat for best picture: "E.T. The Extra-Terrestrial" and "Tootsie." Hide Caption 56 of 88 Photos: Oscar-winning best pictures 'Terms of Endearment' (1983) – Debra Winger, Shirley MacLaine and Jack Nicholson starred in James L. Brooks' adaptation of Larry McMurtry's novel about an up-and-down mother-daughter relationship. Brooks produced, directed and wrote the film and won Oscars for all three (best picture goes to the producer); to this day, he's the only person to pull off the trick solo. Hide Caption 57 of 88 Photos: Oscar-winning best pictures 'Amadeus' (1984) – Another epic, "Amadeus" was based on Peter Shaffer's award-winning play about composer Wolfgang Amadeus Mozart (Tom Hulce) and his rival, Antonio Salieri. The film won eight Oscars, including awards for director Milos Forman -- his second, after "One Flew Over the Cuckoo's Nest" -- and star F. Murray Abraham, who played Salieri. Hide Caption 58 of 88 Photos: Oscar-winning best pictures 'Out of Africa' (1985) – Isak Dinesen's autobiographical book was turned into a movie that won seven Oscars. Meryl Streep stars as the independent-minded Danish author who spent part of her married life in British East Africa, later Kenya. She falls for a big-game hunter, played by Robert Redford, while her fragile marriage falls apart. Hide Caption 59 of 88 Photos: Oscar-winning best pictures 'Platoon' (1986) – "Platoon" made headlines in 1986 for its blunt and unsparing look at the U.S. experience in Vietnam. It follows a small group of men, including leaders Willem Dafoe, pictured, and Tom Berenger, who play on the loyalties of raw recruit Charlie Sheen. The film made director and writer Oliver Stone, himself a Vietnam veteran, a household name. "Platoon" won four Oscars, including best picture and best director. Hide Caption 60 of 88 Photos: Oscar-winning best pictures 'The Last Emperor' (1987) – Director Bernardo Bertolucci's film about the life of Chinese emperor Puyi won nine Oscars -- quite an achievement, considering it was nominated for zero awards in the acting categories. Besides best picture, it also won best director, best adapted screenplay and best cinematography, among others. Hide Caption 61 of 88 Photos: Oscar-winning best pictures 'Rain Man' (1988) – Though "Rain Man" is ostensibly about the relationship between Dustin Hoffman's autistic Raymond Babbitt and his brother, Charlie (Tom Cruise), it's probably best remembered for Hoffman's performance as a savant who can do complicated calculations in his head, count cards in Las Vegas and never miss an episode of Judge Joseph Wapner's "People's Court." The film won four Oscars, including a best actor award for Hoffman and a best director trophy for Barry Levinson. Hide Caption 62 of 88 Photos: Oscar-winning best pictures 'Driving Miss Daisy' (1989) – Stage actress Jessica Tandy finally became a movie star at age 80 as an Atlanta Jewish matriarch who develops a close relationship with her driver, Hoke, played by Morgan Freeman, in Bruce Beresford's film of Alfred Uhry's Pulitzer Prize-winning play. "Driving Miss Daisy" didn't compete for best picture against some of the year's most acclaimed movies -- "Sex, Lies, and Videotape," "Do the Right Thing" and "Drugstore Cowboy" weren't nominated for the top award. Hide Caption 63 of 88 Photos: Oscar-winning best pictures 'Dances With Wolves' (1990) – In what was essentially a two-horse race, Kevin Costner's three-hour "Dances With Wolves" faced off against one of Martin Scorsese's best, "Goodfellas." "Dances With Wolves," about a Civil War soldier who falls in with a Lakota tribe in the American West, was the decisive winner, earning best picture, best director for Costner and best adapted screenplay for Michael Blake, three of its seven Oscars. "Goodfellas" won just one: Joe Pesci's best supporting actor trophy. Hide Caption 64 of 88 Photos: Oscar-winning best pictures 'The Silence of the Lambs' (1991) – It's rare that a film released early in the year manages to even get nominated for best picture, not to mention winning the award, but "Lambs" -- based on the Thomas Harris novel about a serial killer helping an FBI agent to catch another killer -- took home best picture, best actor (Anthony Hopkins, who plays Hannibal Lecter), best actress (Jodie Foster), best director (Jonathan Demme) and best adapted screenplay. Hopkins' performance had relatively little screen time -- less than 20 minutes -- but was so commanding he can be credited for the continuing fascination with Lecter, who now headlines an NBC series. Hide Caption 65 of 88 Photos: Oscar-winning best pictures 'Unforgiven' (1992) – "It's a hell of a thing, killing a man," says Clint Eastwood's gunfighter, William Munny, in "Unforgiven" -- and, indeed, the Western can be seen as one of Eastwood's many meditations on the impact of violence in society. The actor and director plays Munny, a retired outlaw who is drawn back into his old role to avenge himself on a brutal sheriff (Gene Hackman). "Unforgiven" was just the third Western to win best picture, after "Cimarron" (1931) and "Dances With Wolves" (1990). Hide Caption 66 of 88 Photos: Oscar-winning best pictures 'Schindler's List' (1993) – By 1993, Steven Spielberg was already known as one of the great directors in Hollywood history, but an Oscar had eluded him. That changed with "Schindler's List," a gripping story about a German industrialist who saved more than 1,000 Jews during the Holocaust. The film earned honors for picture, director, adapted screenplay and cinematography. Hide Caption 67 of 88 Photos: Oscar-winning best pictures 'Forrest Gump' (1994) – Tom Hanks plays a Southern bumpkin who always seems to be in proximity to great events, whether they be the Vietnam War, U.S.-Chinese ping-pong diplomacy or the writing of "Imagine." Though some critics hooted, the film was a popular success and also won Oscars for Hanks, director Robert Zemeckis and adapted screenplay -- six in all. Hide Caption 68 of 88 Photos: Oscar-winning best pictures 'Braveheart' (1995) – Mel Gibson directed and starred in the story of Scottish warrior William Wallace, who led the Scottish army against English invaders led by King Edward I. The film won five Oscars, including best picture and best director, and has led to countless sports teams yelling "Freedom!" as they go up against opponents. Hide Caption 69 of 88 Photos: Oscar-winning best pictures 'The English Patient' (1996) – Some found it lyrical. Others, such as an episode of "Seinfeld," mocked it as boring. Either way, "The English Patient," with Ralph Fiennes and Kristin Scott Thomas, was a huge hit with audiences and critics -- and with the academy, which bestowed nine Oscars on the film about a burned British soldier and a loving nurse. Among the winners: director Anthony Minghella and supporting actress Juliette Binoche. Hide Caption 70 of 88 Photos: Oscar-winning best pictures 'Titanic' (1997) – In the months leading up to its release, "Titanic" was rumored to be as big a disaster as the ship on which its story was based. But director James Cameron had the last laugh: When the final results were tallied, "Titanic," with Leonardo DiCaprio and Kate Winslet, had become the biggest box-office hit of all time (since surpassed by another Cameron film, "Avatar") and winner of 11 Oscars in 1997 -- the most of any film since 1959's "Ben-Hur." Cameron took home a trophy for best director, too. Hide Caption 71 of 88 Photos: Oscar-winning best pictures 'Shakespeare in Love' (1998) – Was the film really that good or had Harvey Weinstein, its co-producer and head of studio Miramax, done an exceptionally good job at lobbying? Either way, there were gasps when best picture went to "Shakespeare" and not to favorite "Saving Private Ryan." Still, "Shakespeare" had plenty going for it, including an Oscar-winning best actress performance by Gwyneth Paltrow (here with Joseph Fiennes) and a clever script by Marc Norman and Tom Stoppard. It won seven Oscars total. Hide Caption 72 of 88 Photos: Oscar-winning best pictures 'American Beauty' (1999) – Kevin Spacey stars as a frustrated middle manager who develops a crush on one of his daughter's friends (Mena Suvari) in "American Beauty." Besides the big prize, the film won best director for Sam Mendes and best actor for Spacey as part of its five Oscars. Also immortalized: a plastic bag blowing in the breeze. Hide Caption 73 of 88 Photos: Oscar-winning best pictures 'Gladiator' (2000) – Russell Crowe stars as Maximus in "Gladiator," the hugely successful Ridley Scott film about a warrior in ancient Rome. The film took home five Oscars, including best actor for Crowe. Hide Caption 74 of 88 Photos: Oscar-winning best pictures 'A Beautiful Mind' (2001) – "A Beautiful Mind," the story of troubled mathematician John Nash (Russell Crowe) and his battle with mental illness, won four Oscars. Hide Caption 75 of 88 Photos: Oscar-winning best pictures 'Chicago' (2002) – For years, musicals had had a rough time at the Oscars -- indeed, they'd had a rough time in Hollywood, period -- until 2002's "Chicago" won best picture. The movie, which stars Renee Zellweger as a wily murderess in 1920s Chicago, won six Oscars. Hide Caption 76 of 88 Photos: Oscar-winning best pictures 'Lord of the Rings: The Return of the King' (2003) – The final film in Peter Jackson's "The Lord of the Rings" trilogy, "The Return of the King," swept all 11 categories in which it was nominated -- including best picture. From left, Elijah Wood, Andy Serkis and Sean Astin play three of J.R.R. Tolkien's characters: Frodo Baggins, Gollum and Samwise Gamgee. Hide Caption 77 of 88 Photos: Oscar-winning best pictures 'Million Dollar Baby' (2004) – "Million Dollar Baby" is about an old trainer (Clint Eastwood, left, with Morgan Freeman and Hilary Swank) who takes on a female boxer, with unforeseen consequences. The film won four Oscars, including a directing prize for Eastwood, best actress for Swank and best supporting actor for Freeman. Hide Caption 78 of 88 Photos: Oscar-winning best pictures 'Crash' (2005) – Few best pictures have been as polarizing as "Crash," about the criss-crossing lives of several Los Angeles residents. The film touches on issues of race and justice and stars -- among many others -- Thandie Newton and Matt Dillon. Hide Caption 79 of 88 Photos: Oscar-winning best pictures 'The Departed' (2006) – Director Martin Scorsese's films were often well-reviewed but couldn't win the big prize, until "The Departed," about a Boston gangster and some corrupt cops. The film stars Leonardo DiCaprio, left, Ray Winstone, and Jack Nicholson, right. Hide Caption 80 of 88 Photos: Oscar-winning best pictures 'No Country for Old Men' (2007) – The Coen brothers' grim "No Country for Old Men," about a Texas drug deal gone wrong, won four Oscars. Javier Bardem received a best supporting actor award for his portrayal of the brutal enforcer Anton Chigurh, who carries around a lethal bolt gun and doesn't hesitate to use it. Hide Caption 81 of 88 Photos: Oscar-winning best pictures 'Slumdog Millionaire' (2008) – Another little movie that paid off big, "Slumdog Millionaire" was slated to go straight to video until its American distributor found a partner. The sleeper film, about a poor Indian man (Dev Patel, left) whose success on "Who Wants to Be a Millionaire" is questioned by a suspicious detective, won eight Oscars. Hide Caption 82 of 88 Photos: Oscar-winning best pictures 'The Hurt Locker' (2009) – In a David-vs.-Goliath scenario, "Avatar," James Cameron's big-budget box office king, was pitted against "The Hurt Locker," a low-budget film about a bomb disposal unit in the Iraq War. "The Hurt Locker" won six Oscars, including best picture and best director (Kathryn Bigelow, one of Cameron's ex-wives). Hide Caption 83 of 88 Photos: Oscar-winning best pictures 'The King's Speech' (2010) – "The King's Speech," about England's King George VI and how he overcame his stutter, won four Oscars, including a best actor trophy for star Colin Firth. Hide Caption 84 of 88 Photos: Oscar-winning best pictures 'The Artist' (2011) – Jean Dujardin and Bérénice Bejo star in "The Artist," the first (mostly) silent film to win best picture since 1927's "Wings." The film, about the fall and rise of a silent film star, won five Oscars. Hide Caption 85 of 88 Photos: Oscar-winning best pictures 'Argo' (2012) – "Argo," based on a 1980 operation to free some of the American hostages during the Iran hostage crisis, won three Oscars: best picture, best adapted screenplay and best film editing. Ben Affleck, right, directed and starred. Hide Caption 86 of 88 Photos: Oscar-winning best pictures '12 Years a Slave' (2013) – Benedict Cumberbatch, left, and Chiwetel Ejiofor appear in "12 Years a Slave," which won the Oscar in 2013. The story of Solomon Northup (Ejiofor), a free African-American man who was kidnapped and sold into slavery, won three awards: best picture, best supporting actress (Lupita Nyong'o) and best adapted screenplay (John Ridley). Hide Caption 87 of 88 Photos: Oscar-winning best pictures 'Birdman' (2014) – "Birdman" won the Academy Award for best picture in 2016. The film also won three other Oscars: best director, best cinematography and best original screenplay. Hide Caption

i don't know

In what year does Demolition Man take place?

10 things the film Demolition Man predicted | Pop Verse Home / Comment / 10 things the film Demolition Man predicted 10 things the film Demolition Man predicted Posted by: Stephen Flockton in Comment , Film August 16, 2013 18 Comments 68,015 Views Demolition Man is one of my favourite movies of all time; it’s a super fun, early 90’s action movie that doesn’t take itself too seriously. If you have not seen it, I strongly recommend you seek it out. For those of you who don’t know, Demolition Man opens in a post-apocalyptic LA (1996) where gang warfare is the order of the day. Psychotic gang leader Simon Phoenix (Wesley Snipes) has taken a bus load of hostages and the John ‘Demolition Man’ Spartan (Sylvester Stallone), disobeys orders to take down Phoenix. Unfortunately, Spartan is falsely accused of manslaughter for the deaths of the hostages and both Phoenix and Spartan are sent to a ‘cryo prison’. When Simon Phoenix escapes into a crime free utopian LA in 2032, the police are not prepared to deal with his level of violence. They have no choice but to defrost John Spartan so he can take down Phoenix again. Take a look at the trailer and bask in the 90’s awesome! Here are the ten things I think Demolition Man predicted about the future: 1) Arnie’s political career We all laughed in 1993 at the concept of Arnold Schwarzenegger running for any kind of political office, never mind the presidency. But after two terms as the Governor of California it’s not looking so un-likely anymore. Sure he’s getting back into movies now but who’s to say that a 61st amendment allowing foreigners to run for the presidency is out of the question. 2) The rise of video calling It’s not an early 90’s action movie without some gratuitous nudity, in this case delivered through a video call. It’s an odd sort of video call that starts without you actually having to answer. Sure video calling existed before 1993 but it was not until broadband connections became more prevalent that it existed in the form shown in the movie. You could even argue that Demolition man invented ‘Sexting’! !Warning NSFW! 3) Self-driving Cars Almost all the cars in the film (with the notable exception of the red oldsmobile) are self-driving. With Google leading the charge on self-driving cars the technology is already here. Google’s latest cars have driven over 300,000 miles without an incident. It won’t be long until they are a common sight on our roads and you saw it on Demolition Man first! 4) Taco Bell is winning the franchise wars In the film, the only restaurants are Taco Bell. They won the mysterious franchise wars and are the only chain left standing. While Taco Bell have not won the wars yet, they have just come up with the Waffle Taco breakfast. With technology that advanced no other chain can stand before them. 5) Wesley Snipes is a hardened criminal Okay so he didn’t lead a gang of hardened criminals and murder a school bus full of children, but he did commit some pretty serious tax evasion. He had a prison sentence and everything (admittedly it was not a cryro prision, but still). 6) Teleconferences That’s right the modern office joy of teleconferences has made it to 2032. For some reason however each of the TV screens has some nice table space which is a little odd considering they are not physically there. It’s a nice touch when they spin round and follow the speaker through the room. This was pretty novel stuff back in 1993, but is common place now… just as they predicted. 7) Biometric implants Everyone in the shiny utopia that is future LA has an implant they use as ID, as medical trackers and a virtual wallet. While we already have medical implants to monitor insulin levels and control pacemakers, with the rise of NFC on phones it’s only a matter of time until you will have tiny implants in your hand. 8) Tablet computers Who needs an iPad when you have this wonderful little device in your hand? It’s perfect for the cryo prison warden on the go! Now say what you want about the other things on this list but this was some damm good forward thinking. Sure (huge) tablet computers existed in 1993 but they didn’t yet have full video calling as a feature. 9) Voice activated appliances Everything from the lights, to the cars, to the automated ticket machine for breaking the verbal morality statute has voice controls in Demolition Man’s future. We already have siri and Google voice search, how long before they take away our profanity?! 10) YouTube instructional videos In one of my personal favourite scenes, the police resort to instructional videos to find out how to arrest a ‘Maniac’. Like many youtube videos it has a similar end result.

2032

Who played a character based on Bob Fosse in a 1979 Oscar winning film?

What The Film!? – Demolition Man | Under the Gun Review What The Film!? – Demolition Man May 7th, 2012 Dane Sager What The Film?! is a new weekly column exclusive to Under The Gun Review that brings to light the plot holes Hollywood hoped you’d never notice. Written by comedy writer Dane Sager , this column shows no mercy to films that try and pull the proverbial wool over our eyes. If you know a film with major plot holes that you feel needs to be exposed, tell us! Email [email protected] with the subject “What The Film” and we’ll try to get your suggestion featured on the site. This Week’s Movie: 1993’s Demolition Man Demolition Man is the movie you get when you ask a fifteen year old boy to read Phillip K Dick, Aldous Huxley, and George Orwell, and then tell them to write an action movie loosely based on those properties. The recent high school sophomore would then spend the entire night doing a mixture of Cocaine and Adderall (which is known as an “Andy Dick” in the industry) and coming up with many hard-hitting questions to ask the studio about what he could do with his script. Can I put boobs in it? (Maybe) Can I reference Taco Bell multiple times for no reason? (Yes) Can we put the fat guy from 1988’s BeetleJuice in it? “Yes, this movie absolutely needs Glenn Shadix” Demolition Man takes place in 2032 in the super city of “San Angeles”, a combination of Los Angeles and San Diego into one massive city. If this sounds familiar, it’s because 1982’s Blade Runner, 1994’s Double Dragon, 2007’s Power Rangers: Operation Overdrive, and even Sylvester Stallone’s own 1995 movie Judge Dredd took place in San Angeles. It’s a surprisingly common name for a common concept that reoccurs in different forms of science fiction. No, not San Andreas, but that was an awesome game. Wesley Snipes plays Phoenix, the bastard child of The Joker and Dennis Rodman. A homicidal maniac who mass murders people for funzies. An interesting character trait given to Phoenix is that his eyes are different colors, which is rendered useless when his eye colors seem to switch back and forth in multiple scenes. While in a massive hostage situation gone awry, Stallone’s character John Spartan, ends up arresting Phoenix, who tells the police that John was in on it and he specifically killed all the hostages. They’re both put in future jail where they’re cryogenically frozen because that’s cheaper than reforming them, I guess. This plot line is already making sense. We then cut to 2032 where Phoenix is unfrozen and promptly goes on a murderous rampage in a strange future where no one is allowed to swear, eat fatty foods, or have any sort of fun. The police force in this not-sure-if-utopian-or-dystopian society are unprepared to deal with a criminal with these sorts of actions and are forced to call in the only person who can help them: SuperNanny. Unfortunately Jo Frost was busy so they decided to unfreeze John Spartan to hunt down Phoenix. This is his disappointment at not being the first picked. That’s not a bad set up for a 1990’s movie (we were more forgiving then), it’s just that the future is just really really stupid. In one scene Phoenix and Spartan get into a huge gun fight at a museum (the only place where guns still exist). Why the future decided to keep the guns in working order and with a ridiculously high amount of ammo is insane. They should have at the very least removed the firing pins or kept them unloaded. It’s later revealed that the leader of San Angeles is the one who woke up Phoenix and brain washed him in his frozen slumber to hunt down and murder the head of a group of rebels that make their utopian/dystopian society seem less than perfect. Not “wake up the awesome cop to stop the resistance”, not “have crazy psychopath stop the resistance”, just have Phoenix kill the one guy. It’s not like one martyr ever caused a small rebellion to blow up into something much more powerful. Dr. Cocteau, the head of San Angeles even puts some weird brain manipulation to make sure that Phoenix can’t kill him, but doesn’t do this for any of the criminal friends he unfreezes because Phoenix told him he needed back up. Yes. That looks like a natural and comfortable way to fire a gun. Dr. Cocteau is killed then immediately by the other criminals he released because he doesn’t understand what variables are or how to plan things. There isn’t a scene like in 1989’s The Abyss when Coffey has a moment of clarity before he dies, realizing he was the villain all along. Dr. Cocteau dies under the impression that his plan that made no sense at all was still a great plan. It didn’t fail because he came up with a dumb plan that was clearly overly complicated and had way too many variables to screw up. No, he died thinking his plan was screwed over by outside forces. The movie ends with Spartan finally killing Phoenix, his nemesis for over half of a century, in the prison they were frozen in earlier in the movie. Phoenix’s death also destroys the prison in the process, killing every convict who is still frozen inside it. It seems that almost every single character in this movie decides to execute their ideas with the most violent, destructive, and cruel ways they can. Not a single person knows what consequences are. If a cop broke into a prison and killed everyone in it because one guy in it was also an evil terrorists, then that cop has also become a terrorist. Does anyone even know who the protagonist in is this movie? Not this guy. Dane is completely unaware that the 2011-2012 NHL season is still going. When the Red Wings aren’t a part of it, the season is over. You can follow him on Tumblr and Twitter !

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Where in Europe was much of Evita filmed?

Evita Movie Review & Film Summary (1997) | Roger Ebert Tweet “Evita” allows the audience to identify with a heroine who achieves greatness by--well, golly, by being who she is. It celebrates the life of a woman who begins as a quasi-prostitute, marries a powerful man, locks him out of her bedroom, and inspires the idolatry of the masses by spending enormous sums on herself. When she sings: “They need to adore me--to Christian Dior me,” she's right on the money. Advertisement I begin on this note not to criticize the new musical “Evita” (which I enjoyed very much), but to bring a touch of reality to the character of Eva Peron, who, essentially, was famous because she was so very well-known. Her fame continued after her death, as her skillfully embalmed body went on to a long-running career of its own, displayed before multitudes, spirited to Europe, fought over, prayed over, and finally sealed beneath slabs of steel in an Argentine cemetery. Eva Peron lived only until 33, but she went out with a long curtain call. She was not an obvious subject for a musical. Andrew Lloyd Webber and Tim Rice , who wrote the stage version of “Evita” and whose songs are wall-to-wall in the movie, must have known that; why else did they provide a key character named Che Guevera (onstage) and Che (on screen), to ask embarrassing questions? “You let down your people, Evita,” he sings. She let down the poor, shirtless ones by providing a glamorous facade for a fascist dictatorship, by salting away charity funds, and by distracting from her husband's tacit protection of Nazi war criminals. Why, then, were Webber and Rice so right in choosing Eva Peron as their heroine? My guess is that they perfectly anticipated “Evita's” core audience--affluent, middle-aged and female. The musical celebrates Eva Peron's narcissism, her furs and diamonds, her firm management of her man. Given such enticements, what audience is going to quibble about ideology? For years I have wondered, during “Don't Cry for Me, Argentina,” why we were not to cry. Now I understand: We need not cry because (a) Evita got everything out of life she dreamed of, and (b) Argentina should cry for itself. Even poor Juan Peron should shed a tear or two; he is relegated in the movie to the status of a “walker,” a presentable man who adorns the arm of a rich and powerful woman as a human fashion accessory. Advertisement All of these thoughts, as I watched Alan Parker's “Evita,” did not in the least prevent me from having a good time. I suspect Parker has as many questions about his heroine as I do, and I am sure that Che (Antonio Banderas) and Juan Peron ( Jonathan Pryce ) do--not to mention Oliver Stone , co-author of the screenplay. Only Evita herself, magnificently embodied by Madonna, rises above the quibbles, as she should; if there is one thing a great Evita should lack, it is any trace of self-doubt. Here we have a celebration of a legendary woman (for those who take the film superficially) and a moral tale of a misspent life (for those who see more clearly). Certainly Parker is a good director for this material. He has made more musicals than his contemporaries, not only “ Bugsy Malone ,” “Fame” and “ The Commitments ,” but especially “Pink Floyd the Wall,” one of the great modern musicals, where he uses similar images of marching automatons. Working with exteriors in Argentina and Hungary and richly detailed interior sets, he stages Evita's life as a soap opera version of “ Triumph of the Will ,” with goose-stepping troops beating out the cadence of her rise to glory. The movie is almost entirely music; the fugitive lines of spoken dialogue sound sheepish. Madonna, who took voice lessons to extend her range, easily masters the musical material. As importantly, she is convincing as Evita--from the painful early scene where, as an unacknowledged child, she tries to force entry into her father's funeral, to later scenes where the poor rural girl converts herself into a nightclub singer, radio star, desirable mistress, and political leader. Advertisement There is a certain opaque quality in Madonna's Evita; what you see is not exactly what you get. The Che character zeroes in on this, questioning her motives, doubting her ideals, pointing out contradictions and evasions. Yet for Evita there are no inconsistencies, because everything she does is at the service of her image. It is only if you believe she is at the service of the poor that you begin to wonder. Listen closely as she sings: “For I am ordinary, unimportant And undeserving Of such attention Unless we all are I think we all are So share my glory.” The poor, in other words, deserve what Evita has, so her program consists of her having it and the poor being happy for her. After all, if she didn't have it, she'd be poor, too. In other words: The lottery is wonderful, just as long as I win it. Banderas, as Che, sees through this; his performance is one of the triumphs of the movie. He sings well, he has a commanding screen presence, and he finds a middle ground between condemnation and giving the devil her due. He is “of the people” enough to feel their passion for Evita, and enough of a revolutionary to distrust his feelings. Pryce, as the dictator, remains more difficult to read. He is grateful for the success Evita brings him (her broadcasts free him from prison, her campaigns win his elections, her fame legitimatizes his regime). But there is a quiet little scene where he knocks on her locked bedroom door and then shuffles back to his own room, and that scene speaks volumes for the haunted look in his eyes. Advertisement The music, like most of the Webber/Rice scores, is repetitive to the point of brainwashing. It's as if they come up with one good song and go directly into rehearsals. The reason their songs become hits is that you've heard them a dozen times by the end of the show. But Parker's visuals enliven the music, and Madonna and Banderas bring it passion. By the end of the film we feel like we've had our money's worth, and we're sure Evita has. Popular Blog Posts

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What was the name of the butler in The Rocky Horror Picture Show?

Madonna and the Making of Andrew Lloyd Webber's Evita What's your next favorite movie? Join our movie community to find out Image from: Life of Pi (2012) Madonna and the Making of Andrew Lloyd Webber's Evita Posted June 19, 2012 02:00 PM by Robert Siegel Being a big fan of musicals, when I originally went to see the film Evita , I didn't know what to expect. I had not been familiar with the score, it was one of those original cast compact discs that I had never purchased (surprising I missed this one, since I have almost 400 original cast albums). I spent the entire time in the theater in awe of the work that was done on this film and also the score. This was a film that was well-planned and shot and edited beautifully. I became an even bigger fan of Alan Parker, and also gained more respect for Madonna and Antonio Banderes. How sad that Webber and Rice would never write another musical together, because personally I think that Joseph, Superstar and Evita are among Webber's best works. Since then I have had the chance to listen to original cast albums from the U.K. and the U.S.. What an improvement the musical geniuses behind this film made. The orchestrations are so full and perfected, and the fact that shooting was done on location where these events took place only adds to the excitement. I have owned the original Criterion special edition laserdisc and another laserdisc release which had DTS audio, and even for that period, the recording of this score is amazing. But with an new master (confirmed by Disney), this disc should absolutely rock! But you don't need to be a big fan of musicals to appreciate Evita . Though most of it is sung, the story alone and the performances are excellent. So, here is a look at not only behind the scenes of the film, but also some history of the story and of the famous Eva Duarte Peron and her rise to popularity. Eva Durate Peron History Eva Peron was born Maria Eva Ibarguren, the youngest illegitimate daughter of Juan Duarte, a middle-class estancia manager, and a domestic servant, Juana Ibarguren, on May 7, 1919, in Los Toldos, in the vast Pampas two hundred miles west of Buenos Aires. Seven years later, Juan Duarte died in a car accident and his Ibarguren family was prevented from attending the funeral by Duarte's legal wife, Dona Estela Grisolia. (The painful rejection that young Eva and her mother suffered here stayed with her all of her life. She would often refer to it, and the event formed the basis of her often fanatical hatred of Argentina's middle and upper classes.) Dona Juana later moved her family to the nearby town of Junin, where she opened a boarding house. It was here, at the age of fifteen, that Eva met Agustin Magaldi, the dubiously talented tango singer whom she persuaded to take her back to Buenos Aires. She bounced from lover to lover in an indisputably male-dominated society, prior to her minor celebrity as a film and radio actress. Early modeling photo of Eva Duarte Eva first met Colonel Juan Peron on January 22, 1944, at a charity concert organized to aid victims of the San Juan earthquake. Soon openly living with Peron as his mistress, she attracted the displeasure of both the oligarchy�the ruling class�and Peron's military cohorts. Disturbed by his growing public popularity, the ruling junta subsequently arrested Peron and incarcerated him at Martin Garcia Island prison. The populist insurrection that followed on October 17, 1945, led to his release and free elections the following year, which Peron won comfortably, becoming the 29th president of Argentina. Original dresses worn by Eva Peron on display in Argentina. Eva threw herself into life as Argentina's first lady with a media blitz common now but unheard of then. She visited Spain, Italy and. France as part of her "Rainbow Tour" of Europe, and her movie-star style and populist charisma propelled her to worldwide celebrity. The global media exposure established her as one of the most famous women in the world and, certainly, the most famous woman ever to come out of South America. Photos of Eva Duarte Peron Returning to Argentina from Europe, Eva created her own charitable organization, La Fundacion Ayuda Social Maria Eva Duarte de Peron, and proceeded to work sixteen-hour days righting the wrongs, as she saw them, in Argentina's unequal society. She oversaw the opening of twelve new hospitals and a thousand new schools (all named after her), clinics, medical centers, homes for the aged, homes for single girls, convalescent centers and shelters for the homeless. She even built an entire miniature children's city, La Ciudad Infantil, many years before Walt Disney came up with the idea. She gave away 200,000 cooking pots to the poor, 400,000 pairs of shoes, 500,000 sewing machines and so much more. General Peron and his wife Eva, who at this time was becoming ill. In a stroke of bravado, she even sent medical supplies and clothing to help the poor of the United States. Her generosity and demagoguery knew no end, except for the final bill. The country was slowly becoming bankrupt. Whether due to Eva's extravagant beneficence or her husband's shaky, autocratic economic policies, or because the Perons were just plain stealing, the truth is lost in Borges' cigar smoke and the contradictions of many historians. When asked by an American journalist why she didn't keep books for her charitable efforts, Eva replied, "Keeping books on charity is capitalist nonsense. I just use money for the poor. I can't stop to count it." Oil painting that hangs in the Casa Rosada The Casa Rosada, where permission was finally granted to film. Eva's celebrity and political clout were consolidated in the creation of the Peronist Women's Party (Eva campaigned for women's right to vote and it had become law in 1947). As her popular support grew, so did the dissident voices. Her ruthlessness and despotic fanaticism toward achieving her goals made her many enemies, not least of all within Peron's military. The nervous generals at the Campo de Mayo garrison saw her aspirations to the vice-presidency as nothing short of heresy. Eva was put forward as the vice-presidential candidate by the five-million-strong General Confederation of Labor (CGT), which organized the mammoth rally of August 22, 1951, that filled the Avenida p de Julio with a million supporters. The CGT had erected a giant, five-story-high scaffolding edifice to house the speaking platform. A massive arch framed the podium, declaring "Peron-Eva Peron, La Formula de la Fatria," and the huge crowd clamored for her to accept the vice-presidential nomination. Photographs of Eva Duarte Peron. In the lower photograph, Eva is accompanied by the Bishop of Madrid and Alcala, Bishop Eijo and Garay, entering the cathedral of San Francisco el Grande. But their efforts were all for nothing. Nine days later, everything changed. Eva made an emotional, tearful radio broadcast renouncing all of her political ambitions. What caused this sudden reversal is not clear. Whether it was pressure on Peron from the military, or whether the medical diagnosis of her uterine cancer had finally been made clears to her, or perhaps some other factor. For eleven months, Argentina witnessed Eva's slow and public dying. In the elections of November, 1951, a special ballot box was brought to her bedside for her to cast her vote (and for her to be photographed for the Peronist media machine). For Peron's second term inaugural motorcade in June of 1952, emaciated and heavily sedated, she had to be propped up by a steel cage which was hidden from the crowds by her ample fur coat. At 8:25 PM on July 26, 1952, Eva died. The grave sight of Eva. A dictatorship took power in Argentina. The new dictatorship took Evita's body from display and its whereabouts were not known for 16 years. From 1955 to 1971, the military dictatorship of Argentina issued a ban on Peronism. It was illegal to own pictures of Juan and Eva Per�n even in one's home, but no one was allowed to speak their names. In 1971 the military revealed that the body was buried in a crypt in Milan, Italy, under the name "Mar�a Maggi." In 1971, Evita's body was discovered and flown to Spain, where Juan Per�n kept the corpse in his home. Juan and his third wife decided to keep the corpse in their dining room on a coffin near the table. In 1973, Juan Per�n came out of exile and went back to Argentina, and became president for the third time. Per�n died in office in 1974. It was Isabel (his third wife) who had Evita's body returned to Argentina and displayed beside Juan Peron's. The body was later buried in the Duarte family tomb in La Recoleta Cemetery, Buenos Aires. Major measures were taken by the Argentine government to keep Evita's tomb secure. There is a trapdoor in the tomb's floor, and that leads to a compartment that contains two coffins. Under the first compartment is another trap-door and a second compartment. That is where Evita's coffin rests. This cemetery, which is located in the northern part of barrio Recoleta, holds the remains of illustrious military generals, presidents, poets,scientists, and other affluent Argentinians. Andrew Lloyd Webber, Composer Andrew Lloyd Webber is a native Londoner, born in South Kensington in 1948. His father was a composer, William Lloyd Webber, his mother was the pianist and educator Jean Johnstone Lloyd Webber, and his younger brother the world-renowned cellist Julian Lloyd Webber. He started composing at 6 years old and published his first piece at 9. He was a Queen's Scholar in history at Magdalen College, Oxford, but his studies soon were sidetracked by his passion: He was still in his teens when he met Tim Rice, then a 21-year-old law student, and the two invented rock opera and were transforming musical theater with Joseph� and then with the international hit "Jesus Christ Superstar." What followed, with the prolific Rice as well as with several other collaborators, was the stuff of musical history. Tim Rice and (right) Andrew Lloyd Webber work on the Evita concept album. No one, including Webber, could have predicted that his writing would move from the life of Jesus to the travails of P. G. Wodehouse's Jeeves, or that these would lead to the bite of Evita. No one ever seriously considered T. S. Eliot's Book of Practical Cats a possible subject for a popular musical-but it was a childhood favorite of Lloyd Webber and it, too, was transformed and made musical history. The monumental design of "The Phantom of the Opera" itself from the surprising source of a long-forgotten Gaston Leroux novel, did not prepare musical lovers for the intimate adult pleasures of Aspects of Love, a chamber opera that happens to work as a musical. I had a chance to see "Aspects of Love" on it's U.S. Tour and fell in love with the romantic musical with a tremendous score, and recorded beautifully with a full orchestra on a 2-CD set starring Michael Ball. Webber has composed over 13 musicals, including "Cats," The Phantom of the Opera , "Evita" and "Jesus Christ Superstar," several of which have run for more than a decade both in London's West End and on Broadway. He also wrote the scores to other musicals including "Starlight Express," "Aspects of Love," "Sunset Boulevard," "By Jeeves" and "Whistle Down the Wind." He has been given numerous honors, including a Knighthood (in 1992), seven Tony Awards, three Grammy Awards, an Academy Award, seven Olivier Awards and a Golden Globe ... His company, The Really Useful Group, is one of the largest theater operators in London ... His personal fortune was estimated at �797 million by the 2011 Sunday Times Rich List making him Britain's 52nd richest man. He divorced from singer Sarah Brightman and re-married in 1991 the former British international three-day-event rider, Madeleine Gurdon. They have three children, Alastair, William and Isabella. Original Broadway poster for Evita. With help from his wife, Webber founded Watership Down Stud at his home in Hampshire in 1992 ... Purchased Kiltinan Castle Stud in County Tipperary, Ireland, in 1995 ... He enjoyed his first big race success in 2000 when Crystal Music won the Fillies' Mile at Ascot ... His wife also is very interested in steeple chasing and her silks were carried to victory by Bacchanal in the Stayers' Hurdle at Cheltenham in 2000. Simon Marsh is his racing manager. Most recently, not only did he write a sequel to his biggest hit, The Phantom of the Opera , titled Love Never Dies , but introduced a series of reality shows for the BBC to find stars for musical revivals on the west end (after he was knighted in 1992 and bought the Palace Theater in 1983 and now owns and has restored seven London theaters including the Palladium and the Theater Royal Drury Lane) very loosely based on the American Idol format, with host Graham Norton. Broadcast talent shows were produced for Oliver (titled "I'd Do Anything)," "The Sound of Music" (titled "How do you Solve a Problem Like Maria"), "Joseph and the Amazing Technicolor Dreamcoat" (titled "Any Dream Will Do"), and "The Wizard of Oz" (titled "Over the Rainbow.") This allowed the public to make the final choice of who would be cast in the main part of the revival, as well as interest the national audience into seeing the musical live. It worked well. Seating for all four shows was sold out for many months and the BBC ratings for these shows topped the British television charts. Japanese poster Tim Rice, Lyricist Rice was born November 1944 in Amersham, Buckinghamshire. His father, Hugh Gordon Rice, served with the Eighth Army and attained the rank of major during World War II, while his mother, Joan Odette served in the Women's Auxiliary Air Force (WAAF) as a photographic interpreter. He was educated at Aldwickbury school, St Albans School and Lancing College and went on to study in France for a year at the Sorbonne. He joined EMI Records as a trainee in 1966 and when the producer left to set up his own organization in 1968, Rice joined him as an assistant producer. Along with his brother Jo and radio presenters Mike Read and Paul Gambaccini, he co-founded the Guinness Book of British Hit Singles and served as an editor from 1977 to 1996. He has also been a frequent guest panelist for many years on the radio panel games Just a Minute and Trivia Test Match. He released his autobiography Oh What a Circus: The Autobiography of Tim Rice in 1998, which covered his childhood and early adult life until the opening of the original London production of Evita in 1978. In September 1981, Rice, along with Colin Webb and Michael Parkinson, co-founded Pavilion Books with a publishing focus on music and the arts. Tim Rice and Andrew Lloyd Webber, photo taken in 2009. He wrote the book and lyrics for five musicals that have played in the West End and around the world: "Joseph and the Amazing Technicolor� Dreamcoat," "Jesus Christ Superstar," "Evita" (music by Andrew Lloyd Webber), "Blondel" (music by Stephen Oliver), and "Chess" (music by ABBA's Bjorn Ulvaeus and Benny Anderson). He then adapted the French-Canadian musical "Starmania" for English. He first joined forces with Alan Menken to write three songs for Disney's "Aladdin," including the 1993 Academy Award-winner "A Whole New World." He wrote the lyrics for all of the songs in the following Disney animated feature The Lion King , from which came his second Oscar�- winning song, "Can You Feel The Love Tonight" (1995), with music by Elton John. He has completed work with Menken on a contemporary opera based on the life of King David, which was performed as a concert in Caesarea, Israel, in September 1996. Poster for the soundtrack album for music stores and promotion. Rice wrote for three other stage musicals, "Aida" and "The Lion King" (adding new musical numbers), both for Broadway with Elton John and Disney, and "Heathcliff," starring Cliff Richard, with music by John Farrar, which opened a national tour of the U.K. in October 1996. He was chairman of the U. K's Foundation for Sport and the Arts, an organization that distributed around 60 million pounds annually to sporting and artistic causes in the United Kingdom. He stepped into the late Howard Ashman's shoes once again in order to expand the Menken/Ashman Beauty and the Beast movie score for theatrical presentation. In 1994, he was knighted for his services to sport and the arts. Evita comes to the United States stage. Webber and Rice were at the premiere. Recently in 2012, Andrew Lloyd Webber announced a new reality series, "Superstar" which was to be like his former reality musical shows. Tim Rice wrote Sir Andrew a letter and asked him not to do the show, calling it "downsizing" their musical. Tim wrote, "I've had several meetings with Andrew and said that I don't want this done but now it appears it's been signed and sealed. Andrew wants to rehash things all the time but I don't think Superstar needs that tasteless reality television treatment. Those shows are relentlessly downmarket which is fine if the show is a lightweight bit of fluff. They can't cast the show without my approval. I have the right to veto casting. So if Andrew casts it on TV and I didn't like the person, I could say so." About not working together after Evita, Tim Rice has stated he was the one that wanted to be on his own. "When Phantom was at its peak," said Rice, "and "Chess" was having problems, I thought probably it was a big mistake from my point of view. And people quite understandably were going to think our success is all down to Andrew. I suppose being vain and human I got a bit pissed off at that point. Not with Andrew particularly but with myself, that I should have stuck with him. Poster from the release in Argentina. From Concept Album to Stage to Film In 1972, Robert Stigwood proposed that Andrew Lloyd Webber and Tim Rice develop a new musical version of "Peter Pan," but they abandoned the project. What intrigued Rice about Eva was a brief radio play he had heard while driving his car, but more importantly, the TV film Queen of Hearts by Argentine film director Carlos Pasini Hansen which had aired in the UK on 24 October 1972. The more Rice looked into the life of Eva Per�n, including travel to Buenos Aires to research her life, the more fascinated he became by her; he even named his first daughter after her. The idea of writing a score with Latin flavours intrigued Lloyd Webber, but he ultimately rejected the idea. Lloyd Webber decided instead to collaborate with Alan Ayckbourn on "Jeeves," a traditional Rodgers and Hart-style musical based on the P.G.Wodehouse character, which proved to be a critical and commercial failure. Lloyd Webber and conductor Anthony Bowles presented the musical at the Sydmonton Festival before making the recording with the London Philharmonic Orchestra. Prior to its release, they played it for Harold Prince and asked him to become involved with the staging. Prince agreed, saying, famously, "Any opera that begins with a funeral can't be all bad", but he advised them that I can't take on any new commitments for the next two years. In Britain, Australia, South Africa, South America, and various parts of Europe, sales of the concept album exceeded those of "Jesus Christ Superstar." The Evita concept album was released in November 1976. The record went straight to the top of the British charts, an unprecedented occurrence for an un-produced musical, with the single release of "Don't Cry For Me Argentina" sung by Julie Covington soaring to number one a month earlier. Jesus Christ Superstar, written earlier, was also a concept album but did not hit the charts as high as Evita did. When Alan Parker first heard the original concept album he immediately inquired as to the possibility of a film adaptation. "'Evita' is an old passion of mine," Parker said. "Eva Peron was fin extraordinarily complex, fascinating and charismatic woman and to tell the truth about her, in a balanced, contemporary cinematic way, entirely as an opera, is a great challenge to any filmmaker." (clockwise) Original concept album, Original London Cast, Original Broadway Cast, Movie Soundtrack Parker subsequently dropped the idea of making the film, at the time, because Robert Stigwood, spurred on by the success of the record, decided to produce "Evita" for the London stage first, with Elaine Paige in the title role and Harold Prince directing. "Evita," which opened at the Prince Edward Theater on June 21, 1978, was one of the greatest musical theater hits ever seen in London. By the time it closed, it had played 2,900 performances in the West End. It transferred to Broadway in 1979 starring Patti LuPone, and walked off with the New York Drama Critics Circle Award for Best Musical and seven Tony Awards at the end of its first season. Robert Stigwood invited Alan Parker to the Broadway opening of "Evita" in 1979 and asked him if he would like to direct a film version. Parker, who was shooting "Fame" in New York, promised to give him his answer once he had finished that film. Eventually, Parker decided not to direct the film of Evita because he was loath to attempt another musical immediately after finishing "Fame." For fifteen years, Alan Parker often regretted his reply to Robert Stigwood as he read about the proposed stars and directors planning to make Evita including: Elaine Paige, Patti LuPone, Meryl Streep, Barbra Streisand, John Travolta, Raul Julia and Michelle Pfeiffer. Directors announced over the years were Ken Russell, Herb Ross, Alan Pakula, Hector Babenco, Francis Coppola, Franco Zeffirelli, Michael Cimino, Richard Attenborough, Glenn Gordon Caron and Oliver Stone. When Andy Vajna, whose company Cinergi was producing the film, offered him the project again at the end of 1994, he said he was glad that everything had come full circle. Poster from Denmark As Parker began to work on the film's script in 1994, he was dogged by the same questions that Tim Rice faced when he originally researched into Eva Peron's life in 1976. At that time, there was little written about her and theatrical performances of "Evita" and the importation of the records were banned by Argentina's military dictatorship. Parker found that even as the film was made, in Argentina, Eva Peron is still thought of as either a saint or a sinner so his extensive research had to discover the real truth behind this woman whose image has been used as propaganda by both left-wing guerrillas and right-wing extremists. In writing the screenplay, Parker decided to overlook the stage play completely, as Harold Prince's stage directions were irrelevant for the cinematic version, and returned to the original concept album's score and lyrics but also his own research. Armed with all the available research material in existence from documentary footage made on Eva Peron, every possible book in English on the Perons and Argentina and old newspaper clippings, Parker was determined to write a film version of Evita as close to Eva Peron's own story as possible, and that story is the one he has told in his film. Story conception by Alan Parker for the film: Maria Eva Ibarguren (Eva Peron) was born on May 7, 1919, in Los Toldos, a tiny town two hundred miles west of Buenos Aires. Eva was the youngest, illegitimate daughter of Juan Duarte, a middle-class estancia manager, and a domestic servant, Juana Ibarguren. The family was very poor, and Eva was only 7 when her father was killed in a car crash. Very cruelly, the family was prevented from attending his funeral, and it is this memory which led to Eva's lifelong hatred of Argentina's middle-class. Later her mother opened a boarding house in Junin, a nearby town, and from where Eva escaped, at age 15, by cajoling Agustin Magaldi, a small-time tango singer, to take her with him to Buenos Aires. Her early years in 'the Big Apple' are vague as she climbed the social ladder in her desperate, search for acceptance, eventually becoming a film and radio actress and gaining some celebrity. Materials used by Alan Parker to create a thoroughly detailed true story. At a charity concert in aid of victims of the San Juan earthquake on January 22, 1944, Eva first met Goloneh Juan Peron and became his mistress, much to the chagrin of both the ruling class and Peron's military colleagues. Concerned about Peron's rising popularity with the labor unions, President Farrell had Peron arrested and imprisoned at Martin Garcia Island prison, unaware that such a move against a popular figure would lead to the insurrection of October 17, 1945. Peron was consequently released, and, in the free elections the following year, he became the 29th president of Argentina. Eva became very visible as the country's first lady and on her visit to Spain, Italy and France, as part of her "Rainbow Tour" of Europe, she received so much press attention that she easily became the most famous woman in the world. Upon her return to Argentina, and smarting from the West's image of her frivolous lifestyle and her husband's questionable politics, Eva immersed herself in "good works." Eva founded her own charitable organization "La Fundacion Ayuda Social Maria Eva Duarte de Peron") and during her regular sixteen-hour working days she began to put right what she thought was wrong with Argentina's unequal society. Her building of new hospitals; clinics; medical centers; homes for the aged, for single girls and for the homeless; a thousand new schools all named after her; an entire miniature children's city ("La Ciudad Infantil") and the giving away of thousands of cooking pots, shoes, sewing machines, etc. to the poor, was driving the country into bankruptcy. When asked by an American journalist why she didn't keep books for her charitable efforts, Eva replied, "Keeping books on charity is capitalist nonsense. I just use money for the poor. I can't stop to count it." The birthplace of Eva Duarte has been debated. There could be two possible locations, shown here. At the height of her power, Eva created the Peronist Women's Party and succeeded in campaigning for women to vote, which became law in 1947. Her ruthlessness to achieve her goals, however, brought her many enemies, particularly within Peron's military, who dissented against her becoming vice president when she was nominated by the five-million-strong General Confederation of Labor (CGT) at a giant rally on August 22, 1951. In spite of the people's efforts, nine days later in an emotional radio broadcast, Eva relinquished all her political aspirations. Her decision, whether because of pressure on Peron from the military, or whether her uterine cancer had been diagnosed, has never been fully explained. Eva Peron's public dying over the next eleven months was painful to witness. She cast her vote in the elections of November 1951, in a special ballot box brought to her bedside which was made into a photo opportunity for the Peronist media machine. For the inaugural motorcade celebrating Peron's second term in June 1952, heavily drugged and skeletal in appearance, Eva was kept upright by a steel cage hidden from view by her generous fur coat. At 8:25 p.m. on July 26, 1952, Eva Peron died at the age of 33 years old. Argentina went into a deep and frenzied mourning. Spanish poster Production Parker submitted his first draft of the script to Andrew Lloyd Webber and Tim Rice in May, 1995 with 146 changes to the original score and lyrics. Finally after much negotiating by Parker, as it is well known that Lloyd Webber and Rice no longer work together out of choice, the three men met at Lloyd Webber's house in the South of France and successfully addressed all Parker's changes. One of the many alterations he had made was to rearrange the order of most of the last act, calling for new scoring from Lloyd Webber, and more importantly a new song to be written by the two of them. "For obvious reasons, Andrew doesn't give his melodies away too hastily," Parker said. "The possibility of these two gentlemen ever collaborating again was, I was told by many who knew them well, an idealistic but not overly practical, if not impossible notion." Parker wanted the film to retain a slightly soft image for the first two thirds and then get slightly sharper toward the last half hour to express the reality of what was happening to the country and to Eva. Setting up a shot for Evita. Ever optimistic, Alan Parker left the new songs in the hands of Lloyd Webber and Rice, while he involved himself with the difficult task of casting his film. Michelle Pfeiffer had waited so long to star as Evita that by the time Alan Parker began working on the film she was already the mother of two small children, and the travel involved had now become impossible for her. Madonna, whom he had worked with developing a remake of "The Blue Angel" a few years earlier, wrote him a passionate and sincere handwritten, four-page letter while he was spending Christmas in England in 1994. She said she desperately wanted the part and that she would be prepared to give all her time and effort, over a very long period of time, to make the film. "Madonna has never ever once gone back on her word," Parker says. "She is extraordinarily accomplished and has given everything to make this film. I find it hard now to even conceive of anybody playing the part as well as she has done it." Cinematographer Darius Khondji (left) discusses a shot with Alan Parker. Antonio Banderas was the favorite to play Che after Parker saw an audition tape he had made. When they met in a Miami restaurant to discuss the part, Banderas serenaded the director with a word-perfect rendition of all the songs from "Evita," in full view of surprised diners. Jonathan Pryce was also Parker's choice for Peron. He had long admired the brilliant, classically-trained British actor, who had created the lead role of The Engineer in the stage musical "Miss Saigon," for which Pryce won a Tony, and Parker had seen Pryce's bravura role as Lytton Strachey in the film "Carrington," winning the Best Actor prize at the 1995 Cannes Film Festival. Original storyboards used by Alan Parker. Madonna was adamant that she would sing the score as Andrew Lloyd Webber had written it, and early on she began working with top vocal coach Joan Lader in New York, and the film's musical supervisor, David Caddick, who is also Andrew Lloyd Webber's regular musical director. Within three months she had expanded her vocal range, using voice areas that she had never touched upon before. In September 1995, Madonna, Antonio Banderas, Jonathan Pryce and Jimmy Nail began rehearsals with Alan Parker in London. Even though all the dialogue was being sung rather than spoken, Parker wanted the dialogue to be as naturalistic as possible. He was convinced that the production of the film should be identical to how he made a normal dramatic film. The rehearsals went very successfully and by October 2, they were ready to begin recording the music in London. Over four months of working 7 day weeks, everyone involved put in over 400 recording hours preparing the 49 musical sections that were necessary for playback on set. It was a risky time for Alan Parker as he was constantly aware of the fact that decisions made in the recording studio would have to be adhered to on the film set. As recording time moved on and Parker began to panic at the nonappearance of the new song, Lloyd Webber sat down at his piano one day and played the director the perfect melody. As with the original "Evita" score, the music always came first and then the lyrics, so now it was time to persuade Tim Rice to also come up with his customary magic. After many weeks, Rice came back with the beautiful song, "You Must Love Me," that Madonna sings to clarify Eva's relationship with her husband. Parker had also asked Rice to completely rewrite the song "The Lady's Got Potential," which Harold Prince had removed from the stage version, but which Parker had reclaimed, to explain the history of politics in Argentina pre-Peron. "You Must Love Me" written for the film by Webber and Rice won the Academy Award that year as best original song. As Webber accepted the award during a year when The English Patient was winning nearly every award, Webber first said, "Thank God The English Patient didn't have a song." As the recording proceeded, Parker also had to involve himself with preparing for shooting the film, which was already proving to be a logistical nightmare. He was always determined to shoot in Argentina and in June 1995 he had been granted an audience with President Carlos Menem. As soon as he received the word, he took the first plane to Buenos Aires, and surrounded by secret service agents met with the President at his private residence, Los Olivos. President Menem was sympathetic, but as a Peronist he wanted Eva Peron's memory to be respected - he had a huge portrait of Eva behind the desk in his office - and he was very wary of a film of Evita because of previous attempts to mount the production. Parker needed the President's help, and most importantly the use of the Casa Rosada, the official government house, which looms so large in the story. "Every time I met one of his ministers over the next six months, the answer was the same no," Parker said. "They wanted to see the script and I said that, from a creative point of view, I needed the freedom to express myself as I saw fit. I did always promise them it would be a balanced film, and I felt to shoot part of it in Argentina would add to the honesty of the film. I had visited Eva's birthplace of Los Toldos, the town of Junin where she grew up, and Chivilcoy where her father's funeral took place. My plan was to at least shoot Eva's early years there." After visiting seven other countries, Parker decided to start the filming in Buenos Aires, then move to Budapest to replicate Buenos Aires as it was in the thirties and forties. The crew was principally English, with American, French, Scottish and Irish technicians. Most of Parker's crew had worked with him before, but it was the first time he had worked with the cinematographer, Darius Khondji, a Frenchman of Persian descent. Parker has said, "his continual brilliance (and shadows) and affable personality made the filming a constant delight, as he integrated perfectly with my usual camera crew." Storyboard production camera drawings They were a juggernaut "the last of the traveling circuses" was how David Lean described large film crews on the move-freighting 70 tons of equipment from England. By mid-January, 90 of the crew were lodged in Buenos Aires for filming to begin on February 8. Arriving at the airport was an indicator of what was to come throughout filming: a constant bombardment of journalists, photographers and TV cameras jostling them all at every turn. "On that first drive in," Parker remembers, "it was daunting to see the huge unwelcoming scrawled graffiti signs everywhere with Tuera (go home) Madonna,' Viva Evita,' and 'Chau Alan Parker and your English task force.'" ("Task Force" was the epithet given to the British troops during the Falklands War). The weeks leading up to filming are always an awesome time for any director, but as Parker and his crew finalized their many locations and he worked through the camera script and cast the smaller parts, he came to realize, with nervous anticipation, what a monster of a film this truly was. It wasn't simply the obvious components - the thousands of people involved and the dozens of locations in two very different countries - but also the security concerns, not made any easier by the paparazzi who went to any lengths, including using helicopters, to get the pictures they needed. Rare teaser poster Madonna, as the true professional that she is, arrived early in Buenos Aires to carry out her own research, meeting elderly Peronists and anti-Peronists alike, to fill in her own picture of Evita, and to complete final fittings on the over 80 costumes she would be wearing. It was upsetting for her to see the unwelcoming signs, and with fans and photographers stalking her every movement and keeping her awake at night, she had many difficulties with which to contend. Parker continued his pursuit of the Casa Rosada balcony for the important "Don't Cry For Me Argentina" scenes with the powers that be, emphasizing that the production designer, Brian Morris, had photographed every square inch of the building and that if they could not film there they would build the facade at Shepperton Studios. Magazine cover created for use in the film. As they forged ahead with the filming, with their 90 core crew and 150 Argentinean crew, they were attacked daily, in the newspapers, by unwelcoming journalists, who were completely unaware of exactly what they were doing. Their same stories were filed worldwide - the film that was not wanted there -- and they ran continuously the whole time the production was in Argentina. Eventually, the production became immune to all this negativity in their desire to make their film. There was no way that the production could keep the photographers away from the film being shot, because they were filming out in the open, recreating the world of 1936 when Eva was young, involving period vehicles, thousands of costumed extras, and entire streets dressed in the era. Not easy art direction in a busy city of ten million people. As the weeks went by, the opposition in all quarters ceased to trouble them as the public learned to get used to them being there. Poster from Poland caption As far as the Casa Rosada balcony was concerned, it was Madonna who succeeded where the rest had failed for over a year. Through her research acquaintances she managed an unofficial, personal meeting with Menem. The call to meet him came in one of Parker and her regular script meetings and as she dashed out of the door he suggested she take her CD of "Don't Cry For Me" with her. Madonna met with the President for an hour. The following week Jonathan Pryce, Antonio Banderas, Madonna and Alan Parker were summoned to an official meeting with President Menem at Los Olivos. They sat nibbling the President's famous pizza, exchanging small talk and generally tip-toeing around the important question. "Let's cut to the chase here," Madonna suddenly said. "Do we have the balcony or don't we?" Menem smiled and nodded, "You can have the balcony." Original costumes created for the film. A few days later, as Madonna came out on to that balcony to sing "Don't Cry For Me Argentina," the 4,000 extras and the crew went wild. "On the second night of shooting there, as we filmed the reverses on the crowd, I stood with Madonna on the balcony," Parker says. "With all of the documentary footage imprinted in the back of our brains, it was impossible not to be moved when we were standing in the same spot where Eva stood looking down at a crowd of adoring thousands. Suddenly it wasn't just the illusion and replication of film. It was strangely real." After six weeks Parker's army moved on to Hungary with several tons of equipment, costumes and props in tow, and were shooting within four days of arriving in Budapest. The director tried not to panic when he received a phone call from Madonna in New York to say that she was pregnant. Calculating wildly, the two of them tried to keep it a secret from the crew upon her return to the shooting, but the cloak-and-dagger conversations he began to have in trying to reschedule without giving the game away, led to David Wimbury, the line producer, and Dennis Maguire, the first assistant, realizing that Parker had finally gone over the edge. Madonna eventually had to make her announcement. Original lobby cards In Hungary, the biggest project was to prepare and film Eva Peron's state funeral. Parker and the crew had researched miles of documentary footage and wanted an exact replica of her cortege. The costume department, to be prepared for filming on the first shooting day, began fitting and dressing extras at 3:30 a.m. The call sheet read as follows: 4,000 crowd to include; 50 mounted police, plus horses; 200 soldiers; 50 army officers; 50 foot police; 60 sailors; 60 nurses; 300 working-class women; 100 upper-class women; 51 descamisados; 20 naval officers; 12 naval police; 300 working-class men; 15 palace guards; 8 pallbearers; 60 navy cadets; 60 army cadets; 300 middle-class women; 300 middle-class men; 100 Aristo men; 100 boys; 100 girls; 200Vnale background; 200 female background; 1,400 miscellaneous background; gun carriage; coffin; 4 army motorcycles; 2 police motorcycles; 6 Bren carriers; 2 half-track military vehicles; 2 fox tanks; 4 army trucks; CGT float, ete. etc. Miraculously, this giant procession was ready to film at 10:30 a.m., and the scene was shot for the next two days. Antonio Banderes publicity shot In London everyone was back to normal and the final part of the shoot went without mishap. The film finished shooting at 2 a.m. on the morning of May 30, having filmed for 84 days, shooting in 3 different countries, involving over 600 film crew. They had shot 299 scenes and 3,000 slated shots on 320,000 feet of film with 2 cameras. Penny Rose's costume department, with a staff of 72 in three different countries, had fitted 40,000 extras in period dress. Over 5,500 costumes were used from 20 different costume houses in London, Rome, Paris, New York, Los Angeles, San Francisco, Buenos Aires and Budapest, including over 1,000 military uniforms. Madonna's wardrobe alone consisted of 85 changes, 39 hats, 45 pairs of shoes and 56 pairs of earrings. Almost all of these were handmade in London. Martin Samuel, the chief hairstylist, created 42 different hair designs for Madonna. Brian Morris' art department created 320 different sets involving 24,000 different items of props. These statistics are only an indicator of the massive nature of this film. "It's not easy making movies and it's certainly not glamorous," Alan Parker said on the set. "The manic, tormented hard work, the long, upside-down hours and being constantly ankle-deep in pig shit is the reality. But sometimes it's really worth it." When the film was released, dozens of magazines featured Madonna on their covers. Madonna An artist with a history of making history, Madonna, in a performance of a lifetime, had made the role of Evita completely her own. A renaissance woman in the truest sense of the term - singer, composer, producer, actor, executive, humanitarian and mother - there was nothing, it seemed, that Madonna could not do. It is her passionate commitment to excellence, her complete involvement in every essential aspect of her art, her career and her life, which has made Madonna one of a handful of the most innovative, influential and inspiring artists of our time and it is these same qualities that Madonna has brought to bear in the film and the music of Evita . Madonna's history towers over the chronicles of popular culture comprising a list of First, Best, Fastest and Longest that stands as a monument to one woman's exceptional ability and extraordinary ambition. From 1982, when a cocky, confident and coolly self-assured 24-year-old Detroit native first stepped onto the stage to lip-synch her debut single "Everybody," at New York's Danceteria, it was clear that something wholly original had happened. Madonna Evita publicity still Madonna has broken every available radio, video, sales and box office record, racking up no less than 29 Top Ten singles, 11 of those reaching No. 1. Her chart topper, 1994's "Take A Bow" lodged in the top spot for seven consecutive weeks and beat the performance of her 1984 breakthrough, "Like A Virgin" (which had a six week run at the top). All told, Madonna's No. 1 and No. 2 singles have spent a total of 40 weeks at the top of the charts -- almost a solid year of uninterrupted hits. In one period in the late 1980s, she racked up six straight Top 5 singles, beating the Beatles' old record for back-to-back chart toppers. The single, "You Must Love Me," written especially for the film, Evita by Andrew Lloyd Webber and Tim Rice was one of the fastest rising singles in the history of Warner Bros. Records. Madonna Evita publicity still Of eleven Madonna albums made at the time, every one had reached the Top 15, all but one had made it into the Top 10, and seven attained Top 5 status. Every one of that eleven-album catalogue (Evita eventually made it an even dozen) had sold over a million copies, two have sold over three million and five have sold over four million. Madonna's international album sales are estimated at topping 100 million units. Pivotal as recorded music is to Madonna's unparalleled success, she has had more videos, played more often, than any other artist in the history of the MTV network. Multi-awarded for these videos, Madonna made a ground-breaking contribution to the video art form as she had to her unstoppable sell-out music tours which combined music, theatrics, spectacle and dazzling charisma which have packed stadiums globally for nearly three decades. Madonna's film roles began with instant success as wacky Susan in "Desperately Seeking Susan," leading to starring in "Dick Tracy," joining Woody Allen's exclusive repertory foreshadows and Fog" and Madonna's intriguing documentary performance in "Truth or Dare" was an in-your-face personal journey which intrigued audiences and critics alike and led to her debut at the 1991 Cannes Film Festival. Original service agreement contract for Madonna. Antonio Banderas The narrator throughout, the sardonic Brechtian everyman, Che is played by Spanish actor, Antonio Banderas, who made his American film debut in "Mambo Kings." This was closely followed by a number of films including Jonathan Demme's "Philadelphia," starring opposite Tom Hanks and Denzel Washington; Neil Jordan's "Interview with a Vampire," opposite Tom Cruise and Brad Pitt; "Miami Rhapsody" with Sarah Jessica Parker; "The House of the Spirits," with Glenn Close, Meryl Streep and Jeremy Irons; starring in Robert Rodriquez' "Desperado" and "Four Rooms"; "Assassins" opposite Sylvester Stallone; "Never Talk to Strangers" and "Two Much," opposite Melanie Griffith and Daryl Hannah. Banderas, who worked with the Spanish National Theater for five years, began his career as the protege of Spanish director Pedro Almodovar in such classics as "Tie Me Up, Tie Me Down," in which he received Spain's equivalent of an Oscar nomination for Best Actor, and "Women on the Verge of a Nervous Breakdown." His next project was to be "The Mask of Zorro" for director Martin Campbell. Antonio Banderes publicity still Jonathan Pryce The role of President Juan Peron is played by Jonathan Pryce, one of Britain's leading actors, who won the 1995 Cannes Film Festival's Best Actor prize for his starring role as the Bloomsbury Group critic and biographer Lytton Strachey in Christopher Hampton's "Carrington," and was nominated as theater's Best Actor in a Musical for his starring role as Fagin in Lionel Bart's "Oliver." Pryce has won Best Actor Tony Awards for his Broadway performances as the skinhead stand-up in Trevor Griffiths' "The Comedians" and his best-known theatrical role as the star of "Miss Saigon," for which he was also awarded an Olivier for Outstanding Performance in a Musical. He won the prestigious SWET (Society for West End Theatres) Best Actor Award for his performance as Hamlet at the Royal Court Theater in 1980, having been nominated for the same award the previous year for his performance in "The Taming of the Shrew" at the Royal Shakespeare Company. His film credits at the time included Richard Eyre's "The Ploughman's Lunch," Terry Gilliam's "Brazil," James Foley's film of David Mamet's "Glengarry Glen Ross," starring roles in TV films "Barbarians at the Gate" with James Garner for which he was nominated for Emmy and Golden Globe awards, and Martin Scorsese's "The Age of Innocence." Alongside his theater and film career, Pryce has made many impressive television drama appearances including "Selling Hitler" for Channel 4 in the U.K. and "Mr. Wroe's Virgins" for the BBC. Jonathan Pryce Jimmy Nail Agustfn Magaldi, the tango singer who first introduces the young Eva Peron to Buenos Aires is played by actor/singer/writer Jimmy Nail, who first came to prominence as Oz in British television's massively-successful BAFTA-nominated "Auf Wiedersehen Pet" in 1981, which boasted a 15 million viewership. Nail later created another popular character, the undercover detective Freddie Spender in the hit BBC series, "Spender," a series he wrote, executive produced and starred in, which ran on TV for four years and earned him a BAFTA nomination for Best Drama Series, as well as a Television and Radio Industries Award. The,series also led to his writing a best-selling Spender novel. The Nail, created smash hit TV series, "Crocodile Shoes," in which he starred as a low-rank country singer dreaming of the Big Time, won a BAFTA nomination for Best Television Music and an Ivor Novello nomination for Best Title Song. Nail's second series of "Crocodile Shoes" would be televised at the end of 1996. A successful recording artist, Nail's 1994 triple platinum album, Crocodile Shoes sold 900,000 copies in the UK alone and for which he completed his second sell-out UK tour. Jimmy Nail's film credits include "Wallenberg" and "Danny, The Champion of the World." Jimmy Nail Alan Parker Director, writer, producer Alan Parker wrote and directed his first film, "Bugsy Malone" in 1975. The film was a musical pastiche of 1920s gangster films with an entire cast of children. The highly original film received eight British Academy Award nominations and five Awards. His second film was the controversial "Midnight Express" (1977) which won two Oscars and six Academy Award nominations, including one for Parker as Best Director. The film received six Golden Globe Awards and four awards from the British Film Academy. This was followed in 1979 by Parker's film "Fame," a celebration of youth and the arts, which won two Academy Awards, six nominations, four Golden Globe nominations and was later adapted into a successful television series. Alan Parker on location for Evita In 1981, Parker directed "Shoot The Moon" starring Diane Keaton and Albert Finney, his most personal film to date, and the powerful "Pink Floyd�The Wall," the feature film adaptation of the successful rock album which has become a classic of the genre. In 1984, Parker directed "Birdy," based on the William Wharton novel, starring Nicolas Cage and Matthew Modine, which won the Grand Prix Special Du Jury at the 1985 Cannes Film Festival. No stranger to controversy, his next film "Angel Heart," written and directed by Parker in 1986 and starring Mickey Rourke and Lisa Bonet, opened in the United States amidst a storm caused by the 'X' rating initially imposed on it by the MPAA. In 1988 Parker directed the Civil Rights drama, "Mississippi Burning" starring-Gene Hackman and Willem Dafoe, which was nominated for seven Academy Awards� including Best Director for Parker and winning for Best Cinematography. Parker was also awarded the D.W. Griffith Award by the National Board of Review for directing. The film was nominated for five British Academy Awards, winning three. It also won the Silver Bear at the Berlin Film Festival. Alan Parker in production, deep in thought. In 1989 Parker wrote and directed "Come See The Paradise," a love story set against the internment of Japanese Americans during World War II starring Dennis Quaid and Tamlyn Tomita. "The Commitments," made in 1990, a story of a young Irish working-class soul band, won Parker the Best Director prize at the Tokyo Film Festival and British Academy Awards for Editing, Screenplay, Director and Best Picture. In 1993, Parker wrote and directed "The Road to Wellville," based on the novel by T. Coraghessan Boyle and starring Anthony Hopkins, Bridget Fonda, Matthew Broderick, John Cusack and Dana Carvey. In 1974, Alan Parker directed the BBC Television Film "The Evacuees," written by Jack Rosenthal, which won the International Emmy Award and a BAFTA Award for direction. In 1984, to celebrate "British Film Year," Parker wrote and directed the provocative documentary "A Turnip Head's Guide To The British Cinema" which underlined Parker's fiercely independent and outspoken views as he lambasted the British film establishment and film critics. It won the British Press Guild Award for the year's best documentary. Parker is also a novelist and author of the best-selling book written from his own screenplay of "Bugsy Malone," and "Puddles In The Lane" which was published in 1977. A compendium of his satirical cartoons, "Hares In The Gate," was published in 1982. A founding member of the Directors Guild of Great Britain, Parker has lectured at film schools around the world. In 1985 he was honored by the British Academy with the prestigious Michael Balcon Award for Outstanding Contribution to British Cinema, and in November 1995 he was awarded with a CBE by Queen Elizabeth II for services to the British film industry. Robert Stigwood Producer Robert Stigwood was the first producer of the UK stage hit of "Evita" and his US theater production of the musical won the 1980 Tony Award for Best Musical. Alan Parker was always Stigwood's first choice to direct the film of Evita . Robert Stigwood was the producer of the hit film, "Grease," which began touring as a highly acclaimed stage musical featuring all of the film songs. His other UK stage production credits include "Hair," "Oh! Calcutta," "The Dirtiest Show in Town," "Pippin," "Jesus Christ Superstar" (also a hugely successful US Theatre production), "Sweeney Todd," "Sing a Rude Song," and "John Paul George Ringo and Bert." Stigwood has produced many films including Tommy , Saturday Night Fever , "Sgt. Pepper's Lonely Hearts Club Band," "Stayin' Alive" and "Gallipoli," together with the soundtracks to Fame and The Empire Strikes Back . Andrew G. Vanja had been an important producer in Hollywood for the 20 years prior to the Evita film, first as co-founder of Carolco Pictures, producing such blockbuster films as the "Rambo" trilogy with Sylvester Stallone and "Total Recall" with Arnold Schwarzenegger. Since founding Cinergi Pictures Entertainment Inc., he has been responsible for "Die Hard With A Vengeance," starring Bruce Willis and Samuel L. Jackson, one of the biggest hit films of 1995, "Judge Dredd" with Sylvester Stallone, Oliver Stone's "Nixon," starring Anthony Hopkins and "The Scarlet Letter" starring Demi Moore. Vajna also produced Alan Parker's film "Angel Heart" starring Mickey Rourke and Robert De Niro. Line producer David Wimbury first met Alan Parker when he was producing commercials for Hugh Hudson. Wimbury later became Parker's assistant director on "Midnight Express," production manager on "Pink Floyd�The Wall" and Line Producer on "The Commitments." Wimbury first joined the film industry as a runner when he was 17 and became Assistant Director on many films including Blake Edwards' "The Pink Panther Strikes Again" and "The Revenge of the Pink Panther," Ridley Scott's "The Duellists" and Michael Apted's "Stardust." He produced Bruce Robinson's films "Withnail and I" and "How To Get Ahead In Advertising," and Dick Clement's films "Water" and "Bullshot" for HandMade Films, and was associate producer on Charles Sturridge's "A Handful of Dust" and Julien Temple's "Absolute Beginners," production manager on Terry Jones's "Monty Python's Meaning of Life." Wimbury has long been associated with Witzend Productions (Dick Clement, Ian La Frenais and Allan McKeown) working on numerous TV productions including "Porridge," "To Russia with Elton" and "Anyone for Dennis." Witzend Productions later became a subsidiary of SelecTV pic and Wimbury produced "Tracey Ullman Takes on New York," "Hearts and Minds" and "Pie in the Sky." Release Evita was filmed in 35mm Eastman in a 2.35:1 aspect ratio (the ratio Parker prfeferred having been a fan of Cinemascope films and also because of the framing that was needed for the elaborate scenes in the film). The final budget came in at $55 million. In the United States, the film would gross $50 million but overseas boxoffice proved to be excellent, especially in the United Kingdom and so a profit was made from the film, with an additional $17 million coming from its home video releases. Evita was released as a holiday release on December 14, 1996 (the date of its Los Angeles premiere). Madonna at the film's premiere Roger Ebert said in his review, "I very much enjoyed the film. Parker's visuals enliven the music, and Madonna and Banderas bring it passion. By the end of the film we feel like we've had our money's worth, and we're sure Evita has." Rolling Stone went on to say that "The hard-working diva brings star qualityto the working-class Eva Peron." From the San Francisco Chronicle: "The protracted, much-anticipated screen version of ``Evita'' turns out to have been worth the wait. Alan Parker's picture is epic, lavish and fascinating. It is not a perfect screen musical, but it is spectacular and it works." The New York Times declared, "The viewer is in for a tumultuous ride. The star looks stunning, breaks the Guinness world record for most costume changes in a single movie and shows off traffic-stopping screen presence in the process." The film was nominated for five Academy Awards (Best Art Direction-Set Decoration, Best Cinematography, Best Film Editing, Best Sound, and won for best song ("You Must Love Me"). Evita won three Golden Globes including Best Picture (Comedy or Musical), Best Song, Best performance by an Actress in a Comedy/Musical. Antonio Banderas lost the Golden Globe to Tom Cruise. Other wins included three awards from the Satellite Awards (Best picture, Comedy or Musical, Best Costume Design and Outstanding original song). The National Board of Review listed the film in their top ten for 1996 and won the LAFCA (Los Angeles Film Critics Association) Award for Best Production Design (Brian Morris). The film was among the top 5 nominated in categories from over thirty other awards presenters that year. Following the success of the film, the government of Argentina released its own film biography of Per�n, entitled Eva Per�n, to correct alleged distortions in the Lloyd Webber account. Evita lives on In 1981, director Marvin J. Chomsky filmed a television movie titled "Evita Peron" for Zephyr Productions. Faye Dunaway would play the lead role. Playing General Juan Peron was James Ferentino. The film was shown on February 23, 1981 on NBC. The mini-series ran 200 minutes. In 2010, Andrew Lloyd Webber started to plan a major revival that would play on Broadway. This time, his star would be the character of "Che" played by Ricky Martin. The musical is playing to sold-out houses and has become a boxoffice success. Directed by Michael Grandage and choreographed by Rob Ashford, "CBS This Morning" called "The production of Evita that Broadway has been waiting for." Webber brought back two musicals currently playing on Broadway, "Evita" starring Ricky Martin and "Jesus Christ Superstar," both which received numerous Tony nominations and wins at the 2012 Tony Awards. One production number from each show was broadcast during the awards, and the next day several months worth of tickets were sold to make for sold out performances. Faye Dunaway played Evita in a 1981 made-for-tv movie. Ricky Martin currently starring on Broadway in the new Evita revival. Elena Roger plays Eva Peron. Eva Duarte Peron's life is historic and few can compare to such a rise in popularity and politics and riches. Richly filmed by Alan Parker for Touchstone Pictures, Evita is now available in a remastered 15th Anniversary Edition, available for the first time on Blu-ray. To discuss this and other Silver Screen columns, join us in our "The Silver Screen" forum thread Here Past Silver Screen columns, including Star Wars, Close Encounters, The Blues Brothers, South Pacific, Charade, The Egyptian, The Ten Commandments, Jurassic Park, My Fair Lady, Mutiny on the Bounty and over 35 more titles are available Here All materials in this and other Silver Screen columns are copyright their respective studios, Blu-ray.com and the collection of Robert Siegel. Many graphics on this page have been painstakingly corrected and cleaned, and are internet tracked. Please ask for permission to use any graphic by emailing [email protected]. This edition all artwork, publicity and production photos/drawings original copyright The Really Useful Theater Company and Touchstone/Disney pictures and are used for informative and promotional use. Special thanks to historian Martin Barks and Disney Home Entertainment.

i don't know

What was the real first name of the silent Marx Brother?

Harpo Marx - Biography - IMDb Harpo Marx Biography Showing all 51 items Jump to: Overview  (4) | Mini Bio  (1) | Spouse  (1) | Trade Mark  (2) | Trivia  (30) | Personal Quotes  (11) | Salary  (2) Overview (4) 5' 5½" (1.66 m) Mini Bio (1) With the big, poofy, curly red hair, a top hat, and a horn, the lovable mute was the favorite of the Marx Brothers. Though chasing woman was a favorite routine of his in the movies, Harpo was a devoted father and husband. He adopted the mute routine in vaudeville and carried it over to the films. Harpo was an accomplished self-taught harpist whose musical numbers would many times bring tears to the eyes of the audience of an otherwise hilarious movie. - IMDb Mini Biography By: John Nehrenz Spouse (1) ( 28 September  1936 - 28 September  1964) (his death) (4 children) Trade Mark (2) Usually wore a raincoat, beat up top hat and a red wig. Rarely spoke in his roles and never in films with his brothers. He would use pantomime and often had a bike horn to communicate with. He often had a scene where he would play a harp with great skill. In the Paramount films, his coat carried an infinite variety of items for whatever need whether it was a blowtorch for lighting cigarettes, a sword and fish for a speak-easy password, a candle burning at both ends, etc. Trivia (30) Recreated the mirror scene from Duck Soup (1933) in an episode of I Love Lucy (1951). When he taught himself to play the harp, he later learned that he played it the wrong way. However, when he became famous and wealthy, he on occasion throughout his career, took harp lessons from various harpists and music teachers in both New York City and Los Angeles to better increase his skill. However, due to his natural born talent, many musicians and music teachers ended up approaching him to learn his method of harp playing. Harpo first using the gag of chasing a screaming girl as a quick prank to throw his brother Groucho Marx 's timing off on stage. Groucho wasn't fazed, but Harpo got in trouble when he found out the hard way that the girl had a violent mobster for a boyfriend. He quickly made peace with the man and incorporated the girl chasing for the rest of his career. Brother of Groucho Marx , Chico Marx , Zeppo Marx , and Gummo Marx . After his death, he was cremated and his ashes were allegedly sprinkled into the sand trap at the seventh hole of the Rancho Mirage golf course in California, USA where he used to play golf on a monthly basis. As a child, Harpo was apparently infatuated with music. He rejoiced when his family bought a piano. He then fell into dispair when he found out that they could only afford to let one brother have piano lessons. His brother Chico Marx ended up with the lessons, which he did not take seriously. Harpo, of course, later mastered the harp. Harpo officially became a mime after a theater critic noted in 1914 that Harpo was brilliant until his character spoke. From then on, Harpo never spoke while in character. Nephew of actor Al Shean . Adopted father of Bill Marx , Alexander Marx, Minnie Marx and Jimmy Marx, from his marriage to Susan Fleming Son of Sam Marx and Minnie Marx (nee Schoenberg). Died on the day of his 28th wedding anniversary. One of only two Marx Brothers to play a recurring role in their films (not counting when they used their own names). He played the role of "Pinky" in both Horse Feathers (1932) and Duck Soup (1933). He was voted, as one of The Marx Brothers , the 62nd Greatest Movie Star of all time by Entertainment Weekly. Legally changed his given name to Arthur around 1911 because he much preferred it to the very German Adolph. Was seldom recognized when out of character because he was almost completely bald. The character of Banjo in George S. Kaufman and Moss Hart 's play "The Man Who Came to Dinner" is based on Harpo. Once crashed a Hollywood costume party at the home of Marion Davies , dressed as Kaiser Wilhelm II . He had to hitchhike to get home and ended up being arrested by Beverly Hills police on charges of vagrancy, illegal entry, escaping from jail in Gloversville, New York, impersonating Kaiser Wilhelm II , and impersonating Harpo Marx. He was portrayed by actor Daniel Fortus in the Broadway musical "Minnie's Boys," which ran at the Imperial Theatre for 80 Performances from Mar 26 to May 30, 1970. Great-uncle of Jade Marx-Berti , Gregg Marx , Laura Guzik and Brett Marx Groucho Marx gave this reason for Harpo's silence: Once, while playing a theater in Winnipeg, Manitoba, during a vaudeville tour, The Marx Brothers had a disagreement with the theater's manager regarding their pay. At the end of The Marx Brothers ' engagement there, the manager paid them the amount they had demanded...in several large sacks containing the proper amount in the form of pennies, nickels, and dimes. Since the brothers' train was departing in ten minutes, the brothers had no choice except to lug the sacks onto the train with them. As the train departed, Harpo shouted to the manager, "I hope your theater burns to the ground." And that night, it did. Groucho always said that Harpo's voice was like the axe hanging on the backstage wall of every theater: To be used only in case of emergencies. Is portrayed by 'J.M Henry' in Mrs. Parker and the Vicious Circle (1994). Harpo was vacationing in the French Riviera and was engaged in nude sunbathing when he was surprised by an elderly man and woman. He wrapped his towel around his middle and stood up and introduced himself. The husband introduced himself as George Bernard Shaw, the famous writer and philosopher. Without warning Shaw snatched the towel away and then said, "And this is Mrs. Shaw!" It was the start of a lifelong friendship. Served as the basis for the character Banjo in the long-running comedy "The Man Who Came to Dinner" by George S. Kaufman and Moss Hart . The play had one of its most memorable productions at the Bucks County Playhouse in Pennsylvania, where Kaufman played Sheridan Whitside (the character based on critic Alexander Woollcott , Hart played Beverly Carlton (the character based on Noël Coward , and Harpo played Banjo, speaking his first lines on stage in over twenty years. Although it is popularly believed that Harpo never spoke on film, he is faintly heard in the newsreel footage during the premiere of MGM's "The Great Ziegfeld" in 1936. He approaches the microphone without his wig and make-up and says to Joe Schenk just out of range of the mic: "You gotta do the talkin'." (in a very thick New York City accent) Harpo leans in to the mic after Schenk finishes speaking, and loudly says: "Honk! Honk!". At the beginning of the film Monkey Business (1931), The Marx Brothers , playing ship's stowaways concealed in barrels, are first introduced harmonizing unseen, singing the popular song "Sweet Adeline." And although he is cannot be seen, this musical performance marks the only time during one of The Marx Brothers ' movie that Harpo's voice -- a clear and pleasant baritone -- is ever heard. He and Chico were usually mistaken as twins when they were young. Was cousin of Sadie Marks - better known as Mary Livingston; brother-in-law of Benjamin Kubelsky, aka Jack Benny. W.C. Fields said that The Marx Brothers were the only act he couldn't follow on the live stage. He is known to have appeared on the same bill with them only once, during an engagement at Keith's Orpheum Theatre in Columbus, OH, in January 1915. At the time the Marx Brothers were touring "Home Again", and it didn't take Fields long to realize how his quiet comedy juggling act was faring against the anarchy of the Marxes. Fields later wrote of the engagement (and the Marxes), "They sang, danced, played harp and kidded in zany style. Never saw so much nepotism or such hilarious laughter in one act in my life. The only act I could never follow . . . I told the manager I broke my wrist and quit.". Personal Quotes (11) If things get too much for you and you feel the whole world's against you, go stand on your head. If you can think of anything crazier to do, do it. [When asked how many children he'd like to have]: "So many that whenever we go out, there can be one in every window, waving to us." But I guess that's the way it is. When you lose something irreplaceable, you don't mourn for the thing you lost. you mourn for yourself. I am the most fortunate self-taught harpist and non-speaking actor who has ever lived. [on visiting Hamburg, Germany, shortly after Adolf Hitler came to power]: "I saw the most frightening, most depressing sight I had ever seen - a row of stores with Stars of David and the word 'Jude' painted on them, and inside, behind half-empty counters, people in a daze, cringing like they didn't know what hit them and didn't know where the next blow would come from. Hitler had been in power only six months, and his boycott was already in full effect. I hadn't been so wholly conscious of being a Jew since my bar mitzvahs, and it was the first time since I'd had the measles that I was too sick to eat." [on comedy playwright George S. Kaufman] He had great integrity. You never had to watch him when he was dealing. The man who first inspired me was a guy called Gookie. Gookie had nothing to do with the theater. He rolled cigars in the window of a cigar store on Lexington Avenue. When he got going good he was completely lost in work, so absorbed that he had no idea what a comic face he was making. His tongue lolled out in a fat roll, his cheeks puffed out and his eyes popped out and crossed themselves. Over the years, in every comedy act or movie I ever worked in, I've thrown in a Gookie at least once. [on 'Duck Soup'] It was the only time I can remember that I worried about turning in a bad performance. The trouble was not with the script, the director, or the falls I had to take. The trouble was Adolf Hitler. His speeches were being rebroadcast in America. Somebody had a radio on the set, and twice we suspended shooting to listen to him scream. [describing how he was once thrown out of a New York brothel in the 1920s]: One night I'm playing the harp at this local brothel bar when I felt sick and I practically keeled off the stool. And the Madame says: "Get that son-of-a-bitch back on that stool and play! I've got customers here." So a minute later... again I fell off the stool. She said: "What the hell is the matter with him?" to one of the girls. The prostitute said to the Madame: "He must be sick. I think we should call a doctor." So, they sent for a doctor. Ten minutes later the doctor arrived, he looked at me, and he said to the Madame: "He's got the measles." The Madame said to the doctor: "Then get him the hell out of here. I don't want any sick Jews around me." [on performing in vaudeville] If an audience didn't like us we had no trouble finding it out. We were pelted with sticks, bricks, spitballs, cigar butts, peach pits and chewed-out stalks of sugar cane. We took all this without flinching - until Minnie gave us the high-sign that we'd collected our share of the receipts. Then we started throwing stuff back at the audience and run like hell for the railroad station the second the curtain came down. [on accommodation, while touring] Cheap hotels in the South and Southwest were apparently set up as bug sanctuaries by some Audubon Society for Insects. Fleas, ticks, bedbugs, cockroaches, beetles, scorpions and ants, having no enemies, attacked with fearless abandon. They had the run of the house and they knew it. After a while you just let them bite. Fighting back was useless. For every bug you squashed, a whole fresh, bloodthirsty platoon would march out of the woodwork. In one hotel hotel the ants were so bad that each bed was set on four pots of oxalic acid. Salary (2)

Adolf

What was Steve Martin's first film?

Marx Brothers (Creator) - TV Tropes Marx Brothers You need to login to do this. Get Known if you don't have an account Share WMG L -R: Zeppo, Chico, Harpo, and Groucho. The Marx Brothers were vaudeville comedians from the early 20th century. They later starred in their own Broadway shows, and subsequently movies. They were wild and outrageous, gutbustingly hilarious with the central three being masters of different kinds of humor: verbal (Groucho), ethnic and musical (Chico), and surreal pantomime slapstick (Harpo). A family act, the Marx Brothers went through several incarnations under varying names (including "The Four Nightingales", "The Six Mascots", and others) before an appearance in Texas, where the audience left the theatre during a performance to go watch a mule . This outraged the team, and they began breaking from their script to abuse the audience, which went over better than they expected with the audience finding it hilarious. Their act quickly incorporated a significant component of what would be referred to today as improv comedy, frequently mocking theatrical clichés and tropes, and they began to move up the ranks of vaudeville performers, eventually reaching the pinnacle of vaudeville fame, performing at New York's Palace theatre. A disagreement with the executive running the biggest vaudeville circuit at the time exiled them from big-time vaudeville, and sent them into regional touring, which was difficult and draining. The troupe was about to disband when a backer willing to fund a legitimate theatre production was found. Success on the road with I'll Say She Is, a revue based in part on their vaudeville routines, continued when the show was brought to Broadway. Their performance caught the attention of the theatrical critics as well as the audience, and their relatively haphazard, underfunded show ran for months. Their subsequent show was also a success, and was adapted to film, starting one of the greatest series of film comedies ever made. The family had five brothers, although only four (and later three) performed together at a given time. According to interviews Groucho gave late in his life, their stage names reflected personal traits or important events in their lives, and were inspired by a comic strip called "Sherlocko the Monk", which triggered a brief rash of nicknames ending in "-o". Groucho (Julius Henry Marx), nicknamed for his abrasive wit. (Some sources say the name came from his "grouch bag", a bag worn around the neck, and used to keep money, as vaudeville performers were sometimes not above stealing from each other.) The patron saint of Deadpan Snarkers . Known for his cigar and mustache (which was actually a stripe of greasepaint, at least until he became the host of You Bet Your Life in 1947 and grew a real one). He's the singer of the group and, although it's not as showcased as Chico's and Harpo's instrumental talents, a gifted guitar player. A cross between a participant and a commentator, Groucho's on-screen persona would inspire comedians from Alan Alda to the MST3K team. Later in life, he became a fan and friend of Alice Cooper , oddly enough. Chico (Leo or Leonard Marx); pronounced "chicko", his nickname referred to his habit of "chicken chasing" (womanizing). His trademarks were an outrageously fake Italian accent, a conical black hat, and a distinctive style of piano playing where he appear to literally "tickle" the piano (a play on the phrase "tickling the ivories") and would "shoot" selected keys with his fingers held to form a gun. The most traditional comedian of the three major brothers, Chico would typically find himself providing the verbal component to Harpo's mime, or sparring with Groucho. Despite his Funny Foreigner persona, he was widely-beloved by Italian-Americans as a basically-flattering caricature, since most of his scenes have him outwitting his WASP antagonists. Harpo (Adolph Marx, later changed to "Arthur" , though not for the reason you might assume note he just plain hated the name and had it legally changed in 1911, long before the world had heard of Adolf Hitler and even before World War I 's anti-German hysteria was even an issue), nicknamed for his virtuoso harp playing (which was completely self-taught). His trademarks were harp playing, a silent mime performance (using a horn instead of speaking), and a clown-like costume featuring a raincoat with apparently bottomless pockets , a curly red (later blond, as it looked better in black-and-white film) wig, and a top hat. He is a virtuoso kleptomaniac with a special knack for pickpocketing, ending up with such unlikely prizes as Groucho's boxers and a random man's birthmark. In the early stage shows, he did an Oirish accent, but it was eventually decided that having him be The Speechless was funnier. His mime routines (most notably the famous Mirror Scene from Duck Soup) have become a staple for comedy shows today, and even inspired all of Mr. Funny 's entire character in the 2009 season of The Mr. Men Show . Zeppo (Herbert Marx); according to Groucho, his nickname was born from the arrival of a German zeppelin at Lakehurst, NJ, but the dates don't match. Harpo, in his book Harpo Speaks, claims that the name was derived from a chimpanzee appearing in a comic strip of the day, Mr. Zippo, but when Herbert objected, this was changed to Zeppo. (There are other stories concerning the name's origin, such as the time the brothers were pretending to be farmers in order to dodge serving in World War I and gave each other hayseed names like "Zeke" and "Zeb".) Zeppo was the youngest and most handsome of the brothers, and while still part of the act generally played the straight man and sometimes the romantic lead. His trademark is less developed than the above. (He was a talented comedian, however, once filling in for Groucho during a Vaudeville tour when the latter was ill.) After several movies, he followed brother Gummo in leaving the act and becoming a manager for his performing siblings. A talented mechanic and inventor, he also founded a manufacturing company. Gummo (Milton Marx), nicknamed for the sneaky, or "gumshoe", way he had of walking around backstage, or a pair of galoshes ("gumshoes") he had as a child. Gummo left the act when drafted during World War I , although he never reached Europe, about the time the Marxes were first becoming famous. According to That Other Wiki , the contemporary actor Gregg Marx is his grandson. There was actually a sixth Marx Brother, Manfred Marx, who was also the oldest; he died of enterocolitis while still a baby. They are in no way related to Karl Marx , author of The Communist Manifesto, despite humorist Richard Armour's assertion that Karl was the funniest of the brothers. Also frequently joining them was the matronly figure of Margaret Dumont, typically cast as a wealthy widow who was a perfect foil for Groucho; he would alternate between shamelessly flirting with her ("Ah, married. I can see you right now in the kitchen, bending over a hot stove...") and viciously insulting her ("But I can't see the stove."). Their comedic style was chaotic and absurd, with lots of word play, pantomime and satire. In general, they would appear in stock stories, tired even by the standards of the day, and demolish them. The surrounding characters, trapped by their roles, would attempt to continue on through the story, mostly ignoring the literary deconstruction going on. In particular, Chico, Harpo and Groucho had their own identifiers: Chico spoofed the ignorant Italian Immigrant, always looking to con, steal or otherwise make a quick buck. He was the only Marx Brother to keep using his vaudeville accent into the movies. It's notable that Chico's character worked on another level besides the obvious spoof; he often got the better of Groucho and other characters with a hint of Obfuscating Stupidity and more than a little gusto, particularly in A Day at the Races. One Marx historian proposed that this was a vicarious release for actual immigrants, seeing "one of their own" get one up on the establishment. Given that the brothers' parents were immigrants (Alsatian Jews rather than Italians), there might be something to that. Harpo originally spoofed an Irish Bruiser in the early vaudeville days, but later developed his trademark pantomime, "speaking" only through whistling, charades, and honking a horn. (In Real Life , Harpo actually had a pleasant baritone voice, and was described as talkative and intelligent; among his friends were Alexander Wolcott and George Bernard Shaw . He, like Wolcott, was a member of the Algonquin Round Table.) He was the clown of the group � okay, they all were, to a point. He'd literally chase women, randomly snip people's ties off with scissors, eat random objects, and produce unlikely items from his pockets and tattoos. In the team's vaudeville days, Groucho originally played a German-accented character; but he was often booed for it (there was a World War going on) and so became the fast-talking "authority figure", and possibly the king of wordplay. It was he who uttered those immortal lines, "Once I shot an elephant in my pajamas. How he got in my pajamas, I don't know." However, one of the absolute best-known of his lines is something he never actually said � a supposed comment to a woman with lots of children who appeared on You Bet Your Life : Woman: I love my husband. Groucho: I love my cigar, too, but I take it out once in a while. Pretty racy stuff, for the 1950s. Groucho and Harpo went on to inspire the characters of Yakko and Wakko respectively in the hit 1990s Warner Bros. cartoon Animaniacs . In fact, an episode of Animaniacs entitled "King Yakko" is very similar to Duck Soup , following a similar plot and with Yakko and Wakko falling into roles similar to those of Groucho and Harpo. The episode even ends with Wakko having a beautiful woman hold his leg, one of Harpo's Running Gags . Also, Bugs Bunny : Bugs actually stole some of his mannerisms and lines from Groucho, including the famous line "Of course you know, This Means War! " It is also argued that the way Bugs holds his carrot is meant to be reminiscent of Groucho and his cigar. There was even a Looney Tunes short in which Bugs disguised himself as Groucho to evade the attentions of restaurant chef Elmer Fudd. It didn't work, because Fudd was already disguised as Harpo. Groucho also has the distinctive pleasure of starring in a series of successful mystery novels by author Ron Goulart in which he and his writer Frank Denby investigate various murders and crimes that popped up in Hollywood during the 1930s (in the novels, Groucho did the investigations in between his working in movies and his hosting a weekly radio program). Not to be confused with Marx, a character from Kirby Super Star . Or that other Marx . The Marx Brothers' films:

i don't know

Which film tells of the exploits of singer Deco Duffe?

Movie Review - - Review/Film; How American Soul Music Conquered Dublin - NYTimes.com Review/Film; How American Soul Music Conquered Dublin By JANET MASLIN Published: August 14, 1991 "When I was studying, I used to sing hymns," the young man whispers in the confessional. "Now I'm always humming 'When a Man Loves a Woman,' by Marvin Gaye." "Percy Sledge," the priest corrects him in "The Commitments," Alan Parker's exuberant valentine to American soul music and the impoverished Dublin teen-agers who think of it as magic. That everyone in this film, from the priest to the street kids to the father who never got over Elvis Presley, is totally obsessed with popular music is simply taken for granted. As in his earlier "Fame," Mr. Parker immerses his audience in a world in which popular art amounts to a communal high, a means of achieving identity and a great escape from the abundant problems of everyday life. As in "Fame," he does this with a mixture of annoying glibness and undeniable high-voltage style. The sound and the setting have changed, but these two films are at heart very similar. What Mr. Parker has done, in effect, is to remake "Fame" in a different language. Once again, a taste for slickness gives his film an air of unreality for all its ostentatious grit, but once again the energy level is so pumped up that it barely matters. "The Commitments" finds Mr. Parker again doing what he does expertly: assembling a group of talented newcomers, editing snippets of their exploits into a hyperkinetic jumble, and filling the air with song. The song in this case is American soul music of the 1960's, and it took more than a little nerve to devote an entire film to the efforts of an all-white band to master "In the Midnight Hour" and "Mustang Sally." Similarly, it's a stretch for this band to call itself the Commitments and claim the status of working-class heroes when they perform this music wearing evening dresses or black tie. (This is because "all the Motown brothers wore suits," as one of the wiser Commitments says. "You play better in your suit.") Any political earnestness the film may have is limited to its glimpses of north Dublin as a claustrophobic and impoverished but friendly place, and to the speeches made by Jimmy (Robert Arkins), the budding impresario who initially assembles the band. "You're working-class, right?" he badgers one new recruit. "Your music should be about work." Relying on a cast of vigorous and unfamiliar players (Andrew Strong, the ponytailed lead singer who does an estimable Joe Cocker imitation while performing a daunting array of soul standards, is only 16), Mr. Parker tells the slow but lively story of how the Commitments came together. There is the cute, predictable bad-audition montage; the surprisingly good singer discovered at a wedding; the times when Jimmy practices giving interviews in the shower. (Mr. Parker uses these interviews as bookends for the film, to wryly good effect.) And during all of this, there is music everywhere. Jimmy's family can even be glimpsed doing a jig to traditional Irish music while their errant son interviews potential Commitments in another part of the house. Music also permeates all conversations, serving as kind of shorthand through which the characters identify one another as kindred spirits. "I'm blind without my glasses," says one. "So is Ray Charles," another replies. Someone else observes, for no pressing reason, that nothing has been the same since Roy Orbison died. A priest offers tacit encouragement when two of his parishioners sneak in to practice "A Whiter Shade of Pale" on the church organ. Lest anyone doubt that to these characters music has become a kind of religion, Jimmy's father keeps his framed portrait of Elvis just above his portrait of the Pope. In this atmosphere, Mr. Parker is capable of whipping a series of quick, well-edited snippets into a happy collage of musical high spirits. The band's rehearsal of "Nowhere to Run" moves through the neighborhood on a streetcar, with the musicians, the other passengers and even people hanging laundry out on clotheslines singing along. To be sure, there is a grave risk of letting such moments go overboard, and at times Mr. Parker does: from the angelic little girls on the trolley to the twin sisters who speak in unison, the film has more than its share of super-adorable flourishes. It would be difficult to resist the temptation to tap one's feet anyhow. "The Commitments" becomes repetitive after a while, since so much of it is about the group's stage show, and since the effort to create an off-stage story never really works. The screenplay, by Dick Clemant, Ian La Frenais and Roddy Doyle, from Mr. Doyle's novel, attempts some mild intra-band romances and few subplots about the characters' family lives. Among the more impressive members of this large group, aside from Jimmy, are Joey (The Lips) (Johnny Murphy), much older than the others, who claims some formidable rhythm-and-blues credentials; Bernie (Bronagh Gallagher), a feisty young woman who combines singing with taking care of her youngest siblings; Imelda (Angeline Ball), the group's resident beauty queen, and Deco (Mr. Strong), whose gruff acting is as precocious as his singing. The film's glimpses of Dublin are as effective as its score, and are made more memorable by Mr. Parker's apparent nonchalance. The sight of a dead horse, shot in a bank robbery, is one of the many street images that the film seems to notice only in passing. . . . "The Commitments" is rated R (Under 17 r equires a ccompanying p arent or a dult g uardian). It includes mild profanity and sexual situations. The Commitments Directed by Alan Parker; screenplay by Dick Clement and Ian La Frenais and Roddy Doyle, from the novel by Mr. Doyle; director of photography, Gale Tattersall; edited by Gerry Hambling; production designer, Brian Morris; produced by Roger Randall-Cutler and Lynda Myers; released by 20th Century Fox. Running time: 120 minutes. This film is rated R. Jimmy Rabbitte . . . Robert Arkins Steven Clifford . . . Michael Aherne Imelda Quirke . . . Angeline Ball Natalie Murphy . . . Maria Doyle Mickah Wallace . . . Dave Finnegan Bernie McGloughlin . . . Bronagh Gallagher

The Commitments

In which category was Mrs. Doubtfire Oscar-nominated?

Movie Review - - Review/Film; How American Soul Music Conquered Dublin - NYTimes.com Review/Film; How American Soul Music Conquered Dublin By JANET MASLIN Published: August 14, 1991 "When I was studying, I used to sing hymns," the young man whispers in the confessional. "Now I'm always humming 'When a Man Loves a Woman,' by Marvin Gaye." "Percy Sledge," the priest corrects him in "The Commitments," Alan Parker's exuberant valentine to American soul music and the impoverished Dublin teen-agers who think of it as magic. That everyone in this film, from the priest to the street kids to the father who never got over Elvis Presley, is totally obsessed with popular music is simply taken for granted. As in his earlier "Fame," Mr. Parker immerses his audience in a world in which popular art amounts to a communal high, a means of achieving identity and a great escape from the abundant problems of everyday life. As in "Fame," he does this with a mixture of annoying glibness and undeniable high-voltage style. The sound and the setting have changed, but these two films are at heart very similar. What Mr. Parker has done, in effect, is to remake "Fame" in a different language. Once again, a taste for slickness gives his film an air of unreality for all its ostentatious grit, but once again the energy level is so pumped up that it barely matters. "The Commitments" finds Mr. Parker again doing what he does expertly: assembling a group of talented newcomers, editing snippets of their exploits into a hyperkinetic jumble, and filling the air with song. The song in this case is American soul music of the 1960's, and it took more than a little nerve to devote an entire film to the efforts of an all-white band to master "In the Midnight Hour" and "Mustang Sally." Similarly, it's a stretch for this band to call itself the Commitments and claim the status of working-class heroes when they perform this music wearing evening dresses or black tie. (This is because "all the Motown brothers wore suits," as one of the wiser Commitments says. "You play better in your suit.") Any political earnestness the film may have is limited to its glimpses of north Dublin as a claustrophobic and impoverished but friendly place, and to the speeches made by Jimmy (Robert Arkins), the budding impresario who initially assembles the band. "You're working-class, right?" he badgers one new recruit. "Your music should be about work." Relying on a cast of vigorous and unfamiliar players (Andrew Strong, the ponytailed lead singer who does an estimable Joe Cocker imitation while performing a daunting array of soul standards, is only 16), Mr. Parker tells the slow but lively story of how the Commitments came together. There is the cute, predictable bad-audition montage; the surprisingly good singer discovered at a wedding; the times when Jimmy practices giving interviews in the shower. (Mr. Parker uses these interviews as bookends for the film, to wryly good effect.) And during all of this, there is music everywhere. Jimmy's family can even be glimpsed doing a jig to traditional Irish music while their errant son interviews potential Commitments in another part of the house. Music also permeates all conversations, serving as kind of shorthand through which the characters identify one another as kindred spirits. "I'm blind without my glasses," says one. "So is Ray Charles," another replies. Someone else observes, for no pressing reason, that nothing has been the same since Roy Orbison died. A priest offers tacit encouragement when two of his parishioners sneak in to practice "A Whiter Shade of Pale" on the church organ. Lest anyone doubt that to these characters music has become a kind of religion, Jimmy's father keeps his framed portrait of Elvis just above his portrait of the Pope. In this atmosphere, Mr. Parker is capable of whipping a series of quick, well-edited snippets into a happy collage of musical high spirits. The band's rehearsal of "Nowhere to Run" moves through the neighborhood on a streetcar, with the musicians, the other passengers and even people hanging laundry out on clotheslines singing along. To be sure, there is a grave risk of letting such moments go overboard, and at times Mr. Parker does: from the angelic little girls on the trolley to the twin sisters who speak in unison, the film has more than its share of super-adorable flourishes. It would be difficult to resist the temptation to tap one's feet anyhow. "The Commitments" becomes repetitive after a while, since so much of it is about the group's stage show, and since the effort to create an off-stage story never really works. The screenplay, by Dick Clemant, Ian La Frenais and Roddy Doyle, from Mr. Doyle's novel, attempts some mild intra-band romances and few subplots about the characters' family lives. Among the more impressive members of this large group, aside from Jimmy, are Joey (The Lips) (Johnny Murphy), much older than the others, who claims some formidable rhythm-and-blues credentials; Bernie (Bronagh Gallagher), a feisty young woman who combines singing with taking care of her youngest siblings; Imelda (Angeline Ball), the group's resident beauty queen, and Deco (Mr. Strong), whose gruff acting is as precocious as his singing. The film's glimpses of Dublin are as effective as its score, and are made more memorable by Mr. Parker's apparent nonchalance. The sight of a dead horse, shot in a bank robbery, is one of the many street images that the film seems to notice only in passing. . . . "The Commitments" is rated R (Under 17 r equires a ccompanying p arent or a dult g uardian). It includes mild profanity and sexual situations. The Commitments Directed by Alan Parker; screenplay by Dick Clement and Ian La Frenais and Roddy Doyle, from the novel by Mr. Doyle; director of photography, Gale Tattersall; edited by Gerry Hambling; production designer, Brian Morris; produced by Roger Randall-Cutler and Lynda Myers; released by 20th Century Fox. Running time: 120 minutes. This film is rated R. Jimmy Rabbitte . . . Robert Arkins Steven Clifford . . . Michael Aherne Imelda Quirke . . . Angeline Ball Natalie Murphy . . . Maria Doyle Mickah Wallace . . . Dave Finnegan Bernie McGloughlin . . . Bronagh Gallagher

i don't know

Which musical was Victor Fleming making the same time as he was making Gone With the Wind?

The Real Rhett Butler The Real Rhett Butler The forgotten man behind two of Hollywood’s most enduring classics. By Table of Contents Victor Fleming (seated second from right) with Vivien Leigh and Clark Gable on the set of “Gone with the Wind,” in 1939, the year he also made “The Wizard of Oz.” Credit Photograph from MGM / Photofest Howard Hughes, whose acumen outside certain areas of expertise (aeronautics and the acquisition of beautiful actresses) was rarely sound, once said something intelligent about the relative merits of two movie directors. The remark was delivered in early 1939, when George Cukor had been shooting “Gone with the Wind” for about three weeks. An adaptation of Margaret Mitchell’s thousand-page blockbuster novel, from 1936, about the Old South, the Civil War, and Reconstruction, the movie was the largest and most expensive production in Hollywood up to that time, with a huge cast, massive sets (the city of Atlanta was burned down and then rebuilt), and hundreds of unshaven and bandaged extras trudging across the landscape. As half of Hollywood maliciously cheered, the production slipped into disaster. The script could be kindly described as a mess, and the star—Clark Gable—was in turmoil. The initial rushes displeased David O. Selznick, the legendary, manic producer who dominated every aspect of the film, and he suddenly fired Cukor, who, he later said, couldn’t have handled the more spectacular elements of the movie. In Cukor’s place, Selznick hired Victor Fleming, who was then directing the other big picture in town, “The Wizard of Oz.” Fleming was a vigorous and resourceful man, but few people considered him an artist. The change pleased Gable but distressed the two female leads—the young stage and film actress Vivien Leigh, just arrived from England and not yet a star, and Olivia de Havilland, who was then Howard Hughes’s girlfriend. Both women depended on Cukor, who was known as a “woman’s director,” and de Havilland brought her troubles to Hughes, who advised: “Don’t worry, everything is going to be all right—with George and Victor, it’s the same talent, only Victor’s is strained through a coarser sieve.” Hughes was almost correct. Fleming’s talent was not “the same” as Cukor’s, yet he was definitely the right man for “Gone with the Wind,” and he did inventive and powerful work on “Oz.” But in the seventy years since the release of those films, Fleming, whose talent flowed not smoothly or subtly, but roughly, in surges of energy and feeling, has been largely forgotten. The auteur-theory critics who, in the nineteen-sixties and seventies, went wild over Cukor, Hitchcock, Preminger, John Ford, Howard Hawks, Ernst Lubitsch, Josef von Sternberg, Frank Capra, and many other directors of the late silent and early sound periods, ignored Fleming, though he had made a number of entertaining movies in the nineteen-twenties and thirties and his two super-productions of 1939 are very likely the most widely seen movies in American film history—not just good pictures but films that have entered the unconscious of generations of moviegoers. “Gone with the Wind,” with its happy plantation slaves—emblems of Noble Toil—posed against reddening skies, has its enraging and embarrassing moments; the racist kitsch is, regrettably, part of the nation’s collective past. What remains remarkably modern in the film is the central combat of wills between Leigh’s Scarlett O’Hara and Gable’s Rhett Butler, each seeking the upper hand in and out of bed. Margaret Mitchell set up the conflict, but it was Fleming who got the two actors to embody it. As for “The Wizard of Oz,” the movie’s version of the magical land of Oz, in its combined freedom and unease, happiness and fear, has become a universally shared vision of the imagination itself. Since Fleming was the element common to both movies, it’s time for his contribution to be lifted out of the shadows. The seventieth anniversary of these two classics has seen deluxe new (and expensive) versions on DVD, and the appearance of two good books: “Victor Fleming: An American Movie Master” (Pantheon; $40), a full-scale biography that shines up the director’s reputation, by Michael Sragow, the film critic of the Baltimore Sun, who has written for this magazine; and “Frankly, My Dear: ‘Gone with the Wind’ Revisited” (Yale; $24), by Molly Haskell, whose 1973 study “From Reverence to Rape” remains a standard text on women in movies. Haskell has lived in Manhattan for more than forty years, but she grew up in Richmond, Virginia, and as a girl she became obsessed with Margaret Mitchell’s rebellious Southern belle, Scarlett, as personified in the movie by Leigh—a selfish, greedy, flirtatious yet sex-hating, intractable green-eyed demon who is every inch and flounce a heroine. When summoned by Selznick, Fleming hadn’t read Mitchell’s novel, but he took a look at the screenplay and immediately told the producer, “Your fucking script is no fucking good.” Selznick had owned the property since the book’s publication, and in 1936 he had hired the East Coast playwright and screenwriter Sidney Howard to do an adaptation. Howard turned in a faithful but overlong version, and Selznick began fiddling. At one time or another, as many as fifteen writers worked on the movie, until finally, in early 1939, as production stalled and hundreds of salaried people sat around idle, Selznick turned to Ben Hecht, the greatest and most cynical of Hollywood screenwriters. Hecht agreed to work on the script as long as he didn’t have to read the book. Selznick told him the plot, but he couldn’t make any sense of it, so Selznick retrieved Howard’s version, and, as Hecht listened, Selznick and Fleming read it aloud, Selznick taking the role of Scarlett, Fleming reading Rhett. In this manner, the three men worked eighteen or twenty hours a day, sustained by Dexedrine, peanuts, and bananas, a combination that Selznick believed would stimulate the creative process. On the fourth day, according to Hecht, a blood vessel burst in Fleming’s eye. On the fifth, Selznick, eating a banana, swooned, and had to be revived by a doctor. Many good Hollywood movies have been saved by last-minute revisions, but this ill-fed, hazardous, all-male acting-and-writing marathon must be the strangest of all interventions. Oddly, it may also provide a key to the movie’s success: Selznick, an epic (and often hapless) Hollywood womanizer, nevertheless had, Molly Haskell claims, genuine and delicate insights into women’s feelings, and, in some crucial way (strengthened, perhaps, by his reading her part), he identified with Scarlett. Fleming, tall, strong, and startlingly handsome—Selznick ruefully called him “the most attractive man, in my opinion, who ever came to Hollywood”—did not chase women; they chased him. The director was considered by everyone to be a “man’s man”—shrewd, funny, but bluff and demanding—and he was close in temperament to the hard-nosed character of Rhett Butler. It’s possible that the extraordinary balance between Scarlett and Rhett was sealed at this moment. Gable had been worried all along about his ability to play Rhett, an emotionally demanding role, and he yearned for Fleming’s support. He had worked with him before, in 1932—in the deliciously entertaining sex-in-the-jungle romantic drama “Red Dust,” in which he co-starred with Jean Harlow—and he had taken a lot from Fleming’s manner of brusque masculine humor. Cukor, however, as people noted at the time, made Gable nervous and angry. Gable was afraid that Cukor might swing the movie toward its actresses, especially Vivien Leigh. In recent years, a more piquant speculation has surfaced: that Gable, in his early days in Hollywood, had been a gigolo and had had a few gay encounters. In this telling, someone in Cukor’s circle had been gossiping about Gable’s past, and Gable, jealous of his reputation as the hetero “king” of Hollywood, grew alarmed. Fleming’s presence restored the star’s self-assurance. After Hecht edited Sidney Howard’s script (in the end, Howard got sole credit), the production got under way again, and Gable, once more imitating Fleming’s manner (Sragow calls the director “the real Rhett Butler”), wound up doing the best, most expressive acting of his career. The actresses did well, too. De Havilland provided the movie with a moral center, and Leigh, though hardly fond of Fleming, gave one of the most electrifying performances in the history of movies. As Fleming pulled together Selznick’s monster production during the day, he supervised the editing of “The Wizard of Oz” at night. He may have been an artist after all. Victor Fleming’s mother was of Pennsylvania Dutch extraction (the longtime Hollywood rumor that Fleming was part Cherokee is nothing more than that); his father was from Missouri. The family went west, and Fleming was born, in 1889, near Pasadena, then a hamlet so primitive that his father, a citrus rancher, helped lay the public water-supply system. He died of a heart attack, in a familymanaged orange orchard, when Fleming was four. Years later, the director wrote, “There is little room in my life for sentiment and soft words,” which is the kind of statement that tough American men in the nineteen-twenties and thirties often made to cover a deeper current of feeling. Dropping out of school in his mid-teens, Fleming became fascinated by speed and by the new machines that produced it, cars and airplanes, as well as by the new machine that captured it, the motion-picture camera. In his early twenties, he briefly tried his hand at car-racing, but wound up a chauffeur in Santa Barbara, where he fell in with the pioneer movie director Allan Dwan. Taking over as a cameraman on Dwan’s films, Fleming found a trade. A photograph of him from this period reveals an almost unnervingly forceful young man with hostile eyes and a wedged pompadour. He looks less like a movie person than like a young officer out of uniform. By 1915, he was shooting the films that Dwan made with Douglas Fairbanks, and, four years later, Fleming became Fairbanks’s director. They made just three movies together—“When the Clouds Roll By” (1919), “The Mollycoddle” (1920), and the mock documentary “Around the World in Eighty Minutes” (1931)—but they became lifelong friends. Fairbanks’s movies often had a satirical bent: the smiling young man, throwing himself around the set and showing off his skills as a gymnast, outraged the boors and the stuffed shirts. Off the set, the two men carried on in the same way. They jumped over chairs and couches in hotel lobbies, swung through trains by holding onto overhead racks; they leaped from a twelve-foot height (in one version of the story, from a burning hayloft), first Fleming and then Fairbanks, and each broke an ankle. In the early twenties, Fleming became close to Howard Hawks, and, in the same spirit of macho competitiveness, they took up aviation, building and flying ramshackle planes that smashed their landing gear on hitting the ground. The risk-taking shenanigans, the strenuous, dangerous fun, were an essential part of the carefree ethos that found its way into countless movies and that formed, for better or worse, a good part of the American masculine ideal in the twentieth century. Sragow is immensely attentive to Fleming’s films, and he traces in detail the fortunes of all the people connected to them, but his book is held together by what can only be called the romance of movie-making in the studio era—the large, free, hard-drinking life that the men (but rarely the women) enjoyed when movies were still made quickly and relatively cheaply, craft was spoken of with respect, and art was barely mentioned. Some of the episodes in Fleming’s life play like scenes from the movies of the time—for instance, his killing a charging rhinoceros in East Africa an instant before it slammed into one of his friends. Or his showing up with a case of Scotch after the alcoholic Spencer Tracy had gone on a bender and had failed to report to the set of Fleming’s 1937 film “Captains Courageous.” According to Tracy, Fleming told him to drink up the entire case—he was through with worrying about him. Abashed, Tracy sobered up and got back to work. Fleming, in effect, administered the reviving smack that figured in so many movies of the period (including his own)—the slap across the kisser that brought people to their senses. As Sragow points out, Fleming had learned something essential from his capering association with Douglas Fairbanks—how to position a performer within the frame and time his performance in such a way that the camera brought out his temperament and his strength. This would seem an essential skill for any filmmaker, yet a surprising number of directors, obsessed with visual expressiveness, are inattentive to it. Fleming didn’t give detailed instructions to his actors; rather, he talked about the character, and located and enlarged a set of defining traits—a strain of feeling or humor—in whomever he was working with. Then the actors, working intimately for the camera, performed what in effect were idealized versions of themselves, creating a persona that connected with a widespread public fantasy. Fleming, along with such directors as Ford and William Wyler, had the star-making skill that Hollywood has now lost. It was Fleming, directing the canonical Western “The Virginian” (1929), who shifted Gary Cooper’s minimalist stoicism into a subtly but steadily revealing undercurrent of emotion. In “Captains Courageous,” he helped Tracy focus his threatening manner into a single strong shaft of feeling with the slightly off-center rhythm that became Tracy’s signature. Gable, Cooper, and Tracy all produced variations on the ideal of a courageous, goodhumored American male, and they all borrowed, to some degree, from Fleming. What they found in him was ease and authority. What women found in him, apart from good looks, fun, and romance (he had affairs with many of his actresses, including Clara Bow and Norma Shearer), was a current of self-confidence that they could draw on. “Despite his later reputation as a ‘man’s director,’ “ Sragow says, “Fleming launched or cannily revamped a host of female stars from the 1920s on.” The hot-wired Bow did her sexiest, best work for him, in “Mantrap” (1926), and he got sensationally funny performances out of Jean Harlow in “Red Dust,” “Bombshell” (1933), and “Reckless” (1935). The sacred male companionships of seventy years ago did not have the effect of downgrading women—anything but. Fleming, along with his friend Hawks, created women onscreen who were resourceful, strong-willed, and sexual—the kind of women they wanted to hang out with, partners and equals who gave as good as they got. For a while, they, too, were an American ideal. Fleming, at right, with Jean Harlow and Jerome Kern on the set of “Reckless,” in 1935. Photograph from MGM / KOBAL COLLECTION The auteurist critics look for recurring patterns, the incandescent joining of visual style and idea. You can’t find such patterns, or even a consistent visual motif, in Fleming’s movies. But you can find a powerful grasp of fable—the emotional progression of a small number of clearly drawn characters through a decisively shaped tale, leading to a series of wrenching encounters and a satisfying climax. In “Captains Courageous,” a brilliant but snotty American rich kid (Freddie Bartholomew) falls off an ocean liner. Tracy’s Portuguese fisherman pulls him out of the sea and throws him in with the crew of his trawler, who knock him into shape. As Sragow points out, what the boy becomes is not a decent jolly fellow but the superior young man he was bred to become. The movie is less sentimental than it at first appears, as was Fleming’s “Treasure Island” (1934), starring Wallace Beery and Jackie Cooper, which caught the scariness and the strangeness felt by a boy cast among thieves and scoundrels. In these two movies, growing up is a trial—a passage through fear, a test of character. In retrospect, it seems hard to imagine anyone but Fleming directing “The Wizard of Oz,” the greatest childcentered movie of all. Yet he wasn’t the first choice on this film, either. In October, 1938, the film began shooting at M-G-M under Richard Thorpe, a journeyman who had directed a Tarzan picture in 1936. Thorpe’s footage was flat, and the producer, Mervyn LeRoy, threw it out. (Bizarrely, Cukor also briefly worked on “Oz.” After Thorpe was fired, Cukor dropped in, changed Judy Garland’s makeup and hair style, and fled; the material didn’t interest him.) LeRoy then turned to Fleming, who initially said no, as much of the production, including the screenplay and the sets, was already in place. By this time, however, Fleming had got married—to Lu Rosson, who had been the wife of a close friend—and he was the father of two little girls, whom he adored. He left few memos or letters, but, from what he wrote about “Oz” for an internal M-G-M publication, one gets the impression that he changed his mind because he wanted to make an entertainment that both adults and children could see. The screenwriters Noel Langley, Florence Ryerson, and Edgar Allan Woolf adapted “The Wonderful Wizard of Oz,” L. Frank Baum’s classic 1900 novel, and they made two momentous changes. In Baum’s book, Oz is a wondrous place, but it’s real—Dorothy, still in her house, is carried there by a raging cyclone. In the movie, Dorothy (Judy Garland), conked on the head during the storm, spins into Oz in a dream, and Oz becomes the blossoming of her unconscious, populated by strikingly familiar faces joined to weird bodies: her intimidating neighbor Miss Gulch shows up as the lime-green Wicked Witch of the West, and the farmhands employed by Dorothy’s stern Auntie Em become her sweetly despondent companions with missing parts—the Scarecrow (Ray Bolger) and the Tin Man (Jack Haley). Fleming, working with his favorite screenwriter, John Lee Mahin, added a third farmhand, Zeke, who became the Cowardly Lion (Bert Lahr). He also reconceived the Kansas scenes, giving them a sharper edge. He changed what had become (unbelievably) yellow ovals in Thorpe’s production back to the immortal yellow bricks, and commissioned the signature song “Follow the Yellow Brick Road” from Yip Harburg and Harold Arlen. Fleming did not direct the Kansas scenes, which were shot in black and white. They were scheduled for the end of the shoot; by that time, he had gone off to work on “Gone with the Wind,” and they were done by the director King Vidor. But the main body of the movie, from the moment that Dorothy opens the door to Oz and the screen turns to brilliant Technicolor—a stunner in 1939, and still exciting today—belongs to Fleming. Dorothy’s immortality, in the person of Judy Garland, was not easily achieved. Garland, who had been fussed over and bullied by M-G-M since she had signed with the studio, in 1935, was a very self-conscious, uncertain, but blazingly talented sixteen-year-old, playing a girl of about twelve. Her eagerness and tenderness are still touching, as an idealized portrait of a child, but Fleming wanted Dorothy to be tough as well, and the neurotic star gave him fits. In one scene, Garland bops Lahr’s Cowardly Lion on the snout, and Lahr’s blubbering was so funny that Garland cracked up, and then lost control of herself, laughing hysterically through take after take. She stood behind a synthetic tree, saying to herself, “I will not laugh. I will not laugh,” but, when she ruined yet another take, Fleming slapped her across the face and said, “All right, now. Go back to your dressing room.” (The slap was something of a Fleming trademark, onscreen and off.) She came out some time later and got on with the rest of the movie. In the end, her Dorothy, an orphan raised by a Depression-era aunt (her uncle hardly exists), turns out to be surprisingly strong. The way Fleming directs her, Dorothy has a clumpy farm girl’s grit—she’s a literal-minded kid fiercely clinging to her hopes and desires among witches, blue-faced flying monkeys, and squeaking little people. She undergoes a journey of epic proportions, only to arrive back in Kansas, where she finds that her true self was there all along. It’s an ending that Salman Rushdie, in an affectionate short book he wrote about the movie, deplores: Dorothy, he says, no longer needs the inadequate adults in her life; she’s ready to go out on her own. Yet we assume—don’t we?—that Dorothy, though she stays home, has been changed by what she has imagined. In her dreams, she has faced down demons, overcome a loss of faith—she has been tested, just like Fleming’s child heroes in “Treasure Island” and “Captains Courageous.” Apart from the scenes with the hoodoos and the winged monkeys, Fleming’s direction is earthbound, and that’s the way it should be. The picture’s veteran music-hall stars—Bolger, Haley, and Lahr—need to work on the ground; indeed, they have an intimate, virtuosic relation to the ground. When Lahr lands on his rump, his legs shoot up like a moving swing suddenly emptied of its child. Bolger does flailing, rubber-legged collapses and recoveries—he teases the ground, engaging it and then taking off from it. And Haley, in his rusting metal case, leans perilously, like a telephone pole in a storm. Academics have told me that “Oz” is a mythic structure, a descendant of the Odyssey or the Aeneid, but they look at me blankly when I say that the movie is also a summa of nineteen-thirties show business. Fleming framed his vaudevillians and musical-comedy performers as he had framed Cooper and Tracy—he brought out their individual genius as performers. He might have moved the camera more, or done some point-of-view shooting, but his square, stable, front-and-center view is essentially the right directorial strategy for this performance-dominated fantasy. Many talented people worked on “Oz,” but, as Sragow says, without Fleming’s enthusiasm and discipline “the movie would have collapsed into campy chaos.” Fleming combined the elements into an emotionally overwhelming fable, which was always his supreme gift. Judged as an example of storytelling (if not for the story it tells), “Gone with the Wind” can’t be much faulted, either. The Civil War begins, crests, and reaches a disastrous conclusion with the destruction of Atlanta, and mournfulness holds sway through the middle of the epic. Yet, if keening over the Old South had been the movie’s sole thematic line, “Gone with the Wind,” as Molly Haskell notes, would have been forgotten, along with many mossy plantation novels and films of the period. Barbarous Rhett and Scarlett push the gracious-plantation nostalgia out of the way. A Southern-born war profiteer, Rhett doesn’t believe in “the cause” of secession, while Scarlett finds the war merely tiresome (the foolish young men run away to get killed, spoiling the parties). For all its fustian, the picture offers an enchanting idiosyncrasy: a saga of a broken nation is told from the point of view of a vain and restless girl. At the beginning, in one of the cinema’s indelible images, Leigh’s sixteen-year-old Scarlett floats rapidly across the grass and through the trees in a virgin-white layered dress. Pauline Kael once compared Leigh to a Dresden-china shepherdess, an image that captures the delicacy of her features and her body but not their mobility. As the small mouth puckers, the lynx-eyed glance, with head slightly turned, appears to see around corners. The quickness of her responses is almost frightening. Wariness and avidity, coquetry and rage, preening and despair—unrelenting egotism plays on her face like sunlight on a fast-moving stream. Amid the terrible events of the war, her Scarlett, the implacable “me,” is obsessed with nothing but her own affairs, and Fleming urged Leigh to give Scarlett’s bitchiness full rein. Introducing his couple, Fleming gave Gable perhaps the most glamorous entrance that any movie actor has ever enjoyed. As Leigh looks down while ascending a grand staircase, Gable, broad across the shoulders and pulled in (actually girdled) at the waist, stands at the bottom and brazenly gazes up at her. She says to a friend, “He looks as if—as if he knows what I look like without my shimmy.” Gable’s appreciative stare was usually enough to make the women in his movies tumble, but Scarlett resists for a long time, marrying two men, both nonentities, before marrying Rhett, and then she does so mostly for his money. Her resistance to him even after marriage—her choice of power over sex and romantic love—fascinates Haskell.“Inside the tinkling charms of a Southern-belle saga,” she writes, “are the rumblings of a feminist manifesto.” After the war, Scarlett not only takes over America’s most famous fictional turf, the ruined plantation Tara, but scandalizes Atlanta society by becoming a hard-driving lumber entrepreneur—apparently the first female capitalist of the New South. Margaret Mitchell had enjoyed a brief fling as a flapper, and Haskell maintains that she transposed the rebellious spirit of women of the nineteen-twenties into the heart and body of a nineteenth-century social butterfly. This compositional strategy not only retrieved Scarlett from the past but projected her into the future, and Leigh, abetted by Fleming, sustained Scarlett as a perverse, good-bad heroine for our times, a shrew who won’t be tamed. For seventy years, ever since teen-age girls started reading the novel with a flashlight under the covers, this romantic misalliance has remained a subject of speculation and debate—a pop-culture obsession serving as a template for a nation’s romantic dreams and regrets. In the famous “rape” scene, Gable, with an unwilling Leigh in his arms, surges up a crimson stairway to the bedroom, and after that point the movie, as Haskell says, astonishingly lurches from bodice-ripper to something like tragic drama. Tracking the stages of the struggle between husband and wife, Haskell discovers a conflict in her own responses: she loves Scarlett’s ambition but finds the marital disaster, which is partly produced by it, almost heartbreaking, especially since Rhett isn’t the usual villain of feminist critique—a dominating husband who wants to crush his spirited wife. On the contrary, he loves his wife for exactly what she is. Looking at the movie again, one can glean the truth from certain shadings in Leigh’s performance: her rage at Gable contains more than a hint of panic, a suggestion by the actress that, for Scarlett, sexual happiness might lead to an intolerable loss of will. In all, as a portrait of a couple at war, there’s nothing quite so intense and sustained in American movies, and Fleming sharpened it to the point of violence. No surprise: on a much smaller scale, and largely as comedy, he had done something similar in the rowdy give-and-take between Gable and Harlow in “Red Dust,” a romance in which each partner is initially too proud to admit to loving the other. On the “Gone with the Wind” set, Fleming teased and cajoled Leigh; at times, they battled as much as Rhett and Scarlett. Walking off after a bad day, he said, “Miss Leigh, you can stick this script up your royal British ass,” a not particularly elegant variant of “Frankly, my dear, I don’t give a damn.” But their dislike for each other may have kept the movie dramatically alive. In one of the scenes in which Rhett moves in on Scarlett, Fleming instructed her, “Resist but don’t resist too much.” Yet, as Gable reached for her, she slapped him. This particular blow, one imagines, may have been a retaliatory act aimed as much at Fleming as at Rhett. In any case, Fleming was very pleased with the scene (“That’s swell!”), and it stayed in the movie. The ethos of toughness was applied to Gable, too, and with unprecedented results. If Gable began the project afraid that episodes from his past life might make him look effeminate, he nevertheless gave way, under his mentor’s insistent prodding, to “feminine” emotions he had never shown before (nor after), including bafflement when a beautiful woman doesn’t want him, increasing despair, and even, at times, tearful grief. All through the shoot, Fleming took vitamin shots to keep up his energy, and downers at the end of the day, and he became so jangled and tired, and so enraged by Selznick’s daily memos about virtually every shot, that he retreated, under a doctor’s orders, to his beach house, in Balboa. For eighteen days, the M-G-M staff director Sam Wood took over. But Fleming came back and, muttering mildly anti-Semitic remarks to friends, reshot scenes as Selznick requested, and assisted in the editing. He directed, by common estimate, about sixty per cent of the film. A few of the scenes that Cukor shot (none with Gable and Leigh alone) survived the final cut, and, after he was dismissed, on days off from shooting, Cukor coached both Leigh and de Havilland at his house, so he may be responsible for some of the nuances in those two performances. Yet it was Fleming who saved the project from dissolution and got the man-woman struggle at the heart of it down right, and he deserves a good part of the credit for the movie’s becoming the cultural monument that millions still adore. The best movie Fleming made after his exhausting labors of 1939 was a new version of “Dr. Jekyll and Mr. Hyde” (1941), with Spencer Tracy in the title roles and, as Hyde’s victim, a startlingly sexual Ingrid Bergman, who was Fleming’s last movie-star girlfriend. He died eight years later, of heart failure, in the arms of his wife, Lu, at the age of fifty-nine, and immediately slipped into obscurity. What should history make of him? He didn’t direct the entirety of either of his two classics, and he wasn’t, by definition, an auteur. But this absence from the list of the blessed suggests a fault in auteur theory and not in Fleming—a prejudice against the generalists, the non-obsessed, the “chameleons,” as Steven Spielberg called them, who re-created themselves for each project and made good movies in many different styles. Talent, when poured through “a coarser sieve,” can assert itself in rough-and-ready humor, resilience, and all-around hardiness and strength. Cinema’s historians should celebrate, as audiences always have, not only the obsessed geniuses but also the adaptable ruffians who made many of the most entertaining movies ever to come out of Hollywood. ♦

The Wizard of Oz

Which Club featured in cabaret?

Project MUSE - Victor Fleming Victor Fleming Michael Sragow Publication Year: 2013 Best remembered for the iconic classics Gone with the Wind (1939) and The Wizard of Oz (1939) to the silver screen, Victor Fleming also counted successful films such as Red Dust (1932), Captains Courageous (1937), Test Pilot (1939), Dr. Jekyll and Mr. Hyde (1941), and the groundbreaking Joan of Arc (1948) among his more than forty directing credits. One of the most sought-after directors in Hollywood's golden age, Fleming (1889--1949) was renowned for his ability to make films across a wide range of genres. In Victor Fleming: An American Movie Master, author Michael Sragow paints a comprehensive portrait of the talented and charismatic man who helped create enduring screen personas for stars such as Clark Gable, Spencer Tracy, and Gary Cooper. Download PDF pp. 3-10 A composite between an internal combustion engine hitting on alltwelve and a bear cub??that?s how a screenwriter once described thewhich enables those who possess it to feel more, understand more.?Known for his Svengali-like power and occasional brute force withactors and other collaborators, Fleming was also a generous, down-to-... 1. Born in a Tent Download PDF pp. 11-23 ...working the camera for Douglas Fairbanks Sr., the actor and producerwho set the early-twentieth-century standard for all-American exuber-Westerns?frontier sagas such as The Man from Painted Post (1917) orcontemporary cowboy tales like Wild and Woolly (1917). Before Flem-ing entered the service in World War I, he may even have shot pieces of... 2. Cars, Camera, Action! Download PDF pp. 24-40 Victor Fleming is an American boy, born a Yankee and bred of staid, Yan-kee parents. He set out on a personally conducted tour to conquer the worldsome years ago, and he has succeeded in some respects. His mother wantedVictor to become President of the United States. Victor, in turn, didn?t,Early American adventure films and comedies had an infectious, antic... 3. The Importance of Shooting Doug Download PDF pp. 41-54 Fairbanks proved to be a crucial influence on Fleming, personally aswell as professionally. Fans knew him as ?Doug.? He was the epitomeof the self-created individual?F. Scott Fitzgerald?s Gatsby on a junglegym. He almost never spoke of his roots. With a swarthy complexionemphasized by a constant deep tan and gray-blue eyes sparkling under... 4. In Manhattan for the Great War Download PDF pp. 55-65 When the United States entered the Great War in April 1917, everyhealthy male between the ages of twenty-one and thirty-one antici-pated induction by autumn and then service in the field. The twenty-eight-year-old Fleming didn?t appreciate the bump it would put in hiscareer path; in what looks like an attempt to lower his chances of going... 5. Filming the Conquering Hero: With Wilson in Europe Download PDF pp. 66-74 ...?No one in America, or in Europe either, knows my mind and I am notwilling to trust them to attempt to interpret it,? President Wilson saidin October 1917. So a year later he determined that only he shouldhead a delegation to sell European allies on his Fourteen Points?planks of a treaty for a just and lasting peace that would also serve as the... 6. The Importance of Directing Doug Download PDF pp. 75-85 Douglas Fairbanks Sr. was committed to exploring all the possibilitieslife?s meaning or lack of it one night at the summit of a large water tank.? ?Look!? said Douglas, fervently, making an arc gesture taking in allthe heavens. ?The moon! And those myriads of stars! Surely there mustbe a reason for all this beauty? It must be fulfilling some destiny!? ? In... 7. Scaling Paramount Pictures Download PDF pp. 86-98 ...career might have stumbled like Ted Reed?s. Reed stayed a Fairbankscolleague for a decade. He became a full-fledged director with The Nut(1921), the last of Fairbanks?s modern comic adventures?in part, aChaplinesque satire of mechanical obsessions. But the success of TheMark of Zorro (1920) persuaded Fairbanks, after The Nut, to concen-... 8. Courage and Clara Bow Download PDF pp. 99-116 Bravery under stress was a natural theme for ?outdoor? directors, andas a man and a professional Fleming had a bone-deep feeling for it.He?d wandered into a profession that enabled him to turn one of hisruling appetites?voracity for action?into a creed. Physical braverywas integral to his sportsmanship. It also fed his yen for knockabout... 9. A Lost Epic: The Rough Riders Download PDF pp. 117-129 Fleming and Bow may have set the screen and the box office ablaze (ata cost of $216,584, Mantrap netted $415,600 in rentals), but exactlywhen their affair turned serious isn?t clear. In their few weeks betweenpictures back in Los Angeles, they followed separate tracks. Bow wasstill an outsider. Though Fleming was living not far from Bow?s Holly-... 10. From The Way of All Flesh to Abie's Irish Rose Download PDF pp. 130-144 ...with $400,000 a year?and the rare guarantee that his films would beshot in sequential order, ?according to plot instead of according to theset-builders? convenience??B. P. Schulberg (Budd?s father) assignedFleming to Jannings?s first American production, The Way of All Flesh(1927). Schulberg reckoned that one outsized personality demanded... 11. Creating Gary Cooper Download PDF pp. 145-158 Paramount?s ?first all-sound picture? from the hit show Burlesque, withNancy Carroll signed for the role Barbara Stanwyck created on Broad-way as the long-suffering mate of a drunken dancer. Fleming left thepicture because the studio delayed production, reluctant to cast thestage lead, Hal Skelly. Two months later, Fleming heard Paramount... 12. A Woman's Film and a Man's Adventure at Fox Download PDF pp. 159-175 In 1927, six months after the spectacular success of Mantrap, Para-mount raised Fleming from $1,750a week to $2,000.But in the imme-diate wake of the sound revolution, the studio had neglected Flemingand other seasoned pros. His long-term contract expired before heshot Wolf Song and The Virginian. One Paramount producer who rec-... 13. Guiding Gable in Red Dust Download PDF pp. 176-196 ...of his professional life. MGM delivered a letter of agreement for himto direct ?one photoplay? within a seventeen-week period for a salaryshowered him with fifteen scripts.) For most of the 1930s, similar noteswould fly back and forth between Vic?s lawyers and the studio, becauseoral history project at Columbia University, the producer Pandro S.... 14. Pioneering the Screwball Comedy: Jean Harlow in Bombshell Download PDF pp. 197-209 While Lu Rosson was signing property agreements before her divorcefrom Arthur Rosson, Fleming was giving interviews about his new ver-sion of The White Sister, long slated for Helen Hayes and now featuringGable. Fleming said that when it came to remakes, what mattered was?the original idea?: in this case, turning an aristocratic virgin, an Italian... 15. Treasure Island Download PDF pp. 210-219 While Fleming was making his next picture, the quintessential pirateadventure, Treasure Island, Hollywood was going through an abruptbetween the Catholic Church and Hollywood?s Jewish moguls. In a let-ter to Father Wilfrid Parsons (the editor of America), he called the stu-dios? Jewish leadership ?probably, the scum of the earth.? When Breen... 16. Introducting Henry Fonda, Farewell to Jean Harlow Download PDF pp. 220-229 A fan of Fleming?s since Vic?s Paramount days, David O. Selznick wasin the middle of his brief but spectacular producing stint at MGM,designed, said his father-in-law, Louis B. Mayer, to take pressure offthe ailing Irving Thalberg, who suffered from a bad heart. Under vari-ous working titles, including Salute, There Goes Romance, and A Woman... 17. Bagging Game on Safari, Losing The Good Earth Download PDF pp. 230-234 While Scribner?s magazine serialized Ernest Hemingway?s nonfictionnovel about a safari, Green Hills of Africa, from May through August in1935,Fleming was experiencing the real thing in the same terrain.cluding his most famous proclamation: ?All modern American litera-ture comes from one book by Mark Twain called Huckleberry Finn.?... 18. Spencer Tracy and Captains Courageous Download PDF pp. 235-255 No matter how odd the circumstances of Lu?s pregnancy, the delightFleming took in parenting surpassed the disappointments of forfeitingThe Good Earth and They Gave Him a Gun, an antiwar adventure set tostar Spencer Tracy. (Mayer had lured Tracy from Fox with a promise ofleading roles.) Victoria turned one as Fleming was recuperating. A few... 19. Test Pilot Download PDF pp. 256-269 During all the tumult, illness, and complications of Captains Coura-geous, Vic and Lu conceived a second child. ?The stork will stalk theVictor Flemings in February,? the Los Angeles Times announced onDecember 23,1936,and their new daughter was born on February 16.But settling on a name took months. ?They?re still trying names on the... 20. Salvaging The Great Waltz Download PDF pp. 270-281 In April 1938, the Hollywood Reporter mentioned that Fleming ?almostcracked up in his own cabin plane, a few days after Test Pilot traderaves.? Nothing else seemingly went wrong for Fleming in the springof 1938.Test Pilot and Warner Bros.? Adventures of Robin Hood were theonly new hits packing theaters; throughout the first half of the year,... 21. Putting Oz into The Wizard of Oz Download PDF pp. 282-315 The spate of work Fleming did in the late 1930s drained his resilienceand on occasion nearly cost him his sanity. But it also sparked his tal-ents and elevated his stature as both an artist and a Hollywood profes-sional. Sometimes directors, like actors, take on aspects of theirgreatest creations. Francis Ford Coppola was never more of a film-... 22. Saving Tara and Gone With the Wind Download PDF pp. 316-355 ...imperfect union at the core of Gone With the Wind. If The Wizard of Ozcrystallized Fleming?s feelings for the resilience of children, Gone Withthe Wind drew out his understanding of the traumas of matrimony. TheCivil War and the destruction of antebellum Georgia provide the filmwith its breadth?at its widest reach the movie is about how people... 23. Dr.. Jekyll and Mr. Hyde Download PDF pp. 356-374 Before Fleming did his epic salvaging of The Wizard of Oz and GoneWith the Wind, he and Spencer Tracy, still flush with the success oftheir partnership on Captains Courageous and Test Pilot, planned onteaming up for an adaptation of Marjorie Kinnan Rawlings?s superbnovel The Yearling. After Gone With the Wind was finished, Fleming and... 24. The Yearling That Wasn't Download PDF pp. 375-384 While Fleming was wrestling with Dr. Jekyll and Mr. Hyde, prepara-tions for The Yearling were stumbling ahead. Fleming had juggled proj-ects before, with Red Dust and The White Sister. But The Yearling wouldultimately stymie him. The Yearling would eventually be made not byFleming but by Clarence Brown, starring not Tracy but Gregory Peck.... 25. Bonhomie in Bel-Air and Tortilla Flat Download PDF pp. 385-400 Any MGM executive thinking The Yearling had extinguished Fleming?sfire would soon change his mind. For three days in August, Flemingconsulted with Eddie Mannix on the studio?s attempt to keep the proj-ect going, then took off for a two-month vacation. While he was away,reports filled the entertainment wires of him and Hawks co-directing... 26. World War II with Tears: A Guy Named Joe Download PDF pp. 401-424 Before his death in 1936, Billy Mitchell, one of America?s aviationheroes, had been predicting a Japanese air assault on the Americanfleet. The aftermath of the attack on Pearl Harbor on December 7,1941, brought Fleming some embarrassment along with the same fearof an impending assault on Southern California shared by everyone... 27. A Confounding Political Life Download PDF pp. 425-435 George Sidney, who knew Fleming only in studio settings, said, ?I can?ttell you if he was Democratic or Republican!? Others assumed that hewas conservative because he befriended men like the strident right-irreverence to the political turmoil of his day: Joseph L. Mankiewiczrecalled him laying down bets in 1940that Great Britain would tumble... 28. One Last Adventure at MGM Download PDF pp. 436-445 ...betrayed him as a great star in need of great filmmakers. Upon hisreturn from duty overseas, he became the featured speaker at an MPAwrote a dunderheaded speech for him, which Gable dutifully read. ?Ithas been said that there are no atheists in foxholes. There were nocommunists either in the foxholes where I was,? said Gable. ?The boys... 29. Ingrid Bergman and Joan of Arc Download PDF pp. 446-489 The making of Fleming?s last picture, Joan of Arc, became one of thosebehind-the-scene sagas far more fascinating than the finished film, likethe productions of Cleopatra or Apocalypse Now or Heaven?s Gate. Itwould span a decade and a half of creative flirtations, turbulent loverenowned playwright, Maxwell Anderson; a towering director, Flem-... 30. Death in the Desert Download PDF pp. 490-500 Fleming had declared that he wanted to be a director of epics ever sincethe late 1920s. But Joan of Arc, his one independent foray into epic ter-ritory, was a creative debacle. Time?s movie column, generally sympa-thetic to him, said the heroine ?becomes a lifeless symbol in a pageant.?RKO found no better way of promoting the film than as a pageant. The... Afterword: A Great American Movie Director Download PDF pp. 501-506 ...business,? Arthur Freed said in 1974. More than twenty years later,Todd McCarthy conjectured in Variety that a biography of Victor Flem-ing would be ?highly unlikely? because he left no extensive letters ormemoirs and had not ?given lengthy interviews or been prone to undueself-promotion.? As McCarthy observed, ?The modern reputations of... Acknowledgments Download PDF pp. 507-514 Individuals whom I interviewed or corresponded with: Evangela Ander-son, Dorothy Barrett, Rex Bell Jr., Alain Bernheim, Lennie Bluett,Rand Brooks, Kevin Brownlow, June Caldwell, James Cameron, KeithCarradine, Cammie King Conlon, Jeff Corey, Charles Cotton, ThomasCripps, Jules Dassin, Cecilia DeMille, Andr? de Toth, Ruth Duccini,... Notes

i don't know

"""The corn is as high as an elephant's eye is in which musical?"

Corn as High as an Elephant’s Eye - The Field Position® Corn as High as an Elephant’s Eye Posted on July 9, 2012 by: Laura Cunningham, Marketing Coordinator “Knee high by the Fourth of July” was an expression used for many years by Midwest farmers, indicating their corn crop was expected to yield well if those “knee-high conditions” existed.  These days the lyrics, “The corn is as high as an elephant’s eye,” from the song Oh, What a Beautiful Morning  from the 1943 musical Oklahoma!  by Rodgers and Hammerstein , is more accurate. This year you could even describe much of the corn crop as “high as an elephant’s eye and tasseled by the Fourth of July.”  But a walk into Latham’s Genetic Garden will show you just how much corn varieties and hybrids have evolved from the 19th Century until now. On July 4th we saw corn plants of every size: ankle high, knee high, head high and even some that had tasseled.  Temperate teosinte, one of the first ancestors of corn, is about knee high.  Wild teosinte is measuring around knee high.  Northern flint, a red dent corn is tasseled.  Current hybrids like LH 5494 3000 GT are “as high as an elephant’s eye.”  This truly shows the evolution of hybrids at Latham Hi-Tech Seeds. Many of the varieties aren’t equipped to handle the hot, humid and dry weather we have seen.  Because the weather we’ve experienced this growing season is starting to take a toll on the Genetic Garden, we’ve begun to irrigate it. Look to TheFieldPosition.com for continued updates on the Genetic Garden .  We’d also like to invite you to see it for yourself!  Take a walk through our “living museum of corn” on Saturday, Aug. 25, during the Latham Country Fair in Alexander, Iowa.

Oklahoma

What was the name of the orphanage where The Blues Brothers were brought up?

HELP How High Is An Elephant’s Eye? As I write this I am listening to the music of Rodgers and Hammerstein and appreciating the timeless talent of the greatest creative partnership American musical theatre has ever seen. It is exceptionally pleasant to re-visit all those classics of yesteryear: “I’m going to wash that man right of my hair”, “People will say we’re in love”, “I enjoy being a girl”, all those recognisable tunes from Carousel, Oklahoma! The King and I and The Sound of Music … the list goes on and on. I find myself humming “The corn is as high as an elephant’s eye, an’ it looks like its climbin’ clear up to the sky!” It is impossible not to smile while singing something as optimistic as “Oh what a beautiful morning.” Rodgers and Hammerstein in action Subscribe to our newsletter Join over 5,000 people already receiving the very best advice on Laser Eye Surgery ... Newsletter CTA Email Address * Your personal data is secure Prom 49 – a celebration of Rodgers and Hammerstein with the John Wilson Orchestra and Kim Criswell heading the singing bill –  also marked fifty years since the death of Oscar Hammerstein. The subsequent BBC television broadcast promised (and delivered) nearly two hours of toe-tapping tunes from the best of Broadway. For a group of us London Vision Clinic patients the BBC Proms 2010 programme provided the opportunity to listen again to the concert we had enjoyed live at the Royal Albert Hall the previous week. Thank you London Vision Clinic for this unforgettable experience. Share this Download our free info guide Newsletter Your personal data is secure Recent Comments Private Laser Eye Surgery Clinic 138 Harley Street London Vision Clinic Partners Ltd is a company registered in England and Wales. Company number: 09301158 Connect with us

i don't know

On which film was Three Men and a Baby based?

View All Photos (4) Movie Info Three Men and a Baby is an Americanized remake of the 1985 French comedy hit Three Men and a Cradle. Tom Selleck, Ted Danson and Steve Guttenberg play three upwardly mobile New York bachelors who share an apartment. Their even-keel lifestyle is thrown out of whack when a young woman leaves a baby on their doorstep, suspecting that film director Danson is the father. The balance of the film is devoted to milking as much humor as possible out of the situation of three urbane young men trying to play nursemaid with nary a clue of what they're doing (at one point, a desperate Selleck offers Guttenberg a thousand dollars if Guttenberg will change a diaper). A subplot involving drug dealers is thrown in to sustain audience interest after our trio of heroes become accustomed to a baby around the apartment. "Urban legend" aficionados please note: That cardboard cutout of Ted Danson briefly glimpsed in one scene of Three Men and a Baby is not the ghost of a little boy who died in the bachelors' apartment before filming started. Rating:

Three Men and a Cradle

Whose poems returned to the bestsellers list after Four Weddings and a Funeral?

Film - 'Three Men and a Baby' - NYTimes.com Film: 'Three Men and a Baby' By JANET MASLIN Published: November 25, 1987 IT'S even clearer in the big, splashy, good-humored American version of ''Three Men and a Baby'' that it was in the French original (entitled ''Three Men and a Cradle'') that this story is about four babies, not just one. Aside from the infant girl left on their doorstep, the three fun-loving bachelors who grudgingly adopt her are children too. When the story begins, they have not a care in the world, just a life filled with revelry and a penthouse apartment that is a monument to their frolicsome ways. The American film makes this especially evident by filling the place with things like a jukebox and a pool table, the grown-up equivalent of toys. ''Three Men and a Baby,'' which opens today at the Embassy 72d Street and other theaters, follows the French film as faithfully as it possibly can, and it too revolves around one lone idea: that there's humor in the spectacle of a grown man, heretofore ignorant of his own gentler nature, discovering that he can indeed administer formula and change diapers. The hilarity inherent in this has its limits, but it's a premise with enough timeliness and warmth to account for the first film's success. And in terms of success, this glossier, more effervescent remake will undoubtedly outstrip the original. While preserving whatever bottled lighting there was to account for the magic in Coline Serreau's earlier film, ''Three Men and a Baby'' has taken on a brighter look, a grander setting and a more openly wisecracking tone. What it has lost is the funny, magisterial solemnity that Miss Serreau's three French bachelors could bring to the simplest aspects of baby care, and some of the humor that derived therefrom. When the infant made a mess on their sofa, these Frenchmen had no compunction about calling her a swine, while the attitude of their American counterparts is more laissez-faire. Either way, it all adds up to the same thing, and the spectacle of three grown men falling in love with their tiny charge is heartwarming as ever. The three bachelors, Peter (Tom Selleck), Michael (Steve Guttenberg) and Jack (Ted Danson), have had their occupations upgraded somewhat, and their scale of living greatly improved. Their shared apartment is now a palatial playhouse, and Jack is a globe-trotting, egocentric actor where his French counterpart was a mere flight steward. Either way, Jack has unknowingly fathered a child, and the baby is left at his doorstep just after he leaves for a lengthy trip overseas. So Jack's roommates, who initially refer to the child as ''it,'' have no choice but to sharpen their baby-sitting skills. ''Three Men and a Baby'' was directed by Leonard Nimoy, whose ''Star Trek'' direction gave little indication that he had the requisite sense of humor for this job. Happily, he does, and the film bubbles along in a funny if predictable way, with a lot more gags than the earlier film managed. ''Angela! You look different, what happened?'' cries the lady-killer of the trio, Jack, at the lavishly staged party scene that opens the film. ''I'm dressed!'' Angela replies. The screenplay, by James Orr and Jim Cruickshank, doesn't exactly take the high road, but it does have a dependable sense of fun. Mr. Danson stands out as the cut-up among the three, even though the plot calls for him to be absent during a long middle section of the film. Mr. Selleck, as an architect who starts out resenting the newcomer, Mary (played by enchanting little twins, Lisa and Michelle Blair), but eventually takes her to a job site in a tiny pink hard hat, succeeds in melting before the audience's eyes. Mr. Guttenberg is a bit melty to begin with, trying harder than necessary to ingratiate, but he too fits winningly into this team. That none of these actors, except perhaps for Mr. Danson, has the powerful personality to carry a film alone only contributes to the easy, friendly team spirit that prevails. Though the latter part of the story has been simplified, the film is still saddled with a cumbersome subplot about drug smuggling, and it still lacks any sense of the wider world (the effort to deal with the child's mother, essentially a walk-on character in both films, is especially weak here). However, some of the singularly American additions have been wittily done. In repeating the scene that has Peter going out to buy diapers, the joke becomes not just the bachelor's ignorance but the supermarket's staggering abundance of baby supplies. And where else would two bachelors, when they can't reach their roommate by telephone and rush home worriedly to find that he and the baby have been taking a shower, solve their problem by instantly having a new phone installed in the bathroom? ''Three Men and a Baby'' has been given a new lease on life, and an enjoyable new lease at that. Whether it deserved or required any such thing is another matter. ''Three Men and a Baby'' is rated PG (''Parental Guidance Suggested''). It contains brief bedroom scenes and some rude language. Bachelor Fathers THREE MEN AND A BABY, directed by Leonard Nimoy; screenplay James Orr and Jim Cruickshank, based on ''Trois Hommes et un Couffin'' by Coline Serreau; director of photography, Adam Greenberg; edited by Michael A. Stevenson; music by Marvin Hamlisch; production designer, Peter Larkin; produced by Ted Field and Robert W. Cort; released by Buena Vista Pictures Inc. At Embassy One, Broadway at 46th Street; Manhattan Twin, Third Avenue at 59th Street; Olympia Quad, Broadway at 107th Street; Embassy 72d Street, at Broadway and other theaters. Running time: 99 minutes. This film is rated PG. Peter...Tom Selleck Michael...Steve Guttenberg Jack...Ted Danson Sylvia...Nancy Travis Rebecca...Margaret Colin Patty...Alexandra Amini Woman at Gift Shop...Francine Beers Mary...Lisa Blair/Michelle Blair Detective Melkowitz...Philip Bosco Dramatic Actress...Barbara Budd

i don't know

Who was the voice of O'Malley in The Aristocats?

Phil Harris - IMDb IMDb Actor | Soundtrack | Music Department A bandleader of the 1940s and a radio, film, and TV actor who always seemed to imply allegiance to the former Confederate States of America. Was a principal of long standing among the comedian Jack Benny 's radio retinue, parlaying his popularity into his own radio series, in which his wife, Alice Faye , co-starred. See full bio » Born: Famous Directors: From Sundance to Prominence From Christopher Nolan to Quentin Tarantino and every Coen brother in between, many of today's most popular directors got their start at the Sundance Film Festival . Here's a list of some of the biggest names to go from Sundance to Hollywood prominence. a list of 23 people created 20 Oct 2011 a list of 29 people created 28 Jan 2013 a list of 30 people created 09 Oct 2013 a list of 25 images created 17 Aug 2014 a list of 35 people created 3 months ago Do you have a demo reel? Add it to your IMDbPage How much of Phil Harris's work have you seen? User Polls The Jungle Book 'Baloo' the Bear (1967) Robin Hood Little John - A Bear (1973)  1980 The Love Boat (TV Series) Harvey Cronkle  1978 Fantasy Island (TV Series) Will Fields  1974 Here's Lucy (TV Series) Phil Harris  1968 The Lucy Show (TV Series) Phil Stanley  1967 F Troop (TV Series) Flaming Arrow  1963-1964 Burke's Law (TV Series) Gus Watt / Rip Farley  1964 Ben Casey (TV Series) Clarence Simmons  1960 The Big Sell (TV Movie) Salesman  1958 Shower of Stars (TV Series) Phil Drummer in Band at The Boiler (uncredited) Hide   2009 The Boys: The Sherman Brothers' Story (Documentary) (performer: "I Wanna Be Like You")  2001 Charlotte Gray (performer: "Black Eyed Susan Brown")  1995 Frank and Ollie (Documentary) (performer: "Bear Necessities" - uncredited)  1991 Rock-A-Doodle (performer: "Tyin' Your Shoes")  1991 Kidsongs: Very Silly Songs (Video short) (writer: "The Thing")  1973 Robin Hood (performer: "The Phony King of England" (1972))  1971 The Last Picture Show (performer: "The Thing" - uncredited)  1970 The AristoCats (performer: "Thomas O'Malley Cat", "Ev'rybody Wants To Be A Cat")   The Johnny Cash Show (TV Series) (performer - 1 episode, 1969) (writer - 1 episode, 1969) - Episode #1.15 (1969) ... (performer: "Smoke! Smoke! Smoke! (That Cigarette)", "That's What I Like About the South") / (writer: "That's What I Like About the South")  1968 The Dean Martin Show (TV Series) (performer - 1 episode) - Episode #3.21 (1968) ... (performer: "I've Grown Accustomed to Her Face" - uncredited)  1967 The Jungle Book (performer: "The Bare Necessities" (1967), "I Wanna Be Like You (The Monkey Song)" (1967) (uncredited), "The Bare Necessities (Reprise)" (1967))  1951 Starlift (performer: "Look Out, Stranger, I'm a Texas Ranger" - uncredited) / (writer: "Look Out, Stranger, I'm a Texas Ranger" - uncredited)

Phil Harris

What was the name of Bob Fosse's character in All That Jazz?

Audience Reviews for The Aristocats ½ This in a nutshell is Lady and the Tramp for cat lovers, only dull and dated with regard to gender roles and stereotypes, while the jazzy tunes are not at all memorable (you won't remember any of them) and the scenes with the dogs turn out to be (ironically) the most amusing in it. Carlos Magalhães Super Reviewer I've given the impression in my reviews that I hold Wolfgang Reitherman responsible for the declining standards of Disney films before the renaissance. In my review of The Rescuers, I accused the company of "blatantly re-treading old ground", trying to shore up their box office by recycling the symbols and story arcs that had brought them success in the past. And since Reitherman directed or co-directed the majority of the films the company produced in this period, a great deal of the blame should rest on his shoulders. That's not to say, however, that Reitherman was incapable of producing creative or memorable work. As much as I criticised his contributions to 101 Dalmatians, he did have a good run as an animator before he began directing, contributing cels to every major Disney feature up to and including Sleeping Beauty. To every general trend there is at least one exception - and one of Reitherman's is The Aristocats. The two biggest complaints I've made about Reitherman's directorial work are the rougher quality of the animation and the unashamed reuse of old footage. Both are present to a great extent in The Aristocats, with the characters having rougher edges and fine details being skimped on. The reuse of footage is particularly blatant during the sequence with the cats in the back of the van; the van is almost identical to Horace and Jaspers' in 101 Dalmatians, and the shot of O'Malley hanging off the back is neither more nor less than footage of Pongo flipped through 180 degrees. While normally these two qualities would be annoying, and unbecoming of a proper Disney film, on this occasion we can overlook the latter and embrace the former. The scruffier animation style makes sense because it complements the brasher, jazzier soundtrack. It's right for Scat Cat, O'Malley and the others to have jagged edges and exaggerated features of certain kinds, to distinguish them from the refined, classical pedigree of Duchess and the kittens. Where so often the Xeroxing style gives the impression of laziness, when tied to this music, it gains a whole new energy. The soundtrack to The Aristocats is pretty damn good. The title song, sung by Maurice Chevalier, is elegant but playful, as is 'Scales And Arpeggios' a little later on. We can overlook the child actors singing more than a little off-key, since the melody is really catchy and the music is well-produced. 'Thomas O'Malley' is pure swagger with clever lyrics and a rhythm which suits the timbre of Phil Harris' voice. And then there's 'Everybody Wants To Be A Cat', which is raucous and thoroughly entertaining. Some of the jazz slang may go over children's heads, but there's still a lot of fun to be had with its two renditions. One of Disney's big strengths has always been combining physical comedy with incidental music. Whether it's 'The Sorceror's Apprentice' sequence in Fantasia or Hook fighting the crocodile in Peter Pan, their musical set-pieces rarely miss a beat. But whereas these films were rooted firmly in pantomime and vaudeville, The Aristocats takes some of its inspiration from Jacques Tati. While there is no direct stand-in for Monsieur Hulot (Tati's signature character), Edgar the butler does broadly share some of his characteristics. Like Tati, he spends a lot of his time not getting on with technology, as shown by his farcical journeys on the motorcycle and his unreliable umbrella. He also gives the illusion of respectability and trust, and is every bit as bumbling even if his ends are a lot more cruel. Certain moments of The Aristocats are so Tati-esque that they bear a passing resemblance to later animations by Sylvain Chomet, who channelled Tati in Belleville Rendezvous and The Illusionist. Like a lot of Tati's work, the story of The Aristocats is pretty thin. It's essentially 101 Dalmatians with cats, plus the class barriers and romance from Lady and the Tramp. Like the former the basic plot involves privileged animals being isolated from their owners and having to find their way home, with O'Malley standing in for the Tramp. But the story is executed so breezily and with such a sense of fun that these similarities don't really play on one's mind. More than any other Disney film of the 1970s, The Aristocats has a great sense of comic timing and is really light on its feet. While 101 Dalmatians only took flight in its last 20 minutes, this film is determined to keep the tempo up from the second the kittens are out in the open. The characters' movements are more fluid and excitable than their counterparts in Robin Hood¸ and the upbeat nature of the voice acting prevents us from slowing up and losing interest in the characters. Much of the appeal of The Aristocats lies in the whimsical nature of its characters. While Madame and Duchess are relatively refined and restrained, they are surrounded by a bunch of larger-than-life eccentrics, all of whom are in some way endearing. Madame's lawyer arrives in a wild scramble of limbs, having immense energy but no accurate means of directing it. The marinated Uncle Waldo is hilarious, slurring his speech and hamming it for all his worth (no pun intended). But even when it lowers the tempo, The Aristocats still has the skill to make us laugh. The best example of this comes at night when Edgar attempts to recover his hat and motorbike from Lafayette and Napoleon. The jazzy score provides the beat like the set-pieces in the early Pink Panther films, and the sequence plays out in just the right amount of time. The shoes gag is classic Blake Edwards material, and the sight of a one-wheeled haystack should produce a big chuckle. The voice acting in The Aristocats is pretty good, with many familiar voices making an appearance. Phil Harris' performance is a nice follow-up to his Baloo in The Jungle Book¸ delivering the lines in the same carefree, rascally way. Eva Gabor is much clearer and more endearing than she is in The Rescuers, with her socialite status and good looks being reflected in Duchess' jewels and facial features. Sterling Holloway provides good support as Roquefort, as does Scatman Crothers, best known for playing the caretaker in Stanley Kubrick's The Shining. There are a few problems with The Aristocats. Being a Tati-esque comedy, the actual story is very thin in a way that will disappoint classic Disney fans. The romance between Duchess and O'Malley doesn't develop or go through phases to the same extent as in Lady in the Tramp, and much of the time you could accuse the film of getting by on cuteness alone. Some of the period details haven't dated well, particularly the 'oriental' stereotyping of one of the Alley Cats. And there are probably too many ancillary characters, with the speed of the plot glossing over the fact that not all of them have distinctive roles. The Aristocats is a highly enjoyable if narratively modest effort from Disney, which succeeds on the basis of its pace, comic timing and the likeability of its characters. It's by no means a classic work, lacking either the narrative substance of the classic era or the glossy sheen of the renaissance. But it does at least demonstrate that Wolfgang Reitherman was capable of producing good work under the right circumstances. On the basis of this, one only wishes that he'd done this off more often. Daniel Mumby Super Reviewer How can you not enjoy this movie, especially if your a cat lover and can relate to that wealthy woman! Its a lovely story funny and sweet and all the characters are just lovable! Its a prime example of what cartoons should be like and this movie should be enjoy by every new generatioon! Film Crazy

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How old was Macaulay Culkin when he was cast for his role in Home Alone?

Macaulay Culkin - Biography - IMDb Macaulay Culkin Biography Showing all 66 items Jump to: Overview  (4) | Mini Bio  (1) | Spouse  (1) | Trade Mark  (2) | Trivia  (38) | Personal Quotes  (13) | Salary  (7) Overview (4) 5' 7" (1.7 m) Mini Bio (1) Macaulay Carson Culkin, one of the most famous American child stars, was born on August 26, 1980 in New York City, New York, USA, as the third of seven children of his father Christopher Culkin (a former stage and child actor and also Macaulay's former manager) and mother Patricia Brentrup . He is the brother of Shane Culkin , Dakota Culkin , Kieran Culkin , Quinn Culkin , Christian Culkin , and Rory Culkin , most of whom have also acted. Macaulay's mother, who is from North Dakota, is of German and Norwegian descent. Macaulay's father, from Manhattan, has Irish, German, English, Swiss-German, and French ancestry. "Mack", as he's known to his close friends and family, first came into showbiz at the age of 4, appearing in a string of Off-Broadway shows such as the New York City Ballet's The Nutcracker and, by 8 years-old, the films Rocket Gibraltar (1988) and See You in the Morning (1989), which included him in the rare company of kids who have received rave reviews from The New Yorker and The New York Times. By the age of 9, the young actor had nearly upstaged star John Candy in Uncle Buck (1989) (his deadpan interrogation of Candy was Buck's funniest scene). Then, in 1990, writer John Hughes turned his finished Home Alone (1990) script over to director Chris Columbus with a suggestion to consider Culkin for the lead. Though Macaulay was the first kid Columbus saw, he was skeptical about having him in the lead and saw over 200 other possible actors and he admitted that no one came as close to being as good as Culkin. By the callback interview, Mack had memorized two scenes, and Columbus was sure he found his "Kevin McCallister". The movie grossed more than $285 million in the US alone, becoming one of the highest grossing movies of all time and making Macaulay Culkin one of the biggest movie stars of the time. His next big project was My Girl (1991) in which he played "Thomas J. Sennett", a boy who seems to be allergic to everything. Despite some controversy over the ending, the film was released anyway and proved to be another hit film for Mack (and featured his very first kiss). In 1992 came Home Alone 2: Lost in New York (1992), which grossed more than $172 million in the US alone. In 1993 came The Good Son (1993), which was the first role to depart from his cute kid comedies. He played a murderous little demon named Henry. He got the role when his powerhouse negotiator/manager/father Kit Culkin said that he would pull Mack out of Home Alone 2: Lost in New York (1992) unless he was given the psychotic boy lead in The Good Son (1993). He was also given a salary of $5 million for the film. In 1994, at the age of 14, came a string of duds, The Pagemaster (1994), Getting Even with Dad (1994) and Ri¢hie Ri¢h (1994). He was paid $8 million for the last two, the highest salary ever paid for a child star. Many people believed Mack had lost his touch, though, because he was no longer that cute tiny kid they saw in Home Alone (1990). In 1995 his parents, who were never married, separated and started a greedy legal battle over the custody of their kids and Mack's fortune. In 1996, the young actor had reportedly said he wouldn't accept any roles until his parents settled their custody dispute. That case would not be resolved until April 1997 when Kit Culkin relinquished control to Brentrup. In 1998, Macaulay married actress Rachel Miner , but separated in 2000 because Rachel wanted to start a family and Mack wanted to get back into acting. There has been a gap of eight years since 1994's Ri¢hie Ri¢h (1994), and although he made a 'comeback' on stage in 2001, appearing in a London production of "Madame Melville", and also portrayed Michael Alig in Party Monster (2003); with an estimated fortune of $17 million he clearly never has to work again - if the roles don't appeal to him. - IMDb Mini Biography By: Jessika Spouse (1) Rosy lips, blue eyes and pale skin Trivia (38) Brother of Shane Culkin (b. 1976), Dakota Culkin (1978-2008), Kieran Culkin (b. 1982), Quinn Culkin (b. 1984), Christian Culkin (b. 1987) and Rory Culkin (b. 1989). Father hands sole custody of Macaulay and his siblings over to their mother. Parents never married and mother filed for custody. [April 1997] Reports claim the Culkin family could soon be homeless. Control of Macaulay's finances have been removed from the family and placed in the hands of his accountant. [February 1997] Godfather to Michael Jackson 's first child. Studied at the School of American Ballet. The school is the official training academy of the New York City Ballet. Its founders (in 1934) were Lincoln Kirstein and George Balanchine. Stage debut at age of four in "Bach Babies". Nephew of Bonnie Bedelia . He and his wife buy $1.7 million 5200-foot loft on lower Broadway in Manhattan. [November 1999] Burned out at age 14, he quit acting in 1995 and only recently made a 'comeback' on stage in 2001, appearing in a London production of "Madame Melville," playing a 15-year-old who is seduced by his French teacher. It later moved Off-Broadway for a 4-month stint. Macaulay was named after Thomas Babington Macaulay, and his middle name Carson for Kit Carson of the old west. Was in a relationship with Mila Kunis from 2002 until late 2010. Dropped out of his senior year at the Professional Children's School (a high school), the school where he met his ex-wife, Rachel Miner . [17 September 2004] Arrested for marijuana possession in Oklahoma. Bought Marilyn Manson his first pack of cigarettes for Manson's role as Christina during the filming of Party Monster (2003). He said he found it so ironic considering that Manson is considered "the Antichrist" by many, and it's Macaulay Culkin who's corrupting him. Ranked #2 in VH1's list of the "100 Greatest Kid Stars". Best known for his role as Kevin McCallister in Home Alone (1990) and Home Alone 2: Lost in New York (1992). Attended WWF's (now WWE) WrestleMania VII (1991) on March 24, 1991. Became the first child actor to ever receive a million dollars for one film - and in a supporting role too! The film was My Girl (1991). The role of Kevin McCallister in Home Alone (1990) was written for Macaulay by John Hughes (who had written and directed another film which featured Macaulay, Uncle Buck (1989)). Despite this, some other boys were auditioned by Chris Columbus just to make sure that Macaulay was right. His brother Kieran Culkin played his cousin in Home Alone (1990) and Home Alone 2: Lost in New York (1992). Wrote a book titled "Junior". His brother Rory Culkin , now an established actor in his own right, has played both Macaulay's little brother (in The Good Son (1993) and the younger version of Macaulay's character (in Ri¢hie Ri¢h (1994)). His performance as Kevin McCallister in Home Alone (1990) is ranked #99 on Premiere Magazine's 100 Greatest Movie Characters of All Time. Was ranked #2 in E's most cutest child stars all grown-up. (2005). Had a small part in the Oliver Stone movie Born on the Fourth of July (1989), but his scenes were cut. Is a fan of professional wrestling. Was considered for the role of "Mark Sway" in The Client (1994) but lost out to Brad Renfro . His 29-year-old sister, Dakota Culkin , passed away after accidentally being struck by a car on December 10th 2008 in Los Angeles, California. Is a big fan of the popular RPG game, World of Warcraft. He has a half-sister, Jennifer Adamson, from another relationship of his father. Jennifer died in 2000 at age 29 from a drug overdose. Son of Christopher Culkin and Patricia Brentrup . His parents were together for 21 years from 1974-1995, but never married. Ranked number 2 on the VH1 list 100 Greatest Kid Stars (2012). His father is of one quarter Irish, as well as of German, English, Swiss-German, and French, descent. His mother is of half German and half Norwegian ancestry. Filming a new movie with Jena Malone and Eva Amurri Martino . [2002] When casting the role of Kevin McCallister for Home Alone (1990), Chris Columbus had already seen him in Uncle Buck (1989) but he wanted to audition some other kids first while writer and producer John Hughes had his heart set on Culkin. So Columbus met Culkin in New York and was very charmed by him and thought he was fantastic. Columbus auditioned five other kids and none of them shaped up to Culkin. Columbus went with Culkin because he was not as picture perfect and he had an instant relatability to the kids in the audience. Columbus knew the cameras would love him and he was immensely funny. After securing Culkin, Joe Pesci and Daniel Stern for Home Alone (1990), Chris Columbus felt confident enough to cast actors who were his heroes growing up like Catherine O'Hara after seeing her work on SCTV (1976) as well as John Heard and then Tim Curry and Rob Schneider on Home Alone 2: Lost in New York (1992) because they were all open to the films. On the set of Home Alone (1990), Culkin would jokingly direct the film for Chris Columbus . Personal Quotes (13) [at age 10]: I don't even get an allowance. It drives me crazy when your parents try to read your mind. It's even worse when they try to read your mail. [Just how rich is he?]: I could sit around with my thumb up my butt watching TV and my kids would still go to college! [on his new sitcom deal with NBC]: With Friends (1994) biting the dust, the time could now be right for my show. [Responding to questions about his estranged father, May 27, 2004.]: My father was overbearing. Very controlling. He was always the way he is, even before my success. He was not always a good person. He'd play mind games to make sure I knew my place. I don't see him, which is unfortunate. But I don't have any desire to see him. I vaguely know where he is, and I don't want to know. As long as he's not standing outside my doorstep, I'm fine. [on his friendship with Michael Jackson ]: Michael and I had an understanding about my father. He knew what that was all about. He'd lived it. It's not like I can just bump into people on the street and say, Oh! You too! It doesn't happen that often. Michael's still a kid. I'm still a kid. We're both going to be about 8 years old forever in some place because we never had a chance to be 8 when we actually were. That's kind of the beautiful and the cursed part of our lives. I just remember the exact point when I was growing a little more tired, during The Good Son (1993). I had already done one or two things that year, and I just said to Kit, "Listen, I'm really getting tired and I'm not at school as much as I'd like to be. I really need some time off". He said, "Yeah, sure" and the next thing I knew I was on the next set doing the next thing and it just kind of clicked in my brain: "Okay. There's basically nothing I can do to make this stop". Contrary to popular belief, I've never been to rehab. I've never been to jail, never been arrested. All the child-star clichés. I've tried very hard to avoid them all. [on Party Monster (2003)'s script]: When I was first sent the script, I threw it in the garbage like I did with every other script I was sent at the time. I was basically retired. People still recognize me all the time on the street. The first thing they say when they stop me is, "Where have you been?" The second comment they make is always, "Oh, you've grown up." I'm not one of those actors who needs the media spotlight all the time to feel gratified. I'm happy to do one project a year and take the rest of the year off as long as that project is special. I had all the fame anyone could want, and I ran away from it. Most of the offers I get from Hollywood are for teen comedies. My manager thinks I'm crazy for turning down all that money, but I'm very picky. I'd made enough money by the time I was 12 to never have to work again, so it's not about a big check with me. It's about finding unique, one-of-a-kind films that I would want to see myself. I think Party Monster (2003) is one of those. [March 2006]: Acting found me. I thought maybe I should try to find it again. We'll see. Salary (7)

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In which 70s musical did Paul Michael Glaser star?

Macaulay Culkin Reprises His 'Home Alone' Role In YouTube Series - Hint: Kevin's Got Some Serious Trauma Issues : CULTURE : Tech Times Macaulay Culkin Reprises His 'Home Alone' Role In YouTube Series - Hint: Kevin's Got Some Serious Trauma Issues 17 December 2015, 9:10 pm EST By Jan Dizon Tech Times Macaulay Culkin is back as a seriously deranged Kevin McCallister in a new YouTube series. He may no longer be 'Home Alone' but this is one driver with major childhood trauma to deal with.  ( Jack Dishel | YouTube ) Advertisement It may be the only movie we remember Macaulay Culkin for but he's back, 25 years later, and it looks like it wasn't all fun and games for Kevin McCallister, the cute kid who was left "Home Alone" for Christmas. Child star, Culkin, reprises his role in a new YouTube series about his most famous role in ":DRYVRS" which follows the exploits of a driver of an unnamed car service (cough, Uber, cough, cough) and his interactions with his passengers. The first episode, entitled "Just Me In The House By Myself," made it clear that the rarely seen Culkin was playing an adult version of the character that made him a house hold name.  But poor, crafty Kevin apparently did not survive his Christmas ordeals without some major psychological trauma. Culkin/McCallister recounts to his driver (who was supposed to be his passenger) how his family forgot about him on Christmas, not once, but twice!  Left to fend for himself, first in their swanky suburban Chicago Home, and next time in no less than New York City, McCallister had to survive against two relentless burglars who would stop at nothing to get into his home and seek their revenge on him. "I still have nightmares about it, dude," McCallister  tells  his driver. And come to think of it, who wouldn't?  After all, McCallister had to come up with some pretty McGuyver-esque traps to outsmart his would-be attackers and in the process ended up shooting someone in the face with a BB-gun, almost gave a pizza guy a heart attack, and blow-torched someone else's head.  Not the kind of stuff an 8-year-old should have to go through. The all grown up McCallister reveals just how deeply the trauma of his childhood runs when his ride takes a turn for the worst and nearly gets car-jacked.  But, honing in on his skills of ingenuity, uses items in the car to overpower the car jacker and brought him straight into a basement where he enumerated all the not so kid-friendly, blood curdling things he was going to do to him. Just watch the episode for yourself.  And that trademark, hands on his cheeks and scream?  Yep, it's in there too. TAG

i don't know

"In Private ""Benjamin, what is the name of ""Benjamin's captain?"

Eileen Brennan, Stalwart of Film and Stage, Dies at 80 - The New York Times The New York Times Movies |Eileen Brennan, Stalwart of Film and Stage, Dies at 80 Search Photo Eileen Brennan as Capt. Doreen Lewis in "Private Benjamin." Credit Warner Brothers Pictures, via Associated Press Eileen Brennan, a smoky-voiced actress who had worked in show business for more than 20 years before gaining her widest attention as a gleefully tough Army captain in both the film and television versions of “Private Benjamin,” died on Sunday at her home in Burbank, Calif. She was 80. Her manager, Kim Vasilakis, confirmed the death on Tuesday, saying the cause was bladder cancer. Ms. Brennan had had a solid career on the New York stage and in films like “The Last Picture Show” and “The Sting” when she was cast for the film “Private Benjamin,” a 1980 box-office hit starring Goldie Hawn in the title role. Ms. Brennan played Capt. Doreen Lewis, the slow-burning commanding officer of a pampered, privileged young woman who joins the Army and finds that she isn’t anybody’s little princess anymore. The performance brought Ms. Brennan an Academy Award nomination for best supporting actress. She reprised the role in 1981 in a CBS sitcom based on the film, with Lorna Patterson in the Goldie Hawn role. The TV performance brought Ms. Brennan the Emmy Award for best supporting actress in a comedy, variety or music series. But she was forced to leave “Private Benjamin” when she was hit by a car and critically injured in Venice, Calif. Without her, the series died in 1983. While recovering Ms. Brennan became addicted to pain medication and underwent treatment. She later developed breast cancer. Advertisement Continue reading the main story She returned to television in 1985 in a new sitcom, “Off the Rack,” with Edward Asner, but the show lasted only six episodes. Afterward she made guest appearances on other shows, but she never recaptured the attention she had known in the past — as the toast of Off Broadway in “ Little Mary Sunshine ,” as a film actress in the 1970s, and as an honored comedy star just before her accident. Verla Eileen Regina Brennen was born on Sept. 3, 1932, and grew up in Los Angeles, the daughter of a newspaper reporter who also worked in sales and a former actress. Later in life, dealing with her own alcohol dependency, she talked about the alcoholism in her family when she was a child. After attending Georgetown University, she studied acting at the American Academy of Dramatic Arts in New York, performed in summer stock and worked as a singing waitress. Her first big role was as the title character in Rick Besoyan’s “Little Mary Sunshine,” a 1959 parody of operettas that played at the Orpheum Theater. She won an Obie Award for her portrayal of the show’s spunky, fluttery-eyed heroine. A year later she complained to The New York Times that she had been “hopelessly typecast as that kookie girl.” Photo Ms. Brennan in the 1971 film "The Last Picture Show." Credit Columbia Pictures, via Photofest Perhaps to prove otherwise, she promptly starred in the national tour of “The Miracle Worker,” as Helen Keller’s gravely serious teacher, Annie Sullivan. In 1963, Ms. Brennan earned positive reviews as Anna in a City Center revival of “The King and I.” In 1964, she was cast as Irene Molloy, the young widow, in the original Broadway production of “Hello, Dolly!,” with Carol Channing. Among later stage performances, she appeared in John Ford Noonan’s “A Coupla White Chicks Sitting Around Talking,” a critically praised 1980 two-woman show with Susan Sarandon, and Martin McDonagh’s dark comedy “The Cripple of Inishmaan” (1998), in which she played an alcoholic Irishwoman. Ms. Brennan made her television debut in “The Star Wagon,” a 1966 PBS special, based on Maxwell Anderson’s play about a man who invented a time machine. Her film debut came a year later, in “Divorce American Style,” a comedy starring Debbie Reynolds and Dick Van Dyke. Advertisement Continue reading the main story After a brief stint as an original cast member (along with Ms. Hawn) of “Rowan and Martin’s Laugh-In,” the 1960s sketch-comedy series, she did her first picture, playing a world-weary Texas waitress in “The Last Picture Show” (1971), directed by Peter Bogdanovich. Mr. Bogdanovich cast her again in “Daisy Miller” (1974), as a society hostess, and in “At Long Last Love” (1975), as a singing maid. Ms. Brennan played a madam with a heart of gold in the Oscar-winning 1973 film “The Sting” and appeared in two comedy-noir films written by Neil Simon, “Murder by Death” (1976) and “The Cheap Detective” (1978). In later years, she appeared in “Miss Congeniality 2: Armed and Fabulous” (2005), as William Shatner’s mother (despite being a year younger than he was). But she was most visible making guest appearances on television. In addition to the Emmy she won, Ms. Brennan received six other Emmy nominations. Two were for “Private Benjamin.” The others were for her work in “Taxi,” “Newhart,” “Thirtysomething” and “Will & Grace,” in which she played Sean Hayes’s formidable acting teacher. Throughout her career she talked openly about addiction. “It’s so horrible and it can be so disastrous, yet there’s something about the sensitivity of the human being that has to face it,” she said in a 1996 interview. “We’re very sensitive people with a lot of introspection, and you get saved or you don’t get saved.” Ms. Brennan was married from 1968 to 1974 to David John Lampson, an aspiring actor. Their two sons, Patrick and Sam, survive her, along with a sister, Kathleen Howard, and two grandchildren. A version of this article appears in print on July 31, 2013, on Page B16 of the New York edition with the headline: Eileen Brennan, 80, Stalwart of Film and Stage, Is Dead. Order Reprints | Today's Paper | Subscribe

Lewis

How many different hats does Madonna wear in Evita?

Movie Review - - GOLDIE HAWN AS 'PRIVATE BENJAMIN' - NYTimes.com GOLDIE HAWN AS 'PRIVATE BENJAMIN' By VINCENT CANBY Published: October 10, 1980 IN civilian life, Private Benjamin (Goldie Hawn) is Judy Benjamin, the pampered only child of Teddy and Harriet Benjamin, and the world's most unlikely soldier, recruited after two disastrous marriages, one of which lasted six months, the other six hours. Judy Benjamin is, as she puts it, ''29 years old and trained to do nothing,'' the sort of woman whose second wedding day is almost ruined when an ottoman arrives upholstered in beige when she had distinctly ordered mushroom. Judy really doesn't have much to think about. Things in this country must be returning to what President Warren G. Harding called normalcy. ''Private Benjamin,'' which opens today at the Sutton and Forum Theaters, is the kind of service comedy that fell into disrepute during the Vietnam War, but which, before that, had been a staple in almost any year's release schedule. Everybody made them - Laurel and Hardy, Abbott and Costello, Martin and Lewis, Bob Hope, Chaplin, Keaton, even Cary Grant, who starred in Howard Hawks's classic ''I Was a Male War Bride.'' Private Benjamin'' is an old friend brought up to date in this woman's Army, which Judy Benjamin joins under the impression she's signing up for an extended stay at some place like Elizabeth Arden's Main Chance, anticipating three years of swimming, tennis and boating, plus supervised weight-loss. Directed by Howard Zieff and written by Nancy Meyers, Charles Shyer and Harvey Miller, ''Private Benjamin'' is a good deal of fun even toward the end, when Judy Benjamin must make her predictable choice between returning to an idiotic private life or staying with the career that's made a woman of her. Miss Hawn, even when she must look sort of wilted, like the figure on the top of a week-old wedding cake, is totally chaming as the bemused suburban princess who foresakes a house with a live-in maid, her membership in the country club and her role as man's best friend to find life's meaning in the service. She's an enthusastic farceur, but her characterization is so firmly based that she can slip from slapstick to romantic comedy and back without losing a beat. The film also surrounds her with funny actors, not all of whom have been funny before. Robert Webber is hilarious as a gung-ho paratroop commander whose lust gets the better of him when, on maneuvers, he finds himself with a terrified Private Benjamin at 16,000 feet. Eileen Brennan is a comedian, but she's never been seen to such good effect in a film as she is in ''Private Benjamin,'' playing a manic, spit-and-polish officer with tendencies toward that love that dare not speak its name. Also terrifically good are Albert Brooks, the groom in Judy Benjamin's second marriage, and Sam Wanamaker and Barbara Barrie, as Judy's protective parents, who are so mortified when she joins the Army that they tell their friends she's in a mental hospital. Armand Assante plays a French heel with whom Judy falls in love while on duty in Europe, and Mary K. Place is prominent as her best Army buddy. Mr. Zieff demonstrates great skill in keeping the gags aloft and in finding new ways by which to free the laughs trapped inside old routines about latrine duty, war games, forced marches and calisthenics. ''Private Benjamin'' is funny, and every now and then, like Judy Benjamin, possessed of unexpected common sense. Judy is ultimately most appealing because she's no dope. ''I really didn't get the point of 'An Unmarried Woman,' '' she says at one point. ''I would have been Mrs. Alan Bates so fast.'' She could also be a movie critic. Unlikely Soldier PRIVATE BENJAMIN, directed by Howard Zieff; written and produced by Nancy Meyers, Charles Shyer and Harvey Miller; director of photography, David M. Walsh; film editor, Sheldon Kahn; music by Bill Conti; released by Warner Bros. At the Sutton, Third Avenue and 57th Street; Forum, Broadway and West 46th Street; RKO 86th Street I, at Lexington Avenue, and other theaters. Running time: 110 minutes. This film is rated R. Judy Benjamin . . . . . Goldie Hawn Capt. Doreen Lewis . . . . . Eileen Brennan Henri Tremont . . . . . Armand Assante Col. Clay Thornbush . . . . . Robert Webber Teddy Benjamin . . . . . Sam Wanamaker Pvt. Mary Lou Glass . . . . . Mary Kay Place Sgt. Jim Ballard . . . . . Harry Dean Stanton Yale Goodman . . . . . Albert Brooks

i don't know

A Little Night Music was based on which non-musical film?

Movie Review - - Film: 'A Little Night Music':Bergman-Inspired - NYTimes.com Film: 'A Little Night Music':Bergman-Inspired By VINCENT CANBY Published: March 8, 1978 INGMAR BERGMAN'S "Smiles of a Summer Night" is, next to his film version of "The Magic Flute," the most charming, most buoyant movie he's ever made. "A Little Night Music," the Broadway musical adaptation of the Bergman film, directed by Harold Prince, with music and lyrics by Stephen Sondheim at his best, sent one out of the theater feeling in top form. It's something more than a shock, then, that the film adaptation of the Broadway show not only fails to raise the spirits; it also tramples on them. The more kindly disposed will leave the theater depressed, a lot of others may be in a rage. Though it's possible to fail with intelligence and grace, the movie, which opens today at Columbia 1, pursues disaster in the manner of someone who, with mindless self-confidence, saws off the limb he's sittin on. Perhaps the movie's worst sin is to make the critic feel he must play the role of the piously aggrieved scoutmaster, who has to say a lot of boring, obvious things—in this case about the difference between the stage and movies. These are things that Mr. Prince, who also directed the movie, and Hugh Wheeler, who wrote the screenplay from his own Broadway book, certainly know from experience that is more practical than most critics will ever have. The way they have made the movie, it looks like a publicly posted suicide pact. Such a succession of mistakes can't be accidental. The Broadway show, like the Bergman film, is a wickedly lyric rondel, a romantic, turn-of-the-century masquerade about three mismatched couples who, in the course of a limpid summer night, on a magnificent country estate, more or less stumble into perfect happiness. They are a beautiful, worldly actress of certain years (Elizabeth Taylor), her lover, a foolish hussar (Laurence Guittard), the hussar's jealous wife (Diana Rigg), the wife's school friend (Lesley-Ann Down), whose much older husband (Len Cariou) loves the actress and whose stepson (Christopher Guard) loves his stepmother. Looking on are the actress's ancient mother (Hermione Gingold), herself once a famous courtesan, and the actress's daughter (Chloe Franks), plus one lively, pretty maid (Lesley Dunlop), without whom no farce can be complete. The sum and substance of the show are not the characters but Mr. Sondheim's music and lyrics. They describe the awful and funny torments of hearts that rule minds of the size and consistency of baby peas. It's not exactly a problem play. It's Mozartean comedy in which stylized settings, costumes and even lighting create a world of sweet timelessness. Having elected to transform the Sondheim show into a film, Mr. Prince appears to have made every decision that could sabotage the music and the lyrics. He has cast the film with people who don't sing very well and then staged almost every number in such a way that we can't respond to the lyrics. He often photographs the singers in those blandly uninformative close-ups that force us to consider hairlines, necklines and lip-sync techniques. Mr. Sondheim's marvelous two-and three-part songs, in which characters, often in different settings, share their sentiments, work on the stage since the characters are enclosed by the same proscenium. In the movie, which is set in elegant but realistic locations, these numbers require all sorts of busy cross-cutting that upstages the music, which becomes as effectively fragmented as the images. It is, of course, possible to hear the songs, but in this movie it seems like-work. "Send in the Clowns" will survive Miss Taylor's game way with a lyric, and so will "You Must Meet My Wife" (Miss Taylor and Mr. Cariou), but "A Little Night Music" shouldn't be a matter of survival. It should be ebullient and fun. It isn't. It often seems to be mean-tempered. There's no reason why Miss Taylor should be photographed so unflatteringly (unless she gave the orders), or that Lesley-Ann Down and Diana Rigg should appear at times in flesh colors of grayish-green (at least in the print I saw). Someone should also have had the decency to blip out a word in one of the lyrics that gets a cruel laugh in the way it refers to Miss Taylor, who is an actress of more wit and character than "A Little Night Music" ever allows. So are Miss Down and Miss Rigg, though they, and Miss Taylor and Mr. Cariou do have one very funny scene. It's a dinner table scene in which everything goes wrong and no one is required to sing. Of the actors, Mr. Cariou is the only one who registers as a character. The others are animated mannequins. Hermione Gingold, re-creating her Broadway role, gets short shrift from the film, which even nips off her last scene, though that may be just as well. It's become increasingly apparent that less of Miss Gingold is more—and sometimes too much. "A Little Night Music," which has been rated PG A "Parental Guidance Suggested"), contains a couple of love scenes that are less heated than jurious in the way of farce. Bergman-Inspired A LITTLE NIGHT MUSIC, directed by Harold Prince; screenplay by Hugh Wheeler, based on his book for the musical play suggested by Ingmar Bergman's "Smiles of a Summer Night"; music and lyrics by Stephen Sondheim; executive producer, Heinz Lazek; produced by Elliott Kastner; edited by John Jympson; director of photography, Arthur Ibretson; distributed by New World Pictures. Running time: 124 minutes. At the Columbia 1 Theater, Second Avenue at 61th Street. This film has been rated PG. Desiree Armfeldt . . . . . Elizabeth Taylor

Smiles of a Summer Night

What was the name of the high school in Porky's?

A Little Night Music (1977) for Rent on DVD - DVD Netflix A Little Night Music 1977 PG Rated PG 2hr Stephen Sondheim's shimmering musical (based on Ingmar Bergman's Smiles of a Summer Night) transfers from the Broadway stage to the silver screen with a who's-who cast along for the ride. Elizabeth Taylor, Len Cariou and Lesley-Anne Down star in this languid idyll about an upper-class Swedish family that has more than a few skeletons in its closet. The film (which features the classic "Send in the Clowns") won an Oscar for Best Adapted Score. Rent DVDs for only $4.99 a month.

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What was Tootsie's name before he turned into Tootsie?

Tootsie Reviews & Ratings - IMDb IMDb 60 out of 71 people found the following review useful: Funny AND intelligent. from Omaha, NE USA 11 September 2005 There is so much more to this film than Dustin Hoffman running around in a dress trying to act like a woman. Tootsie is one of the most intelligent comedies I've ever seen. It is perfectly cast, well-layered, and full of surprises. Dustin Hoffman plays Michael Dorsey. He seems to know everything about acting except how to stay employed as an actor. In an early montage we see him auditioning for numerous plays where he is either too old, too young, too short, simply not the right guy for the part, or in some cases impossible to work with. We also see him trying to teach his craft to some young wannabe actors, and working at a restaurant to pay the bills. After a hilarious argument with his agent, he is simply told "No one will hire you!" The very next shot has Hoffman in drag walking down the street to an audition for a soap opera part his friend (Terri Garr) was unable to land. So intent is the chauvinistic director (Coleman) on casting a woman that looks tough enough for the part of a hospital administrator, Hoffman is denied without so much as a reading. He responds with a hilarious tirade that opens the door to his television career. Hoffman lands the part, and is soon winning over fans all over the country. While Hoffman finds it wonderful to be working regularly, his personal life is understandably put to the test. He alienates Garr, is constantly made fun of by his roommate (Murray) and falls in love with one of his co-stars (Lange) who of course cannot learn his secret or he's out of a job. Things are further complicated when two older men fall in love with him. It would be pointless to try and describe some of the awkward situations he finds himself in. You must see the movie to experience them for yourself. The film is so well-cast it's incredible. There are so many fine actors at work here that it almost becomes a contest of who can steal the scene first. Murray gets his share with his improvised lines. His lamenting of the state of his plays during a party scene will have you howling. The icing on the cake was director Sydney Pollack agreeing to play Hoffman's agent. They only have a few scenes together, but they are the film's best. Tootsie is head and shoulders above other films I've seen that deal with men in women's clothing. Mrs. Doubtfire for example was all slapstick without much heart. In the end it tried to redeem itself in that department and just got way too sappy. Tootsie also wisely holds back in the feminism department. Although Hoffman's Dorothy Michaels is clearly a woman who inspires others to stand up for themselves, he is advised to tone it down by Pollack in one scene. Hoffman feels his Dorothy character should be doing specials and giving advice and whatnot, but Pollack reminds him, "You have NOTHING to say to women, Michael." In other words, you're lucky you've gotten away with the stunt up to this point, now you should be looking for a way to get out. Overall Tootsie is wonderful experience. It made a fortune when released, and is still very relevant today. Don't miss it! 10 of 10 stars from the Hound. Was the above review useful to you? 49 out of 55 people found the following review useful: They Don't Get Better Than This from Ottawa, On 16 May 2005 Remember when comedies used to be actual movies with actual stories with actual points and the funny just flowed out of them, instead of just a flimsy excuse to string together jokes and funny scenes and stock situations? Yeah, me too. What happened? If you're in the mood for a great movie that will get you to cough up a boatload of honest laughs, then you ain't gonna do better than TOOTSIE. You are not going to find a better written, acted, and directed comedy anywhere. There are plenty as good - but none better. This is a career highpoint for all involved, and when "all" includes names such as Sydney Pollack and Dustin Hoffman, you know that's a sentiment that carries some significant weight. And it just reaffirms the old adage that every single comedy should have Bill Murray in it. Was the above review useful to you? 47 out of 55 people found the following review useful: A shining comedy from Croatia, Europe 3 August 2005 Michael, an unemployed actor in New York, takes desperate measures by dressing up as a woman called Dorothy Michaels and gets a job at an TV soap opera, where he falls in love with Julie. But how to tell her that he is actually a man...? Winner of 3 Golden Globes ( Best movie comedy/musical, best actors Dustin Hoffman and Jessica Lange ) and one Oscar ( Best actress Jessica Lange ), "Tootsie" is a small masterpiece of intelligent comedy, full of emotions, love and interesting observations about the relationship between women and men. ------- The situations are deliciously written. Just take the scene where Dorothy is auditioning for the role in the TV soap opera but is turned down because she is "too soft". Her response is gold: "Yes, I know what you want! You want some gross caricature of a woman to prove some idiotic point, like power makes women masculine, or masculine women are ugly...! Well, shame on you, you macho sh*t a**!" When later asked from the producer if she was just acting when she said that or if she was natural, she responded: "Which answer will get me the job?" Needless to say she got the job that instant, and a special place in my heart. But the best scenes are the ones where Dorothy is constantly improvising on the set, like when she was supposed to say to a woman who was beaten up by her man to take a therapy, but instead decided to tell that she would never let a man raise his hand on her( and then she threw a vase of flowers into the wall! ). Wonderful fun! Billy Wilder would be proud! Dustin Hoffman is pure genius, more as a woman then as a man, as are Terri Garr and Bill Murray, before his critical fame with "Lost in translation" and "Broken flowers". "Tootsie" is quite simply a classic all the way through! Grade: 10/10 from Denmark 4 August 2003 Possibly the best gender comedy of all time! Everything in this baby clicks: A script that is both clever, endearing and realistic in its depiction of the emotional transformation within Michael Dorsey, incredible acting performances (with Dustin Hoffman, Terri Garr and unbilled Bill Murray as standouts) and a great soundtrack that adds volumes to the mood of the film. This is a 10! Watch it! Was the above review useful to you? 46 out of 58 people found the following review useful: Dustin at one of his best moments Author: All American Girl 27 December 1999 It's more than a movie about a man in drag and it's more than just a great movie. This movie goes to show that Dustin Hoffman is best at playing the oh-so-very-different characters. Whether it's his unforgettable character in Rainman or Michael Dorsey/Dorthy Michael in this, Dustin is at his best when he plays someone DIFFERENT, someone who is not your average person. This film will make you laugh, that's for sure, but it'll also make you rethink about the things that really make you happy in your life, something too few of us think about...almost never. Was the above review useful to you? 35 out of 43 people found the following review useful: BRILLIANT! from Devon, UK 24 March 2003 This is a wonderful film,I can't remember how many times I have seen it,I love it! Dustin Hoffman is brilliant as Michael Dorsey and Dorothy Michaels.Along with Jessica Lange and Teri Garr and fantastic direction from and co-star Sydney Pollack,this couldn't be any better.It's a great story and well scripted and very funny besides.If you love films you can't not love this one.This is my 2nd favourite film in the world only because ''Some Like it Hot'' is my first choice.Dustin is one of the best actors in the business and continues to be to this day. Was the above review useful to you? 26 out of 30 people found the following review useful: THE COMMENTS OF A FILM ADDICT from NORTH WALES 9 October 2001 Wow!, what a film anyone who has seen this film would definetly agree with me that this film touches you in so many different places. It's funny, sad but also appealing to so many different people. Dustin Hoffman is superb in it, so is Jessica Lange the way they act on set together is very amusing but when they are alone, it's always an emotional scene. Especially the scene in which Julie (Lange) throws a glass of champagne at him when he tries to come on to her at a party, it's so funny. Murray is also good as Hoffman's mixed-up flat mate. Sydney Pollack the director also takes a small role as Hoffman's Agent who unsuccesfully tries to find him work. The viewer sees the struggle of all the characters in their everyday life. There is also a touch of romance in the fim for the sentimentals in this world. The whole team bonds together to create a funny, imaginative film suitable for anyone who is in the mood for a laugh or a cry. I thouroughly reccomend it!! Was the above review useful to you? 23 out of 29 people found the following review useful: Lange, Hoffman Fun To Watch In This Justifiable Hit Of Its Day from United States 14 June 2007 It's strange how seeing a man dressed up as a woman always seems to be funny and popular with the audiences. Milton Berle helped make television with skits like this on his early 1950s show. It works here, too, with Dustin Hoffman applying the makeup and playing the role to the hilt. Helping Hoffman is Jessica Lange in, by far, her most attractive role. I'm not particularly a fan of hers but she looked spectacular in here, almost like Marilyn Monroe. This was a popular film because the humor was good and the two leads did a nice job, and people like a good romance story, too. Hoffman, like him or not, is a fabulous, able to play so many diverse roles. He's an amazing actor. Sometimes overlooked is the big-name supporting cast which includes Dabney Coleman, Teri Garr, Bill Murray, Chares Durning and Geena Davis. The latter was making her screen debut in here! This isn't as "cute" as it was 25 years ago but it sure was a justifiable bit hit back in the early '80s. Was the above review useful to you? 27 out of 38 people found the following review useful: The 2nd thing you do before you die. See 'Tootsie'!! from U.K. 19 May 2005 If there is 10 things I would advise my grandchildren to do in their life, watching this film is the 2nd. You think I'm joking though, I am not. Over the years of cinema the entire trend of men in drag has been used, abused then labeled as being gay. For all you homo-phobics that think this is purely a 'girly flick' with cheeky unfunny drag gags, then stop right there. You couldn't be more wrong. I agree that a man dressing up in womens clothing is no longer a big deal and is never humorous, after centuries of it. This is the most witty, hilarious and relaxed movie that so many actors and directors have missed completely when dealing with the whole 'drag' subject. The storyline is a hot tempered and highly opinionated out-of-work actor(Dustin Hoffman) is told by his agent (Sydney Pollack) in all kindness that nobody will hire him. He takes it upon himself to dress as a woman just so he is not recognized by those he has p'ed off in the past. From Michael Dorsey to Dorothy Michaels, Hoffman plays a woman with such a justice you forget she's not real. Just like everyone in the movie, you will fall for Tootsie head over heals! Was the above review useful to you? 18 out of 22 people found the following review useful: Classically funny! from Nyiregyhaza, Hungary 30 January 2006 It's hard to deny this as a funny film, because it is so hilarious! I find myself still cracking up after all these years, each time I see it. I've seen it countless times, and it's still a great watch. Dustin Hoffman plays Michael Dorsey, an unemployed actor, who can't seem to get along with any director or writer in town. One day, he takes his friend, Sandy to audition for a part in a soap opera. She is turned down, and because he is so desperate for work, he dresses up like a woman, and goes in for the interview himself. He is hired because of his ( I mean, her) defiant attitude, and throughout the rest of the film, he is now known as, Dorothy Michaels. The film is hysterical, and well-written. There is not a time that I've seen this film, where I didn't laugh or smile. It's light, but has some adult material that might not be appropriate for anyone under twelve. It's cute, and there's really not much more to it than that. I think everyone will love it, once they give it a chance. Was the above review useful to you? Page 1 of 20:

Michael K. Dorsey

What was the first sequel to The Pink Panther called?

Movie Review - - TOOTSIE - NYTimes.com Movie Review By Vincent Canby Published: December 17, 1982 After twenty years as a mostly unemployed New York actor, Michael Dorsey (Dustin Hoffman) is desperate. He makes ends meet by teaching acting classes and then, in his spare time, auditioning for parts he never gets. Michael's worst problem is that he's "difficult." He insists on providing more subtext for a role than any director wants. He's the sort of actor who, when playing a tomato in a television commercial, angrily refuses to sit down because, as he insists, "tomatoes don't move." At the beginning of Sydney Pollack's rollicking, hip new comedy, Tootsie, Michael Dorsey is at the end of his rope. When Sandy (Teri Garr), an actress friend, is turned down for a role on a television soap opera, Michael decides to prove just how great his talents are. He goes home, applies some spectacular makeup, puts on a fussy reddish-brown wig, a suitable dress, high heels, and harlequin glasses. Thus disguised, he looks like an efficient, middle-aged dietitian with a sense of style. He pushes his way into the audition and, affecting a slight Southern accent, not only wins the role on the soap, a hospital drama called Southwest General, but becomes an overnight star of daytime television. This is the gimmick of Tootsie, and it's best gotten out of the way immediately because, unlike most such comedies, Tootsie has a lot more going for it than its gimmick. It's neither a drag show nor a knockabout comedy on the classic order of Charley's Aunt. Also, it shouldn't be compared to the elegant farce of Blake Edwards's Victor/Victoria. Tootsie restores the original meaning to the term "situation comedy," free of the pejorative associations that have accrued over the years because of the glut of awful ones on television. Mr. Pollack and the writers of the screenplay, Larry Gelbart and Murray Schisgal, have taken a wildly improbable situation and found just about all of its comic possibilities, not by exaggerating the obvious, but by treating it with inspired common sense. An important part of their success is Mr. Hoffman's grand performance as both the edgy, cantankerous Michael Dorsey and the serenely self-assured Dorothy Michaels, the stage name he takes on the soap, a character for whom the unappreciated Michael has obviously created a whole lifetime of subtext. Dorothy does not wobble around on her high heels—she very carefully measures her small steps. Her bra never gets knocked off-center, though she's rather tense when people get physical with her. When someone asks, not unkindly, why she wears such heavy makeup, she acknowledges that she has an unsightly mustache. Dorothy is not a parody female. She's crazy idealization. She is almost frighteningly well groomed, as if she had followed every beauty hint ever given. She's also intelligent, understanding, and not about to be pushed around by any male chauvinist pigs. Since Michael himself is a pig, this new, dual awareness of his gives the comedy unexpected sweetness. There's a marvelous moment in the middle of the film when Michael, out of drag, admits to his friend Jeff (Bill Murray), a playwright, that he was at first disappointed when he realized his Dorothy Michaels would never be a beauty. Dorothy may not be a beauty, but she possesses a bigness of heart and a no-nonsense approach to her life and career that Michael himself lacks. As she becomes a soap-opera personality, she also wins the friendship of one of her costars, Julie (Jessica Lange), who plays the trampish registered nurse on the show, and then rouses the passions of Julie's widowed father (Charles Durning). The fact that Michael-Dorothy has fallen in love with Julie provides the crisis that leads to the film's hilarious climax, played live to a nationwide audience. Beginning with Mr. Pollack and Mr. Hoffman, no one connected with Tootsie has ever done anything quite like this before. Every member of the cast is splendid. Miss Lange is a total delight in a comedy role to which she brings the same sort of intelligent gravity that distinguishes her work in Frances. George Gaynes, known principally for his work on Broadway and television, is priceless as the seedy but tirelessly lecherous leading man on the soap. Both Bill Murray and Teri Garr have had much larger, more flamboyant roles in other films, but neither has ever appeared to such rich advantage as in Tootsie. Doing what they've done before, but beautifully, are Mr. Durning and Dabney Coleman, who plays the highest-priced soap opera director in all television. In addition to maintaining the discipline that keeps Tootsie on track from start to finish, Mr. Pollack also turns up in a small but vividly funny role as Michael's unfriendly agent. Tootsie, which opens today at the Paramount and Loew's Tower East Theaters, is the best thing that's yet happened at this year end. It's a toot, a lark, a month in the country. TOOTSIE (MOVIE) Directed by Sydney Pollack; written by Larry Gelbart and Murray Schisgal, based on a story by Don McGuire and Mr. Gelbart; director of photography, Owen Roizman; edited by Fredric Steinkamp and William Steinkamp; music by Dave Grusin; production designer, Peter Larkin; produced by Mr. Pollack and Dick Richards; released by Columbia Pictures. Running time: 110 minutes.

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